Native Americans (Subordinate Group) Essay Example for Free

Native Americans (Subordinate Group) Essay One often wonders where the Native North Americans originated from. Some theories have been discussed about the peopling of the Americas. Early theories involving lost tribes and continents were based purely on speculation instead of actual scientific facts. Discoveries made during many archeological expeditions have helped shape the always changing interpretations by adding more questions and more theories. There have been genetic and linguistic studies which raised more understanding and brought new questions. It is theorized that during the latter part of the Cenozoic era, also known as the age of mammals that the Wisconsin glaciation caused enough of the planet’s water supply to turn into ice. This lowered the oceans and exposed now submerged land. This event created a stretch of land that the large mammals of the Ice Age era, along with the natives of that era, could very well have migrated across the newly formed land bridge, which now connected two continents. This land bridge is known as the Bering Strait, or Beringia. During the time that Beringia existed, the Wisconsin glaciers most likely prohibited migration to any southern or eastern regions. Another theory suggests that the early natives may have inhabited the now Alaskan region because it was ice-free due to low precipitation. Several melts over a period of time created passageways, and evidence from archeological site implies that there was an ice-free corridor for thousands of years. It was during another melt approximately ten thousand years ago, that a second corridor was most likely formed farther east along the borders of Saskatchewan and Canada plains. This points to the possibility that the ancient people could have traveled eastward along the rivers in the Great Plains, and down further south. The Indians known to history as the Sioux are also known as Lakota, Dakota, and Nakota, meaning allies. This is my heritage. I am a member of the largest division of Siouan family, otherwise known as Sioux. The name is from a term given to the largest and well- known of the tribal groups. At one time, my people stretched from the west banks of the Mississippi northward from Arkansas and the Rocky Mountains. The Dakotas also inhabited territory east of the river up to Wisconsin and Missouri. They were here to encounter DeSoto on his journey in 1541, when he reached the Indian villages in what is now eastern Arkansas. Another hundred years passed before any mention of Sioux existing, when in 1658 some Jesuit missionaries heard of the existence of about thirty Dakota villages just north of a Potawatomi mission. This was located at about the head of Green Bay, Wisconsin, in St. Michael. It was during the middle 1600’s when the Sioux, along with the Arapaho and Cheyenne had to migrate further westward towards the Great Plains to what is known as North Dakota, Minnesota, and South Dakota. This migration was mainly due to the O jibwa and Chippewa tribes pushing them out of the Great Lakes region. The Ojibwa and Chippewa had been pushed out of their own land that had been further east, by the European settlers of that time. In 1805 Lewis and Clark passed through the center of this region and made contact with the Sioux tribes. After this took place, several more expeditions brought traders that settled among the tribes, and in the course of some time, permanent settlers arrived. This made the area so small that eventually the people of my tribe were forced to live in Indian Territories or confined to Nebraska, the Dakotas, or Montana. This brought on a series of raids and counter raids that lasted from roughly 1850 through 1890 and were known as the Sioux Wars. In the first years of the twentieth century, the Dakotas also known as Tetons began the process of adapting to their new way of life. They still had strong faith in their own traditions, but realized that the old way was gone forever. Numerous changes with the economy and politics were forced on my people by the government. The people strived to establish a life for themselves that used both new changes, but still remained true to their values and beliefs. During the rest of the twentieth century, all of the reservations for the Dakotas, Lakotas, and Tetons lost more land due to ownership passes and inheritances. Division between rural dwellers and people who live in town have grown bigger. Rural residents tend to retain their use of native language, and be involved in cultural events, when townspeople adapt other aspects of the American culture. Most of the Sioux nation and other groups of American Indians live in South Dakota, Oklahoma, New Mexico, and North Dakota at present time on privatized land created by the government many years ago. Wendy Coghill ETH/125 Text Citations: Bonvillain, Nancy. Seeking a New Way. Teton Sioux, Indians of North America, Heritage Edition. Philadelphia: Chelsea House Publishers, 2004. American Indian History Online. Facts On File, Inc. http://www. fofweb. com/activelink2. asp? ItemID=WE43iPin=INATS06SingleRecord=True (accessed May 22, 2011). Text Citations: Waldman, Carl. arrival of humans in North America. Atlas of the North American Indian, Third Edition. New York: Facts On File, Inc. , 2009. American Indian History Online. Facts On File, Inc. http://www. fofweb. com/activelink2. asp? ItemID=WE43iPin=ind5278SingleRecord=True (accessed May 22, 2011). Text Citation: Waldman, Carl. Assimilation. Word Dance: The Language of Native American Culture. New York: Facts On File, Inc. , 1994. American Indian History Online. Facts On File, Inc. http://www. fofweb. com/activelink2. asp? ItemID=WE43iPin=ind2991SingleRecord=True (accessed May 22, 2011). Text Citation: Waldman, Carl. Sioux. Encyclopedia of Native American Tribes, Third Edition. New York: Facts On File, Inc. , 2006. American Indian History Online. Facts On File, Inc. http://www. fofweb. com/activelink2. asp? ItemID=WE43iPin=ind2432SingleRecord=True (accessed May 22, 2011).

Stanislavskis System Essay Example for Free

Stanislavskis System Essay All of our acts, even the simplest, which are so familiar to us in everyday life, become strained when we appear behind the footlights before a public of a thousand people. That is why it is necessary to correct ourselves and learn again how to walk, sit, or lie down. It is essential to re-educate ourselves to look and see, on the stage, to listen and to hear. Stanislavski (Konstantin Stanislavski quotes) Realistic drama was said to be born in the late 1800s, however before that, no director or actor trainer had succeeded in creating a method in order to instil believability in a character through the actor. There were some actors and actresses that used their own individual talent to achieve this, but there was not a developed system or method that one could teach or even pass on to the future generation of actors. In the midst of this thirst of authenticity, Konstantin Stanislavski actor and director extraordinaire developed his own system over a lifetime. When we are on stage, we are in the here and now Stanislavski (Konstantin Stanislavski quotes) Due to the fact that he was born into a wealthy family of merchants, Konstantin Sergeievich Alekseiv, had to begin his service to the family business, but soon realized that nothing could overpower his love for theatre. His family too shared some of his enjoyment for theatre and built him an amateur theatre in which he had his first stage appearances. His family also funded expensive vocal and stage movement lessons from Moscows best teachers. However, his love for theatre intensified to such an extent that in 1884, he was forced to adopt Konstantin Stanislavski as a stage name for his first public debut in order to hide his theatre aspirations from his family. In 1888, although he was still being forced to work in the family business, he co-founded the Moscow Society of Arts and Literature. Being the co-founder of the Moscow Art Theatre helped Stanislavski set up a basis for his own system of training actors. This unique system required actors to research the situation provided by the script according to the characters motivations, create a subtext to their script whereby they show the meaning or the imagination beneath the text their script, and bring to mind their own experiences so that they may use the emotions from their own experiences as emotions for their character in order to make their character more believable. Love art in yourself, not yourself in art. Stanislavski (Konstantin Stanislavski quotes) These requirements forced the actors to perform the actions and reactions of their character based, not only on the actors motivation, but also on the actors personal experiences. It also allowed the actor to match his motivations to that of the character in the script. After having already identified the characters motivations, the actor can recall his emotions and experiences whilst playing the character on stage in order to give a more authentic and convincing performance. His new proposed system for acting had eight questions that the actor must answer in order to build and establish the character. These included: I. Who? II. When? III. Where? IV. What? V. Why? VI. How? VII. What do I need to overcome? VIII. Before time? (Stanislavski for Beginners) These questions helped the actor recognize the characters purpose and establish the actors own movement on stage so that they may be able to project the characters purpose to the audience. Stanislavski developed a number of techniques and principles that he considered fundamental in helping the actor achieve a believable character on stage. Stanislavski felt that most actors assumed that believable acting was derived from simply being natural on stage. However, from his observations, Stanislavski concluded that realistic acting on stage was extremely difficult and can sometimes come across as artificial. Bring yourself to the part of taking hold of a role, as if it were your own life. Speak for your character in your own person. When you sense this real kinship to your part, your newly created being will become soul of your soul, flesh of your flesh. Stanislavski (Konstantin Stanislavski quotes) After having memorized my monologue I figured I knew my character quite well she was a young girl who was sad because her best friend just died. I didnt think I needed to know any more than that in order to deliver a good monologue. However, when the time came to answer the questions above for my character, I resented it and I didnt think it would help in any way. I decided that I would perform my monologue for a class mate before and after answering the questions in order to prove my point. The first thing I realized was that answering those questions was no easy feat for me, which proved how much I didnt know my character. After much use of my imagination, I finally managed to answer the questions in depth. Whilst answering the questions I found out things that never even occurred to me about my character. I felt like I was talking about a real life person who had a past, a present, and even a future. Needless to say, the real impact of what I found out about my character did not hit until I performed my monologue post-questions. I found myself really feeling and actually believing that I was that character and not just impersonating someone. After performing my monologue I honestly felt like I had given birth to an actually human being Undoubtedly, I received the most positive feedback about my monologue post-questions. Some of the principles of the Stanislavski System included: * The actor is aware that the play is fiction, but he must question himself about how he would behave if the situation was real. This helps the actor transform the play as if it were real. * The actor must question himself about his character and must understand not only what, but why he is saying what he is saying and doing what he is doing. * The actor must not get distracted by the audience and must concentrate on what is happening on stage. * The actor must learn how to rid his body of muscle tensions and relax himself so that he may call upon his actions with ease in order to reach his goal as the character. The relaxation and observation exercise was quite an experience for me because I was able to tap into emotions so deep that at times I virtually forgot that I was in Drama class. When Ms. Kennedy was declaring the emotions that we had to feel, experiences that never occurred to me popped up in my head. For instance, when Ms. Kennedy declared that we were to feel jealous, an incident that popped up in my mind was one of which I was unaware that I felt jealous at that moment! I presume that it was my mind reminding me that I was subconsciously jealous at that moment. With every emotion that Ms. Kennedy declared, I found my body subtly changing. This change occurred from the tilt of my head to the direction of my toes. What amazed me the most was that it felt as though my body was changing by itself. The changes were so subtle and gradual at first, and then when they got to be a little more intense was when I realized that I was tapping my toes or holding my breath. I presume that it is these subtle movements and actions that make acting more believable on stage. * The actor must consciously perform the small physical actions that people perform unconsciously do in real like in order to make his character look realistic. When Ms. Kennedy told us to stand up and imitate the actions of the members of my ensemble, I realized how unconsciously we perform little actions that make us who we are. For instance, I am constantly running my hand through my hair because of my fringe that comes in my eyes. I am so used to this action that I do it without being aware of what I am doing. When I did so during this exercise I was taken aback when my ensemble started imitating me and I thought to myself, Did I just do that?. I saw similar reactions from the members of my ensemble. Through these exercises I learnt that it is the little actions that make us unique. * The actor must recall his emotional experiences from his emotional memory. This will bring truth to his character. * The actor must establish good communication with his ensemble (i.e. the other actors on stage) by listening to what they are saying and by looking directly at them, unless when the script requires them not to do so. * It is vital for the actor to understand the play and perform his part with determination. He must also feel for his part to such an extent that his portrayal of the character looks nothing but authentic and convincing on stage. * In order to convince the audience, the actor must use the techniques to call upon memories that help him react to other characters in the play as well as act. This makes his character more believable. (The Stanislavski System) Some techniques of the Stanislavski System include: * Objective Words o The actor must understand the objectives of the character behind each and every line that they say. I used this method to first indentify the intentions of my character behind every line, and then match those intentions with an action. This gave every action behind every line a purpose and made it easier for me to recall my emotional memory when I needed it. * Magic If The actor must connect with the character by asking how he would behave if his characters situation was real and was actually happening to him. This helps the actor think like the character and not just impersonate him. Stanislavskis Magic If and As If has really helped me in my monologue as I have to imagine that I am speaking to a corpse of my best friend. Throughout the monologue, I really enjoy that I am forced to use my imagination and make-believe that a table is a casket and boxes are a deceased human being. Although I dont find it that hard pretending that I am speaking to my deceased friend, I really enjoy the challenge of making my audience believe and see what I am seeing. With more practice and more rehearsal of my monologue, I will be able to make my audience feel not only the pain of losing a friend, but also the pain of my own personal experience that I drew out to play this part. * As If o The actor should get in role and as himself what he would do if here was to be in his characters situation. This brings about convincing actions and reactions for the character. Before I first practiced this technique, I immediately told myself that I would imagine that I was at the funeral of my best friend. However, this will be hard to improvise because I just simply cannot imagine my best friend dying. It is unthinkable. Thus, I decided that I would bring back the memory of when I was at my uncles funeral and use those emotions in the context of my monologue. This helped my monologue significantly as it was easier to bring back emotions of things that have already happened. While I was performing my monologue, I really felt as though I was back at my uncles funeral and I was able to use the emotions I felt then to emphasize the lines of my monologue. Although my uncles funeral was some 5 years ago, this technique helped me realize that those feelings are still alive. Although this technique benefited my monologue, it also benefited my life as when I brought those emotions back I felt that I was able to deal with them better than I did those 5 years ago. * Subtext o The actor must know the emotion and meaning that lays underneath his characters lines. The actor does not speak this, but portrays this though choice of action, gestures, posture, pauses etc. Subtext generally increases the audiences involvement in the play as it acts as a secret between the audience and the character with the subtext as opposed to the other characters present on stage. o Inner Monologue * The actor must know all the thoughts that are going through the characters mind not only while he is speaking his dialogue, but also while he is listening to the other characters on stage. o Mental Images * The actor must bring together all the pictures that he sees in his mind as the character and communicate this to the other actors on stage. This method really taught me how to break down the text of a script and read in between the lines in order to fully understand my character. After I had determined what was going through my characters mind at every line in the play, * Given Circumstances o Whilst building his character, the actor must take into account all the information the playwright has given the actor through the script. This technique helped me exert all the circumstances that my playwright had given me, and with this information I was able to establish my character and her personality more. This technique also taught me how to apply the emotions that I derived from the previous techniques like As If. * Imagination o The actor must work really hard in order to use imagination to fill in the gaps of his characters life where the playwright hasnt given enough information. Imagination was my key component in any Stanislavski technique that I attempted and applied to my monologue. However, Imagination was most useful to me when I first began creating my character and her personality. I used my imagination to first answer my WHERE, WHEN, WHAT, WHY, WHENCE, BEFORE TIME questions which in turn helped me create a really descriptive and in-depth character analysis. Imagination also helped me be less mechanic and more authentic on stage. I used imagination to give life to the words on paper and give life to a real character. This process is really similar to giving birth. * Circles of Attention o Although they are in public and in front of an audience, the actor must feel as though they are alone on stage and they must throw circles of attention on their actions in order to really concentrate. The actor must be able to draw into a small circle of attention, if they need arises, even though he may be performing in front of thousands. It is difficult for the actor to take in whole spaces at once and therefore must focus on the space bit by bit. This will increase the actors attention because as one could have a small, medium or large circle of attention. As the circle grows larger and larger, your concentration it tested at its limits. Thus it is recommended for actors to withdraw to a small circle of attention if they find their attention wavering in order to rebuild into their larger circle of attention. * Perspective o Perspective requires the actor to see their role as a whole. It requires them to sustain their concentration, focus on their objectives and also watch for any problems that could possibly occur on stage. They must develop a pace for their acting as the play unfolds on stage. Funnily enough, Perspective really helped me develop my costume and what message I was wanted to portray with my costume. I was debating to either wear boyish clothes that showed off my characters tom boyishness and establish her to the audience in that manner or to wear girly clothes and emphasize my characters uncomfortable feeling. I chose to go with the second choice to really show how isolated and uncomfortable my character feels in the situation that life thrust her in. For my costume I decided on an off-white skirt with black flower embroidery, topped with a black t-shirt-like blouse and black boots. Although my character hates skirts and anything girly, I am wearing a girly outfit to show that my character is uncomfortable with not only what she is wearing, but where she is, what she is about to do and the situation as a whole. My costume consists mainly of the color black because she is attending a funeral and black is the code mourning color. I am accompanying my outfit with boots to show that my character, although caved in into wearing a skirt and blouse, refused completely to wear high heels or sandals. The boots keep some of my characters personality alive. * Tempo-Rhythm o Tempo * Actors must realize that every action that they have planned will take time and they can either chose to decelerate the tempo whereby they will be giving themselves more time to speak and perform or to accelerate the tempo which would have the opposite effect. o Rhythm * The actor must know how and what to stress while he is on stage in order to portray the message that he is trying to portray. (The Stanislavski System Growth and Methodology) These techniques and principles of the Stanislavski System helps the actor develop an interior monologue for the character, so that each action that the actor takes as the character comes across as spontaneous to the audience. In addition, Stanislavski also believed highly on the use of costumes, sets and props contributing to the realism of the character. He believed that every prop must serve a purpose, and if a prop was placed on stage, then the actor must know the history of the prop in relation to the play (where it was bought, who it was bought by and how it came to be in this particular location). Stanislavski also worked on something called The Method of Physical Actions whereby he focused on physical action encouraging truthful emotion. The main aim was to reach the subconscious mind through the conscious mind. (Method Acting) Due to the fact that the theatre held great social and educational significance for Stanislavski, he found it difficult to separate the social context that was attached to his theatre. He was known to use the stage to reflect the social issues that were occurring during the civil unrest that lead to the Russian Revolution in 1905 and the Soviet Union being established. However, even though he responded to criticism saying that he never staged contemporary Communist plays by directing several plays of revolutionary significance, he was still criticised for catering to progressive middleclass audiences. Thus he refused his company to produce plays that were undeserving of its traditions and high standards in order to maintain his integrity and dignity. Fortunately for Stanislavski, he was caught in the midst of the violence of the revolution and needed to be protected by Lenin from being eradicated alongside the Czar Dom. The communists had elected his system and made the Moscow Art Theatre the fountainhead of social realism. (Stanislavski, Konstantin) His theatre quickly began producing Soviet propaganda due to an allegiance that was being maintained between the USSR and Stanislavskis socially conscious method of production. Needless to say, Stanislavski survived both Russian Revolutions of 1905 and 1917. The Stanislavski System is known to only be as good as the person who uses it. It is not something that will immediately turn a bad actor into a good one, nor will it guarantee success. The Stanislavski System is simply a serious of developments, techniques and ideologies that help the actor make use and develop his skills and talents and to gain control of his gift in order to become a better actor. Using the system requires time and understanding that are not so easily summoned up these days. However, who so ever have studied and have been trained in the Stanislavski System know that it is a diligent method that requires a lot of work, but also makes seem more effortless and believable. Stanislavski always told his actors to leave your ego at the stage door as you come in and those who intend to follow the Stanislavski System must know that it is not solely based on the actor himself. The actor must not only develop his own talent, but must also develop a bond with his ensemble and know that a performance can only be put on when there is trust and dependence among the actors. (Stanislavski and the Actor, 149) Thus I will end with a quote from the master himself, In the creative process there is the father, the author of the play; the mother, the actor pregnant with the part; and the child, the role to be born. (Konstantin Stanislavsky quotes) and say that one must commence on the journey that is the creative process in order to realize the true value of Stanislavskis teachings. Bibliography Allen, David. Stanislavski for Beginners. New York City: Writers Readers Publishing, 1999. Benedetti, Jean. Stanislavski and the Actor: The Method of Physical Action. New York: Theatre Arts Book, 1998. Jones, Trevor, and Bradley W. Bishop. Stanislavski. Untitled Document. 22 Feb. 2009 http://www.kryingsky.com/Stan/Biography/bot.html. Konstantin Stanislavsky quotes. Find the famous quotes you need, ThinkExist.com Quotations.. 22 Feb. 2009 http://thinkexist.com/quotation/love_the_art_in_yourself-not_yourself_in_the/166692.html. Method Acting. Moderntimes: Classic Film Pages. 22 Feb. 2009 http://www.moderntimes.com/palace/method.htm. Stanislavsky, Konstantin: Biography from Answers.com. Answers.com Online Dictionary, Encyclopedia and much more. 26 Feb. 2009 http://www.answers.com/topic/konstantin-stanislavski. Sawoski, Perviz. The Stanislavski System Growth and Methodology. Homepage. 22 Feb. 2009 homepage.smc.edu/sawoski_perviz/Stanislavski.pdf. Stanislavski Quotes. Free Website Hosting Tripod free website templates to make your own free website. 22 Feb. 2009 http://members.tripod.com/~Jim_68/stan.htm. Stanislavskis system Wikipedia, the free encyclopedia. Wikipedia, the free encyclopedia. 22 Feb. 2009 http://en.wikipedia.org/wiki/Stanislavskis_system. The Stanislavski System. Teachit. 19 Feb. 2009 www.teachit.co.uk/attachments/stanis.pdf.

The Chimney Sweeper | Analysis

The Chimney Sweeper | Analysis William Blake was a famous writer of the Romantic Age which took place in 1832. William Blake wrote two poems called The Chimney Sweeper. The first poem had to do with innocence. The second Chimney Sweeper poem by William Blake had to do with experience. Even though both poems have the same title doesnt necessarily mean that theyre the same. They have a few things in common, but also have a plethora of items that are different. In both poems called The Chimney Sweeper, they share similarities and differences between narration, rhyme scheme, tone, and theme. Blake also shows how both poems are influenced Romantically, he gives the reader a visual and represents many symbols that are used in todays society. As far as rhyme scheme, they both have words that rhyme at the end of each line and stanza. The boy says When my mother dies I was very young, and my father sold me while yet my tongue. (lines 1-2 p. 85) In songs of experience, Blake writes A little black thing among the snow Crying weep, weep, in notes of woe! (lines 1-2 p90) Both poems are also expressed romantically in a few ways. In the Romantic days, writers felt there was a new literature being birthed. The poetry had to do a lot with humanity and nature. Poets tended toward emotion and child like perspective. Poets also showed much regard for the natural scenes and used words like child, imagination, and nature because they thought they were popular. (Mellown p. 1) In Songs of Innocence the young boy tells his story. The boy is about six or seven years old. Much of the imaginative power of the poem comes from the tension between the childs naivetà © and the subtlety of Blakes own vision. (Mellown p.1) In the first stanza, he talks about his way of life. He talks about how his mother dies. He was sold as an apprentice by his father. His present life revolves around working, calling through the streets for more work, and at the end of the day sleeping on soot, a realistic detail since the boys did indeed make their beds on bags of soot they had swept from the chimneys. (Mellown p.1) The second stanza introduces a young boy named Tom Dacre, who comes to join the workers and is initiated into his new life by a haircut. Tom cries as he gets his hair cut off, but the speaker makes him feel better by saying Hush, Tom! Never mind it, for when your heads bare, you know that the soot cannot spoil your white hair (lines 6-7 p. 85). What that means is all of the dirt from sweeping chimneys wont get in his hair. Tom takes the advice and goes to sleep happily. (Mellown p. 2) The next three stanzas give the substance of the dream. Tom dreams that thousands of sweepers locked in coffins are released by an angel. Suddenly, they find themselves in a pastoral landscape where, freed from their burdens, they bathe in a river and then rise up to the clouds. There, the angel tells Tom, if hed be a good boy, / Hed have God for his father never want joy. The dream is an obvious instance of wish fulfillment, and its pathos rests on the fat that while it reveals the childs longing to escape, the opening and closing of the poem make it clear that his only ways of escape are dreams and death. (Mellown p. 2) What this means for Tom is that maybe when he is dreaming he can escape what he goes thorough in life and just be happy. The last quatrain opens with a brutal contrast. Having dreamed of playing in the sun, Tom awakes, and the sweepers begin their days work, a day to be spent in the total darkness of the cramped chimneys. Yet, restored by his dream, Tom is happy, and the poem ends with the pious moral, akin to the angels speech, So if all do their duty, they need not fear harm. (Mellown p. 2) So he goes through the rest of his life knowing that heaven was in his future as long as he was good. In The Chimney Sweeper, songs of experience, Blake talks about some of the things a little black boy goes through. Using the same rhyme scheme as songs of innocence he says A little black thing among the snow crying weep, weep in notes of woe! Where are thy father and mother? Say? They are both gone up to the church to pray. (lines 1-4 p. 90) In the next stanza Blake describes how his parents are at church praying for him because he is so happy on the outside but not showing his true pain. He sings and dances because he is happy and his parents think that everything is ok and no damage has been done. He says And are gone to praise God and his Priest and King, who make up a heaven of our misery. (lines 11-12 p.90) Blake could have possibly used a bit of sarcasm in songs of experience. In songs of innocence some themes and symbols were the bags, abandoned in the dream and picked up again with the brushes the next morning. This says that the terrible burden of the childs life, which is the good indicates the corruption of a society that uses and abuses him. The coffins are like a symbol of death. They represent the chimneys that he sweeps and the actual death to which he will soon come. In contrast, the sun, river, and plain express the joys that should be natural to childhood, which is also a symbol of the way nature is appreciated in the romantic age. Yet, even symbols associated with happiness intensify the harsh facts of existence. The bright key recalls imprisonment; the harmony of the leaping boys emphasizes their isolation in the chimneys; and the lamb, whose curling fleece Toms hair resembles, is often, as is the sweeper, a helpless victim. (Mellown p. 2)

Setting in the Mayor Of Casterbridge by Thomas Hardy Essay -- Papers

Setting in the Mayor Of Casterbridge by Thomas Hardy The Mayor of Casterbridge is set in Dorchester, according to its geographical location, and many significant events occur in the public houses of the town and its historical earthwork - the Ring. It is easily visible that each of these places has the purpose that Hardy indicates. The Ring is called the Maumbury Ring; it was used locally as an amphitheatre and an execution ground. It is ridges and ditches of earthwork; Hardy describes, 'The amphitheatre was a huge circular enclosure, with a notch at opposite extremities of its diameter north and south', which is referred to abruptly as 'spittoon of Jotuns'. A reference book on Dorchester's Ring says, 'The site of the town gallows, giving huge crowds a good view of hangings from its circular banks.' Another ruthless description of the ambiance around the Ring is 'The sun was resting on the hill like a drop of blood on an eyelid...' Here two important meetings of Henchard took place - with Susan and Lucetta. They end happily; yet they are the onset of tragedies: the ones responsible for further progression of the novel. The description of its rigidity seems like a prediction into the future. Hardy chooses this location for these meetings because they are tentative meetings; so its solemnity is almost as if eerie spirits are watching over them - that's why the fact that it is an amphitheatre and an execution ground. From these meetings, all Henchard's intentions go wrong. Elizabeth-Jane is not his genuine daughter and his letters from Lucetta are not successfully delivered - all resolved to doom, hypercritically. ... ... here.' 'I say - what a good foundation for a skimmity-ride!' This is the only time that this public house is mentioned in the novel, yet it has beckoned forth another turning point of the novel - from this pagan, underworld place by the mistake of Jopp who failed to deliver the love letters unharmed. Hardy has selectively used the available places in Dorchester to his advantage as it can be seen categorized throughout the novel. This obscured device rouses different reactions as he guides through the whole progression. They are all real locations, despite the fact that there is not evidence for the existence of Peter's Finger, and that has also added another tint to the sense of discovery in this novel. He has cleverly used all the places to maximum efficiency regarding their authentic profile in real world.

Bakkhai :: Classics

Bakkhai - Pentheus did not die within the house but his remains are taken inside at the end - Bacchic dancing is the ‘imitation’ of nymphs, Pans, sileni and satyrs; a form of mimesis - Dance as an aid to the spectators and pictorial clarification; complex metres of danced choral lyric vs. simple rhythms of sung lyrics, suggesting this complexity with its ‘resolutions, contractions and shifting rhythms, was first made possible by the interpretative power of dance - After Pentheus has departed for the mountains, the mood of the persecuted Lydian Bacchants is one of vengeance// strophe-refrain-antistrophe-refrain-epode - Refrain calls for Justice to kill Pentheus, and the epode calls upon Dionysus to manifest himself in his true form; strophe visualizes scene on Mount Citihaeron, while antistrophe is a credo of the chorus - Dominant metre is dochmiac (short long long short long), a metre associated with intense excitement - Strophe and antistrophe can be described in four movements: move within A from Pentheus to the vision of Agave, and within her from Pentheus to the vision of the chorus; correspondences are mimetically precise 1. Lines 1-5 Strophe evokes the hounds of Madness running to the Bacchants in the mountain and biting Pentheus; Pentheus in female garb starts to spy. Antistrophe evokes Pentheus going to the Bacchants on the mountain with a mad resolve, the madman attempts the impossible. The movement depicts running, the Bacchic orgy, and Pentheus’s madness. 2. Lines 6-8 Strophe represents Pentheus being seen by Agave. Antistrophe is syntactically obscure but is concerned with the idea of divine punishment. The movement represents a human being watched by someone stronger than a human, and the focus shifts from watched to watcher. 3. Lines 7-9 Strophe represents in direct speech the shout of Agave that someone has came. Antistrophe represents creed of the chorus ‘I reject rationality. I enjoy in the hunt. Other, greater, clearer things†¦ This is a public declamation about something seen, and the gestural action is deictic. 4. Lines 10-12 Strophe, Agave pronounces this is no human but is of a lion or a Gorgon. In antistrophe, the chorus conclude that they will reject an unjust way of life and reverence the gods. The focus shifts from what is seem in the vision: common humanity is contrasted with the divine or demonic - There is no way that an audience could grasp the intended symmetry without the medium of dance, which generalizes the concrete narrative of the strophe and concretizes the abstract lang of the antistrophe in order to draw action and thought together Idea of illusion Inside/outside * Tragic process puts insistent pressure on the faced of the masculine self in order to bring out that insistent pressure on

Basketballs Greatest Coaches Essay -- Sports, History

Basketball is one of the most popular sports in the world and the second most popular in the United States and unlike other popular American sports it’s the only one that originated in the U.S(The basketball man, 2006).The game of basketball has evolved tremendously since its creation in 1891 by James Naismith. Naismith was a physical education teacher at the School for Christian Workers, now Springfield College in Springfield, Massachusetts. He was approached by the head of the department one day in early December to invent a game that will keep the athletes busy and entertained during the winter months. The winters were fierce and long in Springfield and most of the school’s sports were played outside so in order for the athletes to stay in shape year round a new recreation would have to be incorporated during between winter and spring. Naismith divided his class of 18 in half and introduced them to this new game.At first Naismith was a little apprehensive about is id ea, telling himself, â€Å"When I had decided how I would start the game, I felt that I would have little trouble. I knew that there would be questions to be met; but I had the fundamental principles of a game, and I was more than willing to try to meet these problems, I continued with my day's work, and it was late in the evening before I again had a chance to think of my new scheme†(Naismith, 1941). The first basketball game used a soccer ball and two peach baskets, neither of which had holes in their bottoms. There were no backboards, no ten-second line, three-second violation, frontcourt or backcourt, and no boundary lines. Plus, there were no free throws; if a team committed three fouls in a row, the other team got a point(The basketball man, 2006). At first baske... ...isterous attitude and aggressive coaching style. Robert Montgomery Knight also known as Bob Knight and nicknamed â€Å"The General† was the first of his kind. Born Oct. 25, 1940, in Massillon, Ohio, Knight grew up Orrville, where he played basketball, football and baseball for the Orrville Red Riders. Later he went to Ohio State University and played basketball. Only having started two games his whole playing career Knight was a bench player but won sixth man of the year on the 1960 championship squad. After graduating with degrees in history and government, Knight enlisted in the U.S. Army and accepted an assistant coaching position and became head coach in only two years. In his six seasons at West Point, Knight won 102 games and lost only 50. One of his players was Mike Krzyzewski, legendary coach of the Duke Blue Devils (Alford & Garrity, 1989).

Favorite Dish Essay

My favorite food is Pakistani food and my favorite dish in Pakistani food is Biryani. I like to eat Pakistani food because I have been eating it since my childhood and I am fond of eating spicy food. I have been to many countries in this world and I have tried many things, but still I consider Pakistani food to be my favorite food. Some people like to eat things which are expensive and they feel that the things which they eat or like are recognized worldwide, but I have different opinion. I like to eat things which are delicious and the food which I have been eating since my childhood. I remember that once I was feeling very sad, and I did not want to eat anything at all but then as I saw Biryani I started feeling hungry. There are times when I am not even feeling hungry, and I start eating Biryani the moment I look at it. I feel very good after eating Biryani. It is so mouth-watering and scrumptious that sometimes I eat it in high quantity. Some people think that only girls should be the one who should be cooking, but I think boys should also know how to cook the food. I learnt making this dish and it was a unique kind of experience. I never thought that cooking was so fun, and now whenever I want to eat Biryani I prefer to make it myself. I believe that you should also try it out someday as most people in my country love it so much.