Relevant Stories and Poems:

?Yellow Woman?by Leslie Marmon Silko
, ?Araby? by James Joyce
, ?A+P? by John Updike
, ?What We Talk About When We Talk About Love? by Raymond Carver
, ?Story of an Hour by Kate chopin
?, ?Rose for Emily?, by William Faulkner

?Let me not to the marriage of true minds? by William Shakespeare
, ?To My Dear and Loving Husband?by Anne Bradstreet
, ?somewhere I have never traveled?, by E.E Cummings
?Love Is Not All? by Edna ST Vincent Millay



Note: In order to write this essay, you must establish a clear, logical (fallacy-free) definition for ?true love?. This must be done whether or not you believe that true love exists in reality. This way you can contrast it against or compare with reality. It would be wise to lay the foundation of your definition in the introduction of your essay.

No summaries of the stories or poems are needed in any part of essay !!!!!!!!!!

Topic : What is The Real Love

thesis : We can find the ture love through the stories and the poems


introducton and thesis

Support paragraphs

Show the topic sectence and evidence "qoutation" and explain and analysis All paragraph

Clearly !!!!!!!!

I would like a paper talking about how our society lacks a true love ethic. Since we live in a patriarchal society, domination and power are sought after which cannot be present if a true love ethic prevailed. It also needs to discuss how most people think of love as a noun when it should be thought of as a verb. People associate such a powerful emotion with material things when it should only be shared with another individual. True love is "the will to extend one's self for the purpose of nurturing one's own or another's spiritual growth" which is stated in "all about love" but come from M. Scott Peck's "The Road Less Traveled." It needs to be based around the argument proposed by Bell Hooks in her book "all about love." It also needs to incorporate poems by June Jordan and Sonia Sanchez. The love they speak of in their poetry is that of a natural sense, what true love actually is. The sources need to be Bell Hooks' "all about love," June Jordan's " "Some of Us Did Not Die: Selected Essays of June Jordan" and Sonia Sanchez?s "Like the Singing Coming Off the Drums."

Wuthering Height Essay -


* Wuthering is often read as the greatest depiction of perfect, true love. It can also be read as a critique of this sort of love. Explain both sides of this debate. Include at least two direct quotations. Paraphrase everuthing that you can, but when the quotations seems unparaphraseable use them.

this is what i have so far

Tales of love start with the creation of humans, to the current televised bachelor and bachelorette elimination games. Love is a feeling everyone can relate to, but may not understand due to myths. The perpetual love myths that exist in classical mythology to the realities of today romances to be explored are love at first sight, the idea of one true love and the infatuation of past loves. The stories of classical mythology charter the lives of Cupid, Zeus and others who experienced the long lasting phenomenon of love.
The profile of Cupid gives an illustration for the myth, love at fist sight. In mythology a great divinity known as Cupid or Love exist. Cupid is a ?beautiful winged youth . . . against whose arrows there is no defense, neither heaven nor on the earth? (Hamilton 92). This idol has the power to deliver love to whomever he pleases through the strike of an arrow. Of course to take this fable to heart we have to rule out a flying boy and his arrows because it?s just not possible. Instead we can interpret Cupid?s duties as acts of fate. According to Graeme Nichlolson, the ?divinity of love and its kinship with myth?is able to offer true and adequate account of love? (Nicholson 108). Another description of love at first sight is ?the blissful melting of souls that would somehow? make their existence meaningful? (White 45). The relationships that are birthed from love at first sight allow the idea of a love connection to happen instantaneously. Furthermore, considering Cupids? role in this love myth, to be literally struck by an arrow is painful, but being struck by Cupid?s love arrow does not hurt, after all it is the legendary reason for love a first sight.

What happens when the love at first sight myth is not mutual? The result is unrequited love, which is the theme of ?Alpheus and Arethusa.? This tale is about the river god, Alpheus and his pursuit of a young huntress, Arethusa after she bathed in his waters. The huntress ?wanted non of him she had one though, to escape . . . Arethusa called to her goddess, and not in vain. Artemis changed her into a spring of water? (Hamilton 116). Alpheus desire for Arethusa to reciprocate his emotion is normal. Love requires equality. For instance Plato characterized love at first sight as an act of nature that ?matches in beauty and is thus in harmony?the most beautiful spectacle for anyone who has eyes to see? (Grube 72). The harmony Plato describes is between two mutual parties. As a result if someone longs for someone unobtainable, they could be missing out on a prospective love interest.
Love is traditionally recognized through marriage. The vow of marriage dedicates two lives together for eternity. Since marriage is everlasting the myth of one true love is declared. One true love mystifies many people when the identification of feelings for others is defined as love and they have been in love before. ?The future possibilities of loving that might be available to us in times to come is undeniable? (White 142). An example of the falsehood of one true love is the multiple marriages of the god Zeus. The best known marriage of Zeus was to Hera.

Based off of the book The Art of Hearing Heartbeats By Jan-Philipp Sendker

This book explores the meaning of true love between a man and a woman. Is there such a thing and can it endure years of separation? It also explores the love between a parent and child, issues of abandonment, trust and forgiveness.

For the essay I want to paint a portrait enduring love. It must be very expressive, deep, heartfelt, magical, mystical, honest, raw. The reader should be able to see, feel, hear, smell, and taste what enduring love is.

Essay Outline:

Preface
Introduction
Thesis Statement
1st Major Point with Conclusion & Lead-In
2nd Major Point with Conclusion & Lead-In
3rd Major Point with Conclusion
Conclusion
Postscript

Web Site:
http://www.scribd.com/doc/68670308/The-Art-of-Hearing-Heartbeats-by-Jan-Philipp-Sendker-Excerpt

http://www.youtube.com/watch?v=rRWCpCkcc_8

http://wordswithoutborders.org/book-review/jan-phillip-sendkers-the-art-of-hearing-heartbeats
There are faxes for this order.

Here is the assignment:

Now that you have read bell hook's "Sexism and Misogyny: who takes the rap?" and watched The Piano, it's time to test hooks' claim. Write an essay in which you explain to what e4xtent you agree or disagree with hooks that The Piano excites audiences withs uncritical portrayal of sexism and misgyny" Keep in mind that you are explaining how much and why you agree with hooks' above statement in order to enact your essay's purpose: to persuade your readers to see that the sexism and misogyny in The Piano are or are not portrayed as exciting and acceptable. Your essay must indicate and be built around this purpose.

This essay is asking you to do two things. First, decide whether or not- and how much- you agree with bell hooks' assessment of The Piano. Second, carefully build a detailed and supported explanation of why you feel as you do. IN order to construct a argument that is convincing, you must refer to appropriate passages in bell hook' text as well as to specific scenes in the film. Remember, you are not arguing for or against gagsta' rap music in general; don't get off-topic defending or dismissing the genre of rap music. Instead, analyze hooks' comparison of the film to gangsta' rap to argue her point that both forms of entertainment wrongfully portray sexism and misgyny as exciting to listen to or watch, but that only rap music is condemned for this. When you watched the film, did you find yourself able to excuse and justify the sexism and misogyny for certain reason? If so, you're agreeing with hooks and you must discuss this. Or, when you watched the film, did you find yourself shocked and unable to excuse, for any reason, what you saw? If so, you're disagreeing with hooks, and you must discuss why. (Keep in mind that if you say there is no sexism and misogyny in the film whatsoever you have, first of all, not responded with any real engagement to the events in the film. Regardless of whether it can be justified, how can the finger-chopping scene be anything other than sexist or misogynist, for example? But worse, if you say that no sexism or misogyny exists in the film at all, you have inadvertently proven hook' claim about the film. She says audiences tend to miss these negative values because we're so accustomed to them and / somehow wish to justify them. If you claim that sexism and misogyny don't exist in the film at all, you are proving this point for her, so be very careful about the trap she's set for you. You will avoid this trap if you stick to the issue: discuss wheter or not the sexism and misogyny are portrayed as exciting and acceptable, just as they are in gangsta' rap music, not whether or not they exist in the first place. If you stick to this issue, you can see how a discussion of strengths or weakness of hooks' comparison of the film to rap music might become relevant). You should assume that your audience has read hooks' essay and seen the film , but their level of engagement has not been particulary critical. In other words, you should help your audience to see aspects of the film or of hooks' opinion of the film that they might have otherwise missed. This essay must be atleast 3 full pages.




Important Sources:

Here is the essay of Sexism and Misogyny : Who takes the rap? By Bell Hooks

For the past several months white mainstream media has been calling me to hear my views on gangsta rap. Whether major television networks, or small independent radio shows, they seek me out for the black and feminist "take" on the issue. After I have my say, I am never called back, never invited to do the television shows or the radio spots. I suspect they call, confident that when we talk they will hear the hardcore "feminist" trash of gangsta rap. When they encounter instead the hardcore feminist critique of white supremacist capitalist patriarchy, they lose interest.

To white dominated mass media, the controversy over gangsta rap makes great spectacle. Besides the exploitation of these issues to attract audiences, a central motivation for highlighting gangsta rap continues to be the sensationalist drama of demonizing black youth culture in general and the contributions of young black men in particular. It is a contemporary remake of "Birth of a Nation" only this time we are encouraged to believe it is not just vulnerable white womanhood that risks destruction by black hands but everyone. When I counter this demonization of black males by insisting that gangsta rap does not appear in a cultural vacuum, but, rather, is expressive of the cultural crossing, mixings, and engagement of black youth culture with the values, attitudes, and concerns of the white majority, some folks stop listening.

The sexist, misogynist, patriarchal ways of thinking and behaving that are glorified in gangsta rap are a reflection of the prevailing values in our society, values created and sustained by white supremacist capitalist patriarchy. As the crudest and most brutal expression of sexism, misogynistic attitudes tend to be portrayed by the dominant culture as an expression of male deviance. In reality they are part of a sexist continuum, necessary for the maintenance of patriarchal social order. While patriarchy and sexism continue to be the political and cultural norm in our society, feminist movement has created a climate where crude expressions of male domination are called into question, especially if they are made by men in power. It is useful to think of misogyny as a field that must be labored in and maintained both to sustain patriarchy but also to serve as an ideological anti-feminist backlash. And what better group to labor on this "plantation" than young black men.

To see gangsta rap as a reflection of dominant values in our culture rather than as an aberrant "pathological" standpoint does not mean that a rigorous feminist critique of the sexist and misogyny expressed in this music is not needed. Without a doubt black males, young and old, must be held politically accountable for their sexism. Yet this critique must always be contextualized or we risk making it appear that the behaviors this thinking supports and condones,--rape, male violence against women, etc.-- is a black male thing. And this is what is happening. Young black males are forced to take the "heat" for encouraging, via their music, the hatred of and violence against women that is a central core of patriarchy.

Witness the recent piece by Brent Staples in the "New York Times" titled "The Politics of Gangster Rap: A Music Celebrating Murder and Misogyny." Defining the turf Staples writes: "For those who haven't caught up, gangster rap is that wildly successful music in which all women are `bitches' and `whores' and young men kill each other for sport." No mention of white supremacist capitalist patriarchy in this piece, not a word about the cultural context that would need to exist for young males to be socialized to think differently about gender. Staples assumes that black males are writing their lyrics off in the "jungle," away from the impact of mainstream socialization and desire. At no point in his piece does he ask why huge audiences, especially young white male consumers, are so turned on by this music, by the misogyny and sexism, by the brutality? Where is the anger and rage at females expressed in this music coming from, the glorification of all acts of violence? These are the difficult questions that Staples feels no need to answer.

One cannot answer them honestly without placing accountability on larger structures of domination and the individuals (often white, usually male but not always) who are hierarchically placed to maintain and perpetuate the values that uphold these exploitative and oppressive systems. That means taking a critical looking at the politics of hedonistic consumerism, the values of the men and women who produce gangsta rap. It would mean considering the seduction of young black males who find that they can make more money producing lyrics that promote violence, sexism, and misogyny than with any other content. How many disenfranchised black males would not surrender to expressing virulent forms of sexism, if they knew the rewards would be unprecedented material power and fame?

More than anything gangsta rap celebrates the world of the "material, " the dog-eat-dog world where you do what you gotta do to make it. In this world view killing is necessary for survival. Significantly, the logic here is a crude expression of the logic of white supremacist capitalist patriarchy. In his new book "Sexy Dressing, Etc." privileged white male law professor Duncan Kennedy gives what he calls "a set of general characterizations of U. S. culture" explaining that, "It is individual (cowboys), material (gangsters) and philistine." Using this general description of mainstream culture would lead us to place "gangsta rap" not on the margins of what this nation is about, but at the center. Rather than being viewed as a subversion or disruption of the norm we would need to see it as an embodiment of the norm.

That viewpoint was graphically highlighted in the film "Menace To Society" which dramatized not only young black males killing for sport, but also mass audiences voyeuristically watching and, in many cases, "enjoying" the kill. Significantly, at one point in the movie we see that the young black males have learned their "gangsta" values from watching television and movies--shows where white male gangsters are center stage. This scene undermines any notion of "essentialist" blackness that would have viewers believe the gangsterism these young black males embraced emerged from some unique black cultural experience.

When I interviewed rap artist Ice Cube for "Spin" magazine last year, he talked about the importance of respecting black women and communication across gender. He spoke against male violence against women, even as he lapsed into a justification for anti- woman rap lyrics by insisting on the madonna/whore split where some females "carry" themselves in a manner that determines how they will be treated. When this interview was published, it was cut to nothing. It was a mass media set-up. Folks (mostly white and male) had thought if the hardcore feminist talked with the hardened black man, sparks would fly; there would be a knock-down drag out spectacle. When Brother Cube and I talked to each other with respect about the political, spiritual, and emotional self- determination of black people, it did not make good copy. Clearly folks at the magazine did not get the darky show they were looking for.

After this conversation, and talking with rappers and folks who listen to rap, it became clear that while black male sexism is a serious problem in our communities and in black music, some of the more misogynist lyrics were there to stir up controversy and appeal to audiences. Nowhere is this more evident that in Snoop Doggy Dogg's record "Doggystyle". A black male music and cultural critic called me to ask if I had checked this image out; to share that for one of the first times in his music buying life he felt he was seeing an image so offensive in its sexism and misogyny that he did not want to take that image home. That image (complete with doghouse, beware the dog sign, with a naked black female head in a doghouse, naked butt sticking out) was reproduced, "uncritically," in the November 29, 1993 issue of "Time" magazine. The positive music review of this album, written by Christopher John Farley, is titled "Gangsta Rap, Doggystyle" makes no mention of sexism and misogyny, makes no reference to the cover. I wonder if a naked white female body had been inside the doghouse, presumably waiting to be fucked from behind, if "Time" would have reproduced an image of the cover along with their review. When I see the pornographic cartoon that graces the cover of "Doggystyle," I do not think simply about the sexism and misogyny of young black men, I think about the sexist and misogynist politics of the powerful white adult men and women (and folks of color) who helped produce and market this album.

In her book "Misogynies" Joan Smith shares her sense that while most folks are willing to acknowledge unfair treatment of women, discrimination on the basis of gender, they are usually reluctant to admit that hatred of women is encouraged because it helps maintain the structure of male dominance. Smith suggests: "Misogyny wears many guises, reveals itself in different forms which are dictated by class, wealth, education, race, religion and other factors, but its chief characteristic is its pervasiveness." This point reverberated in my mind when I saw Jane Campion's widely acclaimed film "The Piano" which I saw in the midst of mass media focus on sexism and misogyny in "gangsta rap." I had been told by many friends in the art world that this was "an incredible film, a truly compelling love story etc." Their responses were echoed by numerous positive reviews. No one speaking about this film mentions misogyny and sexism or white supremacist capitalist patriarchy.

The 19th century world of the white invasion of New Zealand is utterly romanticized in this film (complete with docile happy darkies--Maori natives--who appear to have not a care in the world). And when the film suggests they care about white colonizers digging up the graves of their dead ancestors, it is the sympathetic poor white male who comes to the rescue. Just as the conquest of natives and lands is glamorized in this film, so is the conquest of femininity, personified by white womanhood, by the pale speechless corpse-like Scotswoman, Ada, who journeys into this dark wilderness because her father has arranged for her to marry the white colonizer Stewart. Although mute, Ada expresses her artistic ability, the intensity of her vision and feelings through piano playing. This passion attracts Baines, the illiterate white settler who wears the facial tattoos of the Maori--an act of appropriation that makes him (like the traditional figure of Tarzan) appear both dangerous and romantic. He is Norman Mailer's "white negro," seducing Ada by promising to return the piano that Steward has exchanged with him for land. The film leads us to believe that Ada's passionate piano playing has been a substitution for repressed eroticism. When she learns to let herself go sexually, she ceases to need the piano. We watch the passionate climax of Baines seduction as she willingly seeks him sexually. And we watch her husband Stewart in the role of voyeur, standing with dog outside the cabin where they fuck, voyeuristically consuming their pleasure. Rather than being turned off by her love for Baines, it appears to excite Stewart's passion; he longs to possess her all the more. Unable to win her back from Baines, he expresses his rage, rooted in misogyny and sexism, by physically attacking her and chopping off her finger with an ax. This act of male violence takes place with Ada's daughter, Flora, as a witness. Though traumatized by the violence she witnesses, she is still about to follow the white male patriarch's orders and take the bloody finger to Baines, along with the message that each time he sees Ada she will suffer physical mutilation.

Violence against land, natives, and women in this film, unlike that of gangsta rap, is portrayed uncritically, as though it is "natural," the inevitable climax of conflicting passions. The outcome of this violence is positive. Ultimately, the film suggests Stewart's rage was only an expression of irrational sexual jealousy, that he comes to his senses and is able to see "reason." In keeping with male exchange of women, he gives Ada and Flora to Baines. They leave the wilderness. On the voyage home Ada demands that her piano be thrown overboard because it is "soiled," tainted with horrible memories. Surrendering it she lets go of her longing to display passion through artistic expression. A nuclear family now, Baines, Ada, and Flora resettle and live happily-ever-after. Suddenly, patriarchal order is restored. Ada becomes a modest wife, wearing a veil over her mouth so that no one will see her lips struggling to speak words. Flora has no memory of trauma and is a happy child turning somersaults. Baines is in charge, even making Ada a new finger.

"The Piano "seduces and excites audiences with its uncritical portrayal of sexism and misogyny. Reviewers and audiences alike seem to assume that Campion's gender, as well as her breaking of traditional boundaries that inhibit the advancement of women in film, indicate that her work expresses a feminist standpoint. And, indeed, she does employ feminist "tropes," even as her work betrays feminist visions of female actualization, celebrates and eroticizes male domination. In Smith's discussion of misogyny she emphasizes that woman-hating is not solely the province of men: "We are all exposed to the prevailing ideology of our culture, and some women learn early on that they can prosper by aping the misogyny of men; these are the women who win provisional favor by denigrating other women, by playing on male prejudices, and by acting the `man's woman'." Since this is not a documentary film that needs to remain faithful to the ethos of its historical setting, why is it that Campion does not resolve Ada's conflicts by providing us with an imaginary landscape where a woman can express passionate artistic commitment and find fulfillment in a passionate relationship? This would be no more far-fetched than her cinematic portrayal of Ada's miraculous transformation from muteness into speech. Ultimately, Campion's "The Piano" advances the sexist assumption that heterosexual women will give up artistic practice to find "true love." That "positive" surrender is encouraged by the "romantic" portrayal of sexism and misogyny.

While I do not think that young black male rappers have been rushing in droves to see "The Piano", there is a bond between those folks involved with high culture who celebrate and condone the sexist ideas and values upheld in this film and those who celebrate and condone "gangsta rap." Certainly Kennedy's description of the United States as a "cowboy, gangster, philistine" culture would also accurately describe the culture evoked in "The Piano". Popular movies that are seen by young black males, for example "Indecent Proposal, MadDog and Glory, True Romance", and "One False Move", all eroticize male domination expressed via the exchange of women, as well as the subjugation of other men, through brutal violence.

Contrary to a racist white imagination which assumes that most young black males, especially those who are poor, live in a self- created cultural vacuum, uninfluenced by mainstream, cultural values, it is the application of those values, largely learned through passive uncritical consumption of mass media, that is revealed in "gangsta rap." Brent Staples is willing to challenge the notion that "urban primitivism is romantic" when it suggests that black males become "real men" by displaying the will to do violence, yet he remains resolutely silent about that world of privileged white culture that has historically romanticized primitivism, and eroticized male violence. Contemporary films like "Reservoir Dogs" and "The Bad Lieutenant" celebrate urban primitivism and many less well done films ("Trespass, Rising Sun") create and/or exploit the cultural demand for depictions of hardcore blacks who are willing to kill for sport.

To take "gangsta rap" to task for its sexism and misogyny while critically accepting and perpetuating those expressions of that ideology which reflect bourgeois standards (no rawness, no vulgarity) is not to call for a transformation of the culture of patriarchy. Ironically, many black male ministers, themselves sexist and misogynist, are leading the attacks against gangsta rap. Like the mainstream world that supports white supremacist capitalist patriarchy, they are most concerned with calling attention to the vulgar obscene portrayals of women to advance the cause of censorship. For them, rethinking and challenging sexism, both in the dominant culture and in black life, is not the issue.

Mainstream white culture is not concerned about black male sexism and misogyny, particularly when it is unleashed against black women and children. It is concerned when young white consumers utilize black popular culture to disrupt bourgeois values. Whether it be the young white boy who expresses his rage at his mother by aping black male vernacular speech (a true story) or the masses of young white males (and middle class men of color) seeking to throw off the constraints of bourgeois bondage who actively assert in their domestic households via acts of aggression their rejection of the call to be "civilized. " These are the audiences who feel such a desperate need for gangsta rap. It is much easier to attack gangsta rap than to confront the culture that produces that need.

Gangsta rap is part of the anti-feminist backlash that is the rage right now. When young black males labor in the plantations of misogyny and sexism to produce gangsta rap, their right to speak this violence and be materially rewarded is extended to them by white supremacist capitalist patriarchy. Far from being an expression of their "manhood," it is an expression of their own subjugation and humiliation by more powerful, less visible forces of patriarchal gangsterism. They give voice to the brutal raw anger and rage against women that it is taboo for "civilized" adult men to speak. No wonder then that they have the task of tutoring the young, teaching them to eroticize and enjoy the brutal expressions of that rage (teaching them language and acts) before they learn to cloak it in middle-class decorum or Robert Bly style reclaimings of lost manhood. The tragedy for young black males is that they are so easily dunned by a vision of manhood that can only lead to their destruction.

Feminist critiques of the sexism and misogyny in gangsta rap, and in all aspects of popular culture, must continue to be bold and fierce. Black females must not be duped into supporting shit that hurts us under the guise of standing beside our men. If black men are betraying us through acts of male violence, we save ourselves and the race by resisting. Yet, our feminist critiques of black male sexism fail as meaningful political intervention if they seek to demonize black males, and do not recognize that our revolutionary work is to transform white supremacist capitalist patriarchy in the multiple areas of our lives where it is made manifest, whether in gangsta rap, the black church, or the Clinton administration.









Here is the analysis of The Piano:

Analysis of "The Piano," the movie


The Piano examines the construction of sexuality in nineteenth century colonial New Zealand within the discourses of power that shaped this era. Different discourses of gender and race and their interactions are presented in order to support a narrative critique of the European patriarchal ideology as dominant social structure.

In the opening sequence of the film, the viewer is immediately presented with an image of marriage as entirely contractual: "Today he married me to a man I've not yet met." The protagonist, although she has already been established as strong-willed and non-conforming, is accepting but not altogether optimistic about the arrangement. The viewer also learns that she already has a daughter, but the question of the child's legitimacy are left unanswered. These factors suggest potential conflict with the patriarchal authority of the husband over his spouse's sexuality and introduce the primary power discourse of the plot: that of the female protagonist's commodity status through the negation female autonomy by the patriarchal system.

European patriarchal values are embodied by Stuart's character, he symbolises repression, the narrowing of sexuality into an unemotional discourse of female passivity and male dominance. The film exposes the property mentality which resulted in the devastation of the natural landscape but also in the corruption of personal relationships - above all else, Stuart believes in his ownership of Ada. He demonstrates this by negating her own claim to property in the beginning of the film. Stuart does not hesitate in the trade of Ada's piano to Baines for a piece of land, and refuses to acknowledge her right to it, or understand her anger over this action. His sense of property also extends to her sexuality, he attempts to rape her twice to exert his ownership, to force her into submission, when his sense of control over her is threatened. Stuart is unable to appreciate a sexuality where he is not in the dominant role. After he learns of Ada's adultery and forbids her to continue the relationship, Ada attempts to initiate intimacy with him on her own terms: with her taking an active but gentle role, she does not wish for him to touch her. Stuart cannot handle a situation, especially a sexual one, that requires his passivity, he is disturbed by the idea and it makes him uncomfortable, although he was the one who initially expressed concern that she had not yet "become affectionate". His patriarchal view of sexuality is so limited that he cannot understand Ada's need to establish a level of intimacy she is comfortable with, before they can express mutual affection.

Another way in which power discourses of sexuality are challenged in the film is through the contrast of colonial with Maori cultural value systems. Nineteenth century European culture allowed for only heterosexuality between adults, within the institution of marriage. This is evident in Stuart's reaction to the sex play of Flora and the Maori children; they are embracing trees in a sexual manner while the Maori women watch on, unconcerned. Stuart, upon seeing Flora's behaviour, is shocked and offended. "I'm greatly shamed! You've shamed these trunks." He chastises her, and in the following scene he is shown supervising her as she whitewashes the trees. This shows how sexuality that is not controlled by the accepted power discourse of a marital relationship must be labeled as immoral and obscene. The film also makes the comparison of European female colonialist sexuality with that of the Maori women. The scene in which Baines is doing his washing in the river with a Maori family most powerfully illustrates the distinction: "You need a wife. Its no good having it sulk between you legs for the rest of its life." So Baines is informed by the Maori woman. Here, her wisdom is privileged - her culture accepts human sexuality and desires to be undeniable, rather than shameful. She speaks frankly with Baines about his sexuality, because it is not a taboo topic within the Maori culture. Baines also has sexual relations with Maori women he is not married to, which is not scandalous within their culture. The film appears to be presenting an alternative view of sexuality, one within which power discourses are not an accepted necessity, as they are within the parallel sexuality of the European colonialists. Clothing also plays an interesting role in the juxtapositions of the two cultures - the Maoris are not ashamed of nudity, their dress is practical for the environment, and the women dress comfortably. This contrasts with the dress of the colonialists; both sexes wear many layers of restraining clothing, but it is the European females whose dress is especially confining, with a tight corset and large, awkward hoop skirt, symbolising the cultural restrictions of femininity.

Baines' sexuality and his concept of it is much less culturally constructed than that of Stuart, since he himself has less of a patriarchal colonialist identity. He has the Maori facial tattoo, and speaks the language, he also maintains less of a power position over them than does Stuart. Baines has respect for equality, both across race and gender; the Maori women in his house are not subservient as they are in the other colonial households. Baines values female sexuality, he also recognises that women have a right to it - he does not use violence against Ada because he is not interested in enforcing his will over hers. He recognises the value that the piano has for Ada, which Stuart fails to do. Through Baines The Piano challenges the traditional power discourse of sexuality within marriage. The concept of sexual ownership is shown to be false, even though the nineteenth century patriarchy treated women themselves as property. Ada rejects sexual relations with her husband - her sexuality still belongs to her, and she enters into the sexual contract with Baines by choice. Ada is aware of her sexual power over Baines: she realises it when Baines leaves the church hall out of frustration and humiliation when she will not let him sit next to her. Also, the film does not portray her adultery as an act of immorality; it is sex without love that is critiqued in the film, explicitly by Baines. Implicitly, Baines' sexuality negates male domination. He talks to Ada like an adult equal, while Stuart treats her like a child.

Both Ada and Baines deviate from the traditional institution of European culture: they require love to have a sexual relationship, and love equates freedom from power discourses. This is strikingly juxtaposed with Stuart's concept of sexual relationships. Stuart seems completely ignorant that affection must be earned through trust, respect and love - none of which he shows towards Ada. Baines and Ada both undergo a turning point in their feelings towards each other. For Baines it is when he gives the piano back to her, because he cannot continue with their contract. "I want you to care for me." For Ada, it is after this act of kindness that she realises her attachment to him, their sexual involvement has become emotional also. Here a reversal of conventional emotional stereotypes is explored. Male emotional vulnerability as a result of sexual relations, rather than female, is privileged, and represented by Baines character: "...Does this mean something to you, Ada?... Do you love me?" In many ways this is a film which privileges respect and appreciation of female sexuality and is strongly opposed to its exploitation. This can be seen through the presentation of nudity in the film - male nudity is revealed more than female, and the portrayal of Ada's naked body is more discreet than the portrayal of Baines'. The film uses this technique to express the necessary privacy that should surround intimacy; the concept that sexuality must involve emotional interaction as well as physical is also conveyed.

In the film, the piano as an object takes on the symbolism of Ada's body, and her sexuality. It also is traded, and for both the trading of the piano by Stuart and Ada's arranged marriage by her father, the attachment of misplaced property value is privileged; the piano is no more Stuart's to trade than is Ada by the males who hold authority over her. Because the piano is her most powerful instrument of expression, the action by Stuart to trade is almost like his act of cutting off her finger - actions of cruelty, the castration of her autonomy. Stuart and Baines' handling of the piano both echo their concept of female sexuality. Baines is aware of the piano's value to Ada, his first act of compassion is to have it tuned. This demonstrates Baines' respect for it and for his respect of female sexuality in general. The piano gains conscious sexual significance for him as it comes to represent Ada's body. Early on, he is depicted polishing it in the nude, there is a ritual solemnity about this action that indicates he is serious about his attraction to Ada, that sexuality for him is not about power but about respect and adoration. The attempted rape scene of Ada byStuart in the forest is juxtaposed with images of the Maori men thumping and banging on the piano, conveying a message of physical disrespect and violence. Ada is saved only when Flora comes to find her in distress "They're touching your piano!" The film privileges the acts of violation occurring simultaneously as being connected, emphasising their symbolic similarity.

In the denoument, the piano ceases to symbolise Ada's sexuality - it represents more her misery, as the centre of her tragedy. Her new life in Nelson with Baines is portrayed as a rebirth of sexuality, the death of the piano and near death of Ada as the burial of sexual repression, the loveless power discourse between her and Stuart. Ada wears a black veil while learning to speak, and Baines kisses her through the veil and then lifts it to kiss her lips. The veil, being black rather than white, may symbolise the fact that Ada is not sexually 'pure' but as this is a traditional patriarchal value it is insignificant to both of them. The purity of their union is in their love for each other, the quality of sexual respect and equality that connects them. The scene conveys the concept that the sexuality Ada and Baines endorse is based love and acceptance over lust, but also on unrepressed emotion. The return in the final moments of the film to the image of Ada attached to the piano under the ocean and her contemplation of the silence that exists there serves to reinforce her independent identity - that her experiences are part of this and she will hold on to them, rather than transform herself to fit her new life. Although the film endorses the convention of the sought after union between lovers as bringing happiness, it does not present it as a mergingof identity - they have found a space within which they can express their sexuality freely, but it remains their own, for there is no triumphing of one discourse over another.

The Piano is a film which succeeds in its study of sexuality, and the destructive effect of institutionalised power discourses upon personal relationships. It emphasises the need for cultural acknowledgment of an individual autonomy, thus destroying the morality of the nineteenth century patriarchy which dictated sexual repression and ownership. Love as an integral element of sexual relations, with the definition of love conveying mutual respect as well as desire is presented as a major theme in the film, and sexual relations as a requirement of oppressive transactions such as arranged marriage are shown to be not only irrationally unjust but potentially tragic.






These are some of the ideas that I come up with, preferably if they seem reasonable, I would prefer them to be used in the essay:

They are exciting and uncritcally because rap serves the purpose of describing a world that many cannot relate to or want to confront. THe violent lyrics forces us to see what's going on in our country.

They aren't exciting and criticallly portrayed because people interpret the movie differently than what the director intends. The director might instend the audience to see the movie in a historical context but many audiences fail to grasp this idea. Rap sends a message for a change and glorifies life in a violent way.

The Piano and rap music oppress women

Director is trying to get a point across with the Sexism and Misogyny portrayed in the movie Piano.

Women are viewed as objects. The Piano symbolizes Ada's body.

Ada was treated like a child by Stewart but more like a women by Baines

When Ada demanded that the Piano be thrown overboard, one of her feet got stuck to the rope of the Piano. She manages to still escape. The shoe may symbolize Ada's finger.

This response paper is designed for you to demonstrate your active and critical reading skills as well as your ability to summarize, paraphrase, and synthesize contents. Summaries and paraphrases should be brief. While I do not expect you to grasp everything you read, this paper provide you the opportunity to tell viewers what you did understand about the reading s and most importantly, what connections, extensions, and applications of the material you can make beyond the text.
there are some rules you have to consider while writing this paper.
1) Your thesis statement MUST be very clear. For example, thesis statement could be what is interesting to you through out the story, what is authors point in the story and what are evidences or what is the most important argument you can create through out the story, etc...
2) Grammer is very important thing to what out! Please use (;) only when it separtes two independent sentences. Only put a comma with a conjuction. When you use three or more lists then uses commas even before last word and. Please void words like most people, some people, Jews, Catholics, Americans, etc.. Be very specific! At last, please limit using "I".
3) Writer MUST not forget to use quote whenever facts or data is inserted and make sure to site it.
4) Writer could say for example, "this particular poem i read reminded me of "whatever you read before", to wrap things up in conclusion.
5) Writer at least to do some research about an author (biography) and also it is good to know author's original audience. Those information will help writing this paper. And don't forget to use correct MLA!

Please do your best to follow above consideration. I'll be faxing a poem "True Love" by Wislawa Szmborska.
There are faxes for this order.

Please read all of the information below in order to understand the procedures for composing and submitting the assignment.
All written work must: ??1. Be spell-checked, grammar-checked, and proofread for errors not caught by computer check. ??2. Be typed and double-spaced. ??3. Cite references used according to MLA style, (unless otherwise indicated by instructor). Students are encouraged to use A Writer's Reference by Diana Hacker for help with MLA style, revision, punctuation and sentence style. (for more information about MLA style please contact the OWL or reference the following internet site: http://www.bedfordstmartins.com/online/cite5.html) ??4. Please note that although discussion responses should have proper grammar and spelling and be void of plagiarism, MLA formatting guidelines may not apply to these submissions. ??DUE DATE: The essay is due by midnight on 6/29/07 (earlier if possible). You should begin work on the essay now in order to have sufficient time to complete the assignment. ??FIRST ESSAY ASSIGNMENT: Consider the statue "Artemis and the Doe" (http://www.paro.ca/images/390px-Diane_de_Versailles_Leochares.jpg), and IN YOUR OWN WORDS compose an essay of 600 words analyzing the statue in terms of Plato's views on Beauty (Platos Views on Beauty); specifically, according to Plato's ideas, how might someone contemplating this statue be led to, in Plato's words, a "notion of absolute beauty" (Platos Views on Beauty)? You may incorporate Plato's Simile of the Divided Line (Plato) if you find it helpful in your analysis. ??INFORMATION ON THE STATUE: This work was a gift from Pope Paul IV to the French king Henri II, and one of the first ancient statues to arrive in France. The goddess - Diana to the Romans, Artemis to the Greeks - was Apollo's twin sister. The goddess of chastity, and a tireless hunter whose arrows could punish the misdeeds of men, she is depicted here accompanied by a deer. The statue is based on a fourth-century BC Greek bronze attributed to Leochares. (Louvre website, see below) ??You can find this image along with additional information at the following website: ??http://www.louvre.fr/llv/commun/home_flash.jsp ??INSTRUCTIONS: The essay should be composed in Microsoft Word and the length should be between 600 words (approximately two to three pages, using the font and spacing indicated below), excluding title, quotations, references, bibliography, etc. Most word processing systems have a feature that will count words for you. PLEASE DOUBLE-SPACE THE ESSAY AND USE A FONT SIZE OF 14. Be sure your word processing file has the extension .doc otherwise it might not open properly as an attachment. If you do not have Microsoft Word, please save the file in Rich Text Format (.rtf). ??If you refer to any course material, simply put the Module number and Session number in parenthesis after the citation. If you use any outside sources (websites, textbooks) then please provide proper references and add a bibliography of your sources. Be sure you know how to avoid plagiarism in your written work as it is a serious offence which receives an automatic F. If you are unsure how to avoid plagiarism.

resource materials

Plato
Two of the most famous and influential philosophers of all time were Socrates (470-399 BCE) and his student, Plato (429-347 BCE). Socrates never wrote down any of his ideas but after Socrates death, Plato composed a series of dialogues and a longer book called The Republic in which Socrates views on a variety of topics were presented. Plato went on to found the first university in Athens, called the Academy, where students could come to study mathematics, science, and philosophy. The third most famous and influential philosopher in history, Aristotle (384-322 BCE), was a student at Platos Academy. He stayed on to teach at the Academy for many years, and left after Platos death, at which time Aristotle was engaged by Philip of Macedonia to tutor his son, Alexander the Great.

Platos Simile of the Divided Line
In order to understand Platos views on art, we need to have a little background on his views on the nature of reality as a whole. In The Republic, Plato presents a diagram known as The Simile of the Divided Line (Divided Line, for short) in which he divides reality into two major categories, the Intelligible Realm and the Visible Realm. Each of these is then further subdivided. The Intelligible Realm contains ideas and concepts, known as the Forms. The Visible Realm contains all physical matter and material objects. If we draw a diagram of the Divided Line, it would look like this:
THE INTELLIGIBLE REALM (accessible through the mind)
1) Forms of the Good, Truth, and Beauty
2) Mathematical Forms, Scientific Forms (e.g., concept of triangle, or concept of mammal)
THE VISIBLE REALM (accessible through the five senses)
3) Nature, material objects, animals, humans, artifacts, etc. (e.g., a drawing of a triangle on a blackboard)
4) Shadow, reflections, images (e.g., the reflection of the blackboard triangle in a mirror)
According to Plato, level 1 is the highest level of reality, and both levels 1 and 2 contain Forms. These Forms are ideas or concepts which are definitive of everything in the Visible Realm. These Forms are eternal and unchanging, and can only be comprehended by the mind. Levels 3 and 4 are lower levels of reality. Level 3 contains all the items we are familiar with in nature as well as all material things produced by humans, and level 4 contains shadows, reflections, and images of the material objects in level 3. The items in Levels 3 and 4 are perceived through the five senses (vision, hearing, taste, touch, smell). These items are not eternal and unchanging, but come into and go out of existence, and so are impermanent, unlike the Forms. And level 4 is even more impermanent and changeable than level 3. According to Plato, levels 3 and 4 contain items that are imperfect imitations of the Forms. Only knowledge of the Forms (levels 1 and 2) can count as genuine knowledge. Thus, knowledge is conceptual (conceived by the mind), not perceptual (perceived by the senses). Platos view is based on the principle that entities which change less are more real. So the Forms, which are eternal, unchanging ideas, are ultimately more real than material items, and material items constitute impermanent, changing, and thus less real, instances of the Forms.
So, for example, consider a rose: insofar as it is a material object, the rose would be part of level 3. It can be experienced through the five senses. If you held the rose up to the sunlight, it would cast a shadow; the shadow would be part of level 4 since it is a reflection of the material rose. The material rose, however, has something in common with all other roses: the underlying Form that makes these all members of the same class (roses); this Form would be part of level 2, since it is not itself a material item but rather a concept or idea. It cannot be experienced through the senses, but only through the intellect or mind. It would be a scientific definition of roses in general, and each individual material rose would participate in that Form. Each individual material rose can be thought of as a less perfect imitation of the perfect, abstracted, non-material idea of rose. And finally, insofar as the material rose is beautiful, it also participates in one of the highest Forms, the Form of Beauty.
Another example: If you recall the Pythagorean Theorem, it would be part of level 2 since it is a mathematical concept that is applicable to and definitive of all right triangles. If I were to write the Theorum on a sheet of paper, the actual written Theorem would be a material item and would thus be part of level 3. If I were to hold a mirror up to the Theorum I had written out, the reflection in the mirror would be part of level 4. And since the Pythagorean Theorum is a true (rather than false) mathematical formula, it would also participate in one of the highest Forms, the Form of Truth.
Notice that the items in level 4 are the most changeable, even more so than items in level 3. An all the items in the Visible Realm are more changeable than the items in the Intelligible Realm. While mathematical and scientific formulas were also thought by Plato to be unchanging and eternal, he reserved a special status for the highest Forms of the Good, Truth, and Beauty, and so we place these in level 1 to reflect that special status.
Platos Divided Line may not fully capture all of the various dimensions of reality, and we will see how his ideas undergo further revisions with Aristotle; still, Platos Divided Line introduces some crucial distinctions that are instrumental in conceptualizing the nature of the universe and our experience of it. And the ideas represented by the Divided Line are especially relevant to aesthetics, both in Classical Greece and in the Renaissance.
Platos Concept of the Tripartite Soul

Another important Platonic idea is known as the Tripartite Soul. Plato thought that humans consist of three parts or functions: the rational part (which corresponds to the mind or soul), the spirited part, as he called it (which corresponds to the emotions), and the appetitive part (which corresponds to our basic primal desires such as eating, drinking, sex, etc.) Note that the spirited part is NOT "spiritual," but rather spirited in the sense of corresponding to emotions (as in saying that someone is in good spirits). And the only eternal part of the soul is the rational part, the mind. Remember that it is only with the mind that we comprehend the Forms, which are themselves eternal, unchanging, permanent. Insofar as our minds are in communion with the Forms, we are eternal, and Plato believed in the immortality of the soul (that is, the mind or rational part of the soul).
According to Plato, we each have these three parts, and each part is necessary to perform its own rightful function. However, there is a specific hierarchy: the rational part should control the spirited part, and both should work together to control the appetitive. That is to say that our appetites (for food, drink, sex, etc.) should not be over-indulged but rather should be controlled (or tempered) by reason. So, for example, I might have an appetitive desire to eat the whole 10 pound box of chocolates. However, if I am guided by reason, I will figure out that this might not be in my best interest overall (for several reasons: 1) too much sugar, 2) Ill gain weight, 3) I might become sick to my stomach, 4) I won't have any chocolates left over for next time, etc.). If my spirited (emotional) part is also guided by reason, then my emotions (such as courage, perseverance, respect/love for myself) can assist in helping me to restrain my impulse to eat the whole box.
Another example: Some emotions border on the appetitive or primal, perhaps the emotion of rage (being out of control with anger). So, if another driver cuts me off, my first reaction (on a bad day) might be to want to chase him down and confront him, even beat him up. Reason should temper that impulse by pointing out the potential danger of this course of action, as well as the fact that the other driver might not have intended any harm, might not have seen me, might have had an emergency which necessitated driving speedily, might have a gun, etc. Other of my emotions can then be guided by reason to set myself to overcome the more destructive emotions, impulses, and desires so as to make a more reasoned choice. Thus, I'm not at the mercy of various impulses and desires which can be directly or indirectly self-destructive and/or harmful to others as well.
This ability to channel, restrain, or control ones appetites and emotions by applying ones reasoning skills is the key to one of the most important virtues for the Greeks: the virtue of Temperance. The other three important virtues are Courage, Justice, and Wisdom, and together with Temperance, these constitute what are known as the Four Cardinal Virtues.
Platos theory of the tripartite soul also leads to an insightful explanation for the Four Cardinal Virtues. Wisdom belongs to the mind while Courage belongs to the spirited part. Temperance is, for Plato, like a contract between each part of the soul by which each part agrees to work together, and Justice is the virtue that each part of the soul specializes in doing what is natural for it. For instance, the mind thinks while the appetites hunger, and not the other way around.
Temperance implies a certain order, with the mind having priority and ruling over the emotions and appetites. Plato characterizes temperance as a sort of harmony. It is through temperance that the soul becomes more ordered, more rational, more like the eternal, unchanging, intelligible part of the soul: the mind. And thus the tempered soul becomes more beautiful as it becomes more ordered, as a result of being more rational.

Platos Views on Beauty

In the following excerpt from The Symposium, Plato presents Socrates views on beauty. Socrates is recounting to his friends portions of a conversation he had with his teacher, a woman known as Diotima. Diotima is the speaker as we pick up the dialogue at this point:
"[T]he mortal nature is seeking as far as is possible to be everlasting and immortal: and this is only to be attained by generation, because generation always leaves behind a new existence in the place of the old I am persuaded that all men do all things, and the better they are, the more they do them, in hope of the glorious fame of immortal virtue; for they desire the immortal."
"Those who are pregnant in the body only, betake themselves to women and beget children this is the character of their love; their offspring, as they hope, will preserve their memory and giving them the blessedness and immortality which they desire in the future. But souls which are pregnant for there certainly are men who are more creative in their souls than in their bodies conceive that which is proper for the soul to conceive or contain. And what are these conceptions? wisdom and virtue in general. And such creators are poets and all artists who are deserving of the name inventor. But the greatest and fairest sort of wisdom by far is that which is concerned with the ordering of states and families, and which is called temperance and justice. And he who in youth has the seed of these implanted in him and is himself inspired, when he comes to maturity desires to beget and generate. He wanders about seeking beauty that he may beget offspring for in deformity he will beget nothing and naturally embraces the beautiful rather than the deformed body; above all when he finds fair and noble and well-nurtured soul, he embraces the two in one person, and to such a one he is full of speech about virtue and the nature and pursuits of a good man; and he tries to educate him; and at the touch of the beautiful which is ever present to his memory, even when absent, he brings forth that which he had conceived long before, and in company with him tends that which he brings forth; and they are married by a far nearer tie and have a closer friendship than those who beget mortal children, for the children who are their common offspring are fairer and more immortal "
"These are the lesser mysteries of love, into which even you, Socrates, may enter; to the greater and more hidden ones which are the crown of these, and to which, if you pursue them in a right spirit, they will lead, I know not whether you will be able to attain. But I will do my utmost to inform you, and do you follow if you can. For he who would proceed aright in this matter should begin in youth to visit beautiful forms; and first, if he be guided by his instructor aright, to love one such form only out of that he should create fair thoughts; and soon he will of himself perceive that the beauty of one form is akin to the beauty of another; and then if beauty of form in general is his pursuit, how foolish would he be not to recognize that the beauty in every form is and the same! And when he perceives this he will abate his violent love of the one, which he will despise and deem a small thing, and will become a loverof all beautiful forms; in the next stage he will consider that the beauty of the mind is more honourable than the beauty of the outward form. So that if a virtuous soul have but a little comeliness, he will be content to love and tend him, and will search out and bring to the birth thoughts which may improve the young, until he is compelled to contemplate and see the beauty of institutions and laws, and to understand that the beauty of them all is of one family, and that personal beauty is a trifle; and after laws and institutions he will go on to the sciences, that he may see their beauty, being not like a servant in love with the beauty of one youth or man or institution, himself a slave mean and narrow-minded, but drawing towards and contemplating the vast sea of beauty, he will create many fair and noble thoughts and notions in boundless love of wisdom; until on that shore he grows and waxes strong, and at last the vision is revealed to him of a single science, which is the science of beauty everywhere. To this I will proceed; please to give me your very best attention:
"He who has been instructed thus far in the things of love, and who has learned to see the beautiful in due order and succession, when he comes toward the end will suddenly perceive a nature of wondrous beauty (and this, Socrates, is the final cause of all our former toils) a nature which in the first place is everlasting, not growing and decaying, or waxing and waning; secondly, not fair in one point of view and foul in another, or at one time or in one relation or at one place fair, at another time or in another relation or at another place foul, as if fair to some and foul to others, or in the likeness of a face or hands or any other part of the bodily frame, or in any form of speech or knowledge, or existing in any other being, as for example, in an animal, or in heaven or in earth, or in any other place; but beauty absolute, separate, simple, and everlasting, which without diminution and without increase, or any change, is imparted to the ever-growing and perishing beauties of all other things. He who from these ascending under the influence of true love begins to perceive that beauty is not far from the end. And the true order of going, or being led by another, to the things of love, is to begin from the beauties of earth and mount upwards for the sake of that other beauty, using these as steps only, and from one going on to two, and from two to all fair forms, and from fair forms to fair practices, and from fair practices to fair notions, until from fair notions arrives at the notion of absolute beauty, and at last knows what the essence of beauty is. This, my dear Socrates," said the stranger of Mantineia, "is that life above all others which man should live, in the contemplation of beauty absolute; a beauty which if you once beheld, you would see not to be after the measure of gold, and garments, and fair boys and youths, whose presence now entrances you; and you and many a one would be content to live seeing them only and conversing with them without meat or drink, if that were possible-you only want to look at them and to be with them. But what if man had eyes to see the true beauty the divine beauty, I mean, pure and dear and unalloyed, not clogged with the pollutions of mortality and all the colours and vanities of human life thither looking, and holding converse with the true beauty simple and divine? Remember how in that communion only, beholding beauty with the eye of the mind, he will be enabled to bring forth, not images of beauty, but realities (for he has hold not of an image but of a reality), and bringing forth and nourishing true virtue to become the friend of God and be immortal, if mortal man may. Would that be an ignoble life?"

In the above excerpt, Plato tells us how we can progress to a comprehension of the Form of Beauty by beginning with a physical attraction to one person. The basic impulse towards love and procreation is the result of a desire for immortality: humans desire to create in order to participate in the eternal. And so one finds oneself attracted to another individual, and in many cases this leads to the procreation of children, which is a way of achieving immortality. But for some, this initial attraction to another person leads them down a different path: the path of knowledge. This is accomplished when one recognizes that there are various manifestations of beauty, beginning with the beauty of another individual to whom one is attracted. One soon realizes, however, that there are other beautiful individuals, and so understands that beauty is a more general characteristic that can be shared by many individuals. Then one notices that there is such a thing as inner beauty as well as outer beauty; inner beauty is the beauty of a persons character or soul, and this is the step that takes us beyond the Visible Realm into the Intelligible Realm. One then begins to see that there is beauty in other kinds of entities such as political and social institutions (e.g., some ways of structuring society are more beautiful or appealing than others). And one realizes that there is beauty in certain mathematical and scientific formulas. Finally, if one continues along this path, one may come to comprehend the very Form of Beauty itself, which is not a material entity but a principle of harmony and order in which all the individual beautiful entities participate. The Form of Beauty is eternal, while the individual beautiful entities come and go. Thus, the Form of Beauty is ultimately seen with the minds eye, not the physical eye (as all the Forms are seen with the minds eye and not the physical eye).
While beauty is one of the highest Forms for Plato, we will see in the next module that he has some reservations about certain types of art that he thinks can be detrimental to both the individual and to society.



There are faxes for this order.

A storm comes up with a strong wind. The wind blows Finn's thesis out of the windows and doors of the house and through the air,scattering the papers everywhere.
As the women rush out and run around trying to pick up the flying papers, we see a symbolic coming together of their lives and their stories as well as the realization that life isn't perfect, but it's what you make of it.
We also see that people are attached to each other in a myriad of ways. We must forgive each other's temptations and frailties and we are made aware through a variety of examples, that true love between two people is far more than just physical sex.
Pick three of the characters and describe how this applies to each of them. Explain fully and give examples from the film to back up your thoughts.

I will send you a general idea of what I would like it to focus on. I need the paper in .doc format.

I have included one source in the pdf that I am sending, the other source that you can site is the movie on netflix, A Doll's House (1973)
A young bride reexamines her outwardly perfect life and marriage when her husband takes ill. She ends up forging her father's signature on a bank loan and becomes the victim of blackmail. This version of the play by Henrik Ibsen, despite its big-name English cast (Anthony Hopkins, Denholm Elliot),
Cast: Claire Bloom, Anthony Hopkins
Director: Patrick Garland
Genre: Classics

Here is something I wrote but it is not good enough:
This play gives you the impression that it was written by a Feminist. It is quiet shocking, and I can understand why this play created a scandal. At the time this play was written people were more conservative and a women striking out on her own was almost unheard of. I believe she had every good reason to leave Torval. Nora however had no legitimate reason to punish her children because of her husbands failings. Leaving a husband is one thing that must only be decided while you are not in the throes of the cloud of anger. She was on the verge of committing suicide. Which makes any decision more difficult and subject to emotion, not logic. When one is deciding to leave ones husband or wife logic must be involved. I personally would have been tempted to leave him too. But what must never be forgotten is that the children did nothing to deserve loosing their Mother. If after thinking long and hard about the situation rationally and then deciding that they would be best apart, then she should leave him not the children. I wholeheartedly believe this is what happens even today if a wife does not try to educate herself. This doesn't mean that I am against women being stay at home Moms, I am not, I only believe that a women should have some form of education because it helps her to develop her personality, and have control over many aspects of her life. Divorce is one thing, abandonment of children that are innocent is something quiet different. I was abandoned as a child from the age of 10 and I can tell you that it is extremely damaging. We are left to have a sliver of hope though in the end of the play, when Torval says Ah! The miracle of miracles?!" (Ibsen 1116).
Why did Torval loose his wife? I believe he lost her because he was more in love with appearances (how he looked to the outside world) than with his wife. This fact is obvious throughout the play, but blatantly obvious when he opens the letter. He was ever ready to throw his wife away over something that could have been solved with a bit of time and maybe giving the guy his job back. He even went to far as to forbid her from talking to her own children, saying I cannot trust you with them (Ibsen 1110).
I not only read the play, but I found it so intriguing that I watched the movie. In the movie he even hit her. It is on Netflix. Many people like the play because they hold the same viewpoint on marriage that Henrik Ibsen held. But I did not consider this play to be putting all marriage down, only marriage before education.
How wonderful it is to be truly loved with all your flaws, and not need to pretend to be what your beloved wants you to be. Nora says that she always held the same opinions that her father had and did not even know if they were his or hers, and she did the same thing when she married Torval. She doesn't know who she is and what she stands for, because she has always pretended to be what they (her father and Torval) wanted her to be (Ibsen 1112). The greatest gift in life is not wealth or power or even knowledge, the greatest gift in life is true love. It is so sad that so few people find it. Because when you have found it you realize that there is no greater gift.

I also wrote this and thought it may be helpful for getting the idea that I am trying to convey:
First Torval was a fool and petty and in love with appearances, how he looked to the outside world more than he loved his wife. This fact is obvious throughout the play, but blatantly obvious in when he opens the letter.

but that is not his biggest fault. His biggest fault lies in the fact that he was ever ready to throw his wife away over something that could have been solved with a bit of time and maybe giving the guy his job back. I not only read the play, but I found it so interesting that I watched the movie. In the movie he even hit her.

What is true love: loving someone enough that nothing can come between you. I know what my husband would have done, he would have had a few dramatic words with him and he would have done the same thing that was eventually done. But no-one would have had to sell their soul to this guy.

How wonderful it is to be loved with all your flaws, and not need to pretend to be what your beloved wants you to be. She says that she always held the same opinions that her father had and did not even know if they were his or hers, and she did the same thing when she married Torval. She doesn't know who she is and what she stands for, because she has always pretended to be what they wanted her to be.
There are faxes for this order.

This Journal entry is basically about answering certain questions on certain authors work in literature.

Q) Choose a text and based on what you read, are there questions we can come up with that would ask an audience to revise and resee that particular text? why? (Also, write questions that you feel need to be asked in order to understand this text differently)

Reading for above question will be "True Love" by Wislawa Szymborska. I'll be sending you this text and writer could read this text and basically answer above simple question.
Trust me, there is no right or wrong answer so feel free to write whatever you believed and thought.
There are faxes for this order.

Choose one of the topic:

1. What role do Theseus and Hippolyta play in A Midsummer Nights Dream? What is the significance of the fact that they are absent from the plays main action?

2. Discuss how Shakespeare portrays the nature of love in the play.

3. How does the exposition in Act I, Scene 1 seem to support Lysanders statement that, The course of true love never did run smooth?


Please use simple words. Thank you

how a 50 year old woman express herself in terms of comparing herself to a building after raising 4 children and 23 years of unhappy marriage decide that is time to look for true love,travel and get an education

The document needed is a personal response essay of no more than two pages. Choosing the film I like, Cinema Paradiso(1989), and write about an aspect of it (a scene, one or two shots, the music, etc.) Talk about your personal response to it and how it works in relation to the whole. No term papers, please.
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Providing a brief summary of the movie: A famous film director returns home to a Sicilian village for the first time after almost 30 years. He reminisces about his childhood at the Cinema Paradiso where Alfredo, the projectionist, first brought about his love of films. He is also reminded of his lost teenage love, Elena, who he had to leave before he left for Rome. A man receives news from his aging mother in a little town that someone he once knew has passed away. A beautiful story unfolds about the man's childhood friendship with an old man who was the projectionist at the local theater. Their bond was one that contained many highlights and tragedies, and shaped the way for a young boy to grow and move out of his rundown village to pursue a dream.
Somethings from the many that I love about this movie is the music and the touching story. I belive it is an amazing self-discovery plot, where a young boy who is born without any resources or education finds the movies as his escapegoat, as the way to disconnect himself from the reality of leaving without his father in a small italian village. He later finds love, only to be neglected because of his social standing vs. her social needs and her parents (being the school director of the village, the girl's father). After many years, accidents, tragic moments and life occurences, he leaves the village, promising Alfredo, the old man, that he would not return to the village and that he would make a life for himself, he would make his dreams come true. He leaves, and becomes a famous Italian Film Director. He later finds out Alfredo has died, returns to the village, only to find a recompilation all put together in a reel of the kissing and intimate moments of every old film Alfredo had shown in the cinema when he was a small boy, (where usually taken out by the catholic priest, who wanted the movies to be shown without the intimacy/sexual moments) and that Alfredo had promised the boy that he could have them,but the boy never took them with him. The reel was all the special moments, one after the other. There the movie ends.
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Special quotes: Alfredo: [after informed about the arrival of the new non-combustible film] Progress always comes late. (becuase of a fire in the cinema, using combustible film, Alfredo became blind. He was saved by Salvatore).
Alfredo: Living here day by day, you think it's the center of the world. You believe nothing will ever change. Then you leave: a year, two years. When you come back, everything's changed. The thread's broken. What you came to find isn't there. What was yours is gone. You have to go away for a long time... many years... before you can come back and find your people. The land where you were born. But now, no. It's not possible. Right now you're blinder than I am.
Salvatore: Who said that? Gary Cooper? James Stewart? Henry Fonda? Eh?
Alfredo: No, Toto(aka.Salvatore). Nobody said it. This time it's all me. Life isn't like in the movies. Life... is much harder.
This quote is when Alfredo is telling Salvatore that he should leave the village, and not come back from now to many years to come, no matter what.
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It reaches within me to places other movies have never reached and I have often wondered why. Perhaps it is because of it's simplicity. It contains no expensive special effects, it has no gratuitous sex or violence, it has no "multi-millon dollar per performance" actors that I know of, it is arguable whether it even has a story line, and yet it soars far above the nonsense that film makers are producing these days. It's characters are portrayed by each and every actor in award winning style and the music is not only beautiful but absolutely perfect for this film.

It is quite simply the story of a human life and it's tragedies and triumphs within the context of a vocation. A young boy matures and gradually learns the lessons of life, cultivates his passion for the cinema, and is rewarded with professional success; however, he remains unfulfilled for true love has escaped him only to return in the form of a gift of love which transcends time, space, and death to reveal at the closing of the film Toto's one true mistress.

A staggering triumph of both the cinematic art and of story telling.
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Some detailed review of the movie:
If you love movies, it's impossible not to appreciate Cinema Paradiso, Giuseppe Tornatore's heartwarming, nostalgic look at one man's love affair with film, and the story of a very special friendship. Affecting (but not cloying) and sentimental (but not sappy), Cinema Paradiso is the kind of motion picture that can brighten up a gloomy day and bring a smile to the lips of the most taciturn individual. Light and romantic, this fantasy is tinged with just enough realism to make us believe in its magic, even as we are enraptured by its spell.

Most of Cinema Paradiso is told through flashbacks. As the film opens, we meet Salvatore (Jacques Perrin), a famous director, who has just received the news that an old friend has died. Before departing for his home village of Giancaldo the next morning to attend the funeral, he reminisces about his childhood and adolescence, thinking back to places and people he hasn't seen for decades.

As a fatherless child, Salvatore (Salvatore Cascio) loved the movies. He would abscond with the milk money to buy admission to a matinee showing at the local theater, a small place called the Cinema Paradiso. Raised on an eclectic fare that included offerings from such diverse sources as Akira Kurosawa, Jean Renoir, John Wayne, and Charlie Chaplin, Salvatore grew to appreciate all kinds of film. The Paradiso became his home, and the movies, his parents. Eventually, he developed a friendship with the projectionist, Alfredo (Philippe Noiret), a lively middle-aged man who offered advice on life, romance, and how to run a movie theater. Salvatore worked as Alfredo's unpaid apprentice until the day the Paradiso burned down. When a new cinema was erected on the same site, an adolescent Salvatore (Marco Leonardi) became the projectionist. But Alfredo, now blind because of injuries sustained in the fire, remained in the background, filling the role of confidante and mentor to the boy he loved like a son.

Cinema Paradiso's first half, with Salvatore Cascio playing the young protagonist, is the superior portion. The boy's experiences in the theater, watching movies and listening to Alfredo's stories, form a kind of journey of discovery. As Salvatore cultivates his love of movies, those in the audience are prodded to recall the personal meaning of film. It's an evocative and powerful experience that will touch lovers of motion pictures more deeply than it will casual movie-goers.

Once Salvatore has grown into his teens, Cinema Paradiso shifts from being a nostalgic celebration of movies to a traditional coming-of-age drama, complete with romantic disappointment and elation. Salvatore falls for a girl named Elena (Agnese Nano), but his deeply-felt passion isn't reciprocated. So he agonizes over the situation, seeks out Alfredo's advice, then makes a bold decision: he will stand outside of Elena's window every night until she relents. In the end, love wins out, but Salvatore's joy is eventually replaced by sadness as Elena vanishes forever from his life.

The Screen Kiss is important to Cinema Paradiso. Early in the film, the local priest previews each movie before it is available for public consumption, using the power of his office to demand that all scenes of kissing be edited out. By the time the new Paradiso opens, however, things have changed. The priest no longer goes to the movies and kisses aren't censored. Much later, following the funeral near the end of Cinema Paradiso, Salvatore receives his bequest from Alfredo: a film reel containing all of the kisses removed from the movies shown at the Paradiso over the years. It's perhaps the greatest montage of motion picture kisses ever assembled, and, as Salvatore watches it, tears come to his eyes. The deluge of concentrated ardor acts as a forceful reminder of the simple-yet-profound passion that has been absent from his life since he lost touch with his one true love, Elena. It's a profoundly moving moment -- one of many that Cinema Paradiso offers.

Is Cinema Paradiso manipulative? Manifestly so, but Tornatore displays such skill in the way he excites our emotions that we don't care. This film is sometimes funny, sometimes joyful, and sometimes poignant, but it's always warm, wonderful, and satisfying. Cinema Paradiso affects us on many levels, but its strongest connection is with our memories. We relate to Salvatore's story not just because he's a likable character, but because we relive our own childhood movie experiences through him. Who doesn't remember the first time they sat in a theater, eagerly awaiting the lights to dim? There has always been a certain magic associated with the simple act of projecting a movie on a screen. Tornatore taps into this mystique, and that, more than anything else, is why Cinema Paradiso is a great motion picture.

Thoughts about the "Director's Cut": When Cinema Paradiso was released in the late 1980s, the version seen by Italian movie-goers was much different than the cut shown to North American viewers. 51 minutes were sliced and diced from the U.S. release. The truncated edition is still a stunning, masterful production, but it leaves the audience with a nagging question: What really happened to Elena? The answer is provided in a 35-minute sequence that never made it into the 1988 American release, but which has now been restored.

Of the 51 "new" minutes of footage, most comes near the end, although several relatively inconsequential scenes have been re-inserted into the main story (one of which shows Salvatore losing his virginity). In the shorter version, Alfredo's funeral functions as an epilogue. In the director's cut, it's a full third act that gives closure to Salvatore and Elena's story and provides us with a more complete picture of Salvatore's mentor. Rather than slowing down Cinema Paradiso's pace, this footage enhances the film's poignance and power, elevating it to a loftier level than the rarified one attained by the first cut. And, viewed after this new material, the Screen Kiss montage is even more touching and transcendant.

For lovers of Cinema Paradiso, widely regarded as one of the best foreign language films ever to grace American screens, this restored version is unquestionably a "must see". The magic and poetry of the original remain, but the added scenes fashion a different, more complete cinematic experience. For those who have never seen Tornatore's masterpiece, this is an excellent opportunity to view it for the first time.
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Some background autobiography of me:

It stays stuck in my mind, the raw smell engulfing the land, the plodding thunder of their feet hitting the ground, the shutterspeed freezing towards a traffic jam of elephants. It?s one of many ? a mountain of fireants towering over the people, frighteningly slight below, fireworks dashing through the nights? sky, sprent with stars, at the San Redentore festival, the peculiar strength and symbol of China?s Great Wall. They fill my body full, a mountain of memories connecting me to my world, and my soul to my hands; they are what keep the camera pressed fast to my eye.
We traveled the world keeping up with my dad, a photographer, and, as a family, earned the great privilege by proxy of wide-world exploration; my parents, however, kept me firm in my appreciation of it. Nothing ever glossed over, there was never too much ? there was only me, still a little girl, tugging on my father?s sleeve, begging for his camera. I found inside of it a symbiosis of distance and exposure that let me see something new; though the lens, a whole world of adventure. The exotic smells, brightly colored vistas, and epic peculiarities of the greater world I saw through the lens were different than those I found at home on our small island of Puerto Rico, more different still than the home I later discovered in New York.
As a family, we trekked the vast beauty of the earth, from continent to continent, seas, mountain ranges, and deserts in between. Atop elephants, horses, camels, boat; looking down from an airplane, up from slow train, I found a world in which each moment, cultural site, and person along the way that world, big, powerful engine that it is, exists in precarious harmony with the other. From the Caribbean and North America I was able to see Mexico, Cuba, Spain, Italy, Greece, England, Holland, France, Germany, Australia, New Zealand, the islands of the South Pacific, and Japan. A mirage of faces and insular little worlds, I was able to connect them all in my memory, a collection of the still photographs I cultivated and kept, locked away inside my mind.
There were also physical photographs, the ones I proudly showed my friends, traced with my fingers upon our returns, puzzled out the greater world. Outside of my front door was something vastly different than the one inside it; my parents filled our home with classical music, knowledge, and exposure; we soaked it up like sponges. Somehow, though, the two worlds melded together and the experiences, one, tied me not only to my home island, but left a bit of me everywhere I went, while I captured pieces of the world to keep, too.
At five years, still a little girl, while my friends sat on their bedroom floors playing with their favorite dolls, I curled up next to my father on the orange nylon of an airplane seat, pleading with him to show me his camera and how it worked, picking the threads apart with my fingers in rampant anticipation. We were going to Italy! Italy was the world of dreams, to me, it was where princes and princesses danced until the wee hours of the night, where the Pope ruled with kingly presence, where the most fashionable dined along the shores of Wharton?s Como. Italy was the place of dreams.
I remember landing and, the routine now too engrained to be a nuisance, fetching our luggage and going through the turmoil of getting settled into a new trip. With suitcases, luggage, camera bags, and young children trailing them, my parents set off into the Italian countryside to show us this land of which I had dreamed. We started in Venice, where the splashing water of the gondola wet my thirst for the land, the language soared in and out of my head with the heat of painters and musicians. I fell in love with it, looking up to Italy from the awe-filled eyes of a child barely tall enough to see over the counter where I enjoyed the many flavored gelatti with the glee only a child can muster.
We fell in and out of other countries as I grew older; I found a world under water in Australia as we dove the great depths of the sea. In Bora Bora, I snorkled the barrier, rife with magic, eyes peeled for sting rays, jelly fish, turtles, and coral so dazzling I could never forget it; I wanted to take a piece of all of it ? the salty sting of the water, the velvety touch of the rays ? home with me, to keep it forever. My sense of adventure and longing to preserve this world I met failed to cease; my big brother took me shark feeding and I realized that this world I knew was more alive than anything one could ever imagine unless they, too, were able to experience it.
When my fifteenth birthday came around, and my friends began preparing for their own parties in celebrative commemoration of this rite of passage, I begged my parents to take me to Africa. A big, grand trip, not associated with work, just so I could see it ? it was, in my head, the biggest present for which I could ask. I wanted to see more of the world. To my delight and surprise, they relented, and very soon after, I was sitting in front of my tent, camera in hand, taping the warthogs as they roamed the night?s land, running familiar songs through my head I knew I would pare with the footage the minute we stepped back through the front door at home.
Soon our front doors changed, and we left our little island of Puerto Rico for another, Manhattan. I hated the city at first; I miss my home, my family, the heat, the familiar. My parents were undeterred, immersing themselves in the jobs that brought us here, exploring every inch of New York with the same determination they made Italy understandable to a young child. At school, I enrolled in a photography class, the most sacred thing in my life, and one of the few things that did not change in our great move. New York was so fast and hectic, still a shock to my system; but under the careful tutelage of my teachers, guiding calm of my parents, and the beat for adventure that spurred my heart forward, I found New York to be something entirely different than the place that first scared me ? hectic turned out to be just another way to describe a place that was really just a kingdom of infinite moments, mine for the taking. Here, amongst the Whitneys, Vanderbilts, and Trumps, I knew I was rich.
My school, trenchant in determination to give us New York, offered a New York City Literature course that I clamored to take. The final project was for most the steady recomposition of English essays that have graced teachers? desks for years; but the course had showed me New York, and my camera traced it; I found the stories of New York existed for me not on the paper, but instead, behind the lens. I submitted a final video, a clumsy first, splicing clips, my own interview explaining the death of John Lennon, shots of the Dakota, and mingled them with the developmental history of Central Park. As I stayed awake well past my bedtime night after night, desperate to finish the project and show my classmates the city I discovered, I found my passion. My teacher, a true pedagogue, observed my complete inspiration and, granting me not only an A but an earned excuse from the final exam, encouraged me to pursue my dream.
I decided to go catch it. I splurged on a Macintosh, filling with Final Cut Pro and Avid Cinema. I read the program manuals cover to cover, soaking up everything I could, enrolled in photography and film courses at Georgetown College Prep, and took the Nikon Workshop Course. I documented everything ? graduations, celebrations, trips, the sidewalk bordering our apartment. Attending University in Puerto Rico, I changed schools to try and get closer to the arts, remembering the Italy I discovered as a little girl and wanting to feel its language on my own tongue. I participated in a Summer Exchange Program and lived in Urbino for two months, discovering Roma, San Marino, Rimini, Perguai, Napoli, Portofino, Venezia for the first time on my own, and always with my camera.
I am now trilingual, with an ever-expanding veraciousness for the world, and a camera inextricably connected to my eyes through which I not only see but also share it. Now at American Inter Continental Unversity, I am nearing the completion of pursuit for my BFA, after which I intend to seek a strong, vocational training in the art that has characterized my life. I am continuously spurred on, not only through outward recognition like that of Shutterbug Magazine, which carried not only my photographs but also my story, but through my passion for the world I have come to know and want to preserve. I also went on to get certified by Apple as a Final Cut Pro Professional End-User. Mohammad said that the true wealth of the person is measured not only in dreams but action, which I supported publishing an environmental column in the newspaper El Vocero. The column dealt with the importance of coral preservation and education, an issue critical to the survival of a tropical island, and something I knew I could share not only through words but also through image.
My dreams get bigger by the day, as does my determination to see them through. I have come to understand, even in my early years, the important balance that exists between man and earth; if one understands the need for environmental protection, it is a matter of responsibility to share that knowledge. While I set in motion the banner I know I must carry for the preservation of the environment, I also spur others on to hold and remember the causes close to their heart, with my own start-up digital scrapbook company, Voyager Productions. Maybe one day I will work for National Geographic, or start my own company that harkens to my cause, but in the meantime I know that, ?if you do your work with your whole heart, you will succeed, there is so little competition.? - Elbert Hubbard.
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The personal response has to be very detailed about the mere part of the movie I love, the music and the story(plot itself). How the whole connection about the love for movies, italy and the feeling for self-discovery made me live the movie as I watched it.
Anymore information please don't hesitate to contact me, recommend to view the movie to understand review(story).

Consider the selections we have read from Plato, De Rougemont, Bataille, and Siegel. Then, write a 3 to 5 page essay answering the following question: What is ?religious eroticism,? and how is it based on or independent of human sexuality? In other words, by this point you have read several points of view that argue for a mystical dimension to eroticism. Now, however, it is time for you to take a stand on to what extent this type of eroticism has anything to do with sex as humans generally experience it. Are the erotic ideals put forward in these texts possible in a human context? How much of these ideal are ?literary? as oppose to ?actual? experiences? For this paper, you must use Plato, though you don?t have to use him as a ?focus text?; in addition you must use two of the other three writers.

It is not required to answer all

(1) Consider Diotima?s advice to Socrates on how to be an ideal lover. How does the erotic ideal she depicts intersect with actual human possibilities for living?
(2) Consider Alcibiades? point of view at the end of the Symposium? Do you think he is right in his critique of ?Platonic love?? Does his position depend on another type of ideal?
(3) Consider De Rougemont?s idea that modern marriage is doomed to consist in frustration because it confuses the erotic and agapic impulses. Do you agree? Either way, you should explore the extent to which his idea of mystical eroticism, in your opinion, can be experienced in this world.
(4) Consider Bataille?s idea of the connection between eroticism and death. Do you think Bataille is being equivocal in his use of the term ?death?? Either way, do you think what he means by ?death? is something that can be sustained in human experience?
(5) Consider Siegel?s characterization of the Krishna tradition as being based on an idealized (literary) view of passion? How does this tradition try to work this type of ideal passion into the devotional life of its adherents? How can this type of passion be sustained in ordinary human life?











My notes

PLATOS IDEAS

*Plato?s Symposium;
- Agathon- limits of pleasure
- Eryximachus- we should think of love as a God
- Phaedrus- love is actually a God; love is what actually structure our life; love is the
Structure of society, is so strong that it could guide us in life.
- Pausanias- thinking of love as a God can be difficult, misleading.
* Eyximachus was a doctor that treated people, to see if their body was in Harmony.
* Love can be thought as Harmony.
* Anstophanes: passion
- The root of passion is suffering.
- Love always involves a desire of what is lacking.
* Zeus split us into half; we are looking for our other half.
* Love is a lack and we are looking for our other half.
* We are looking for wholeness.
* Ideal lover is a person that has a proper education.
* Socrates- Love must be love of something, something that we do not have.
* Love is the recognition of not being fully developed.
* Human-------love------God. Love is a Daemon (something in between).
* What love lacks is beauty. What love lacks is Good
* Love involves a lack, (not necessary beauty or Good).
* Lovers want to grow, to get what they want; they are inspired to be a better person.
* Diotima- Socrates got hook up with her when he was young.
* Socrates asked her: Aren?t we just looking for our other half?s? She said; no, we are looking for survival, is not about wholeness.
* Love has to be pure desire
* Love has to be a Black whole; it can?t be beautiful or ugly.
* Love is nothing in it of it self, love is purely a lack.
* If you get what u want, the whole meaning of love ends.
* Platonic Love
* Ideal Love
(1) Ideal lover begins with the Body- the body is a symbol of particularity, you have to fall in love with a person. True love begins with the love of human body, but also with the love of single body. According to Diotima when you fall in love with a body you realize that they are beautiful.
(2) Beauty of a body is akin to the beauty of another body.
(3) Looking for a beauty that is general in form
* We are looking for goodness; train yourself to not be attained to that person.
* Plato is saying that you need to be able to see love beyond a particular beauty.


DENIS DE ROUGEMONT IDEAS

*Freud approach- mysticism is purely sexual impulse (drive)
* Passion- the lover is always suffering being away from the beloved.
*Triston Myth ? the story of a lover?he is the lover of Iseult. She is already marry (illicit love). There is no solution, they can?t be happy together, but they can?t get out of love because they are in love. They don?t have sex because they have integrity. They are Heroes, they are afraid that what they have is going to be polluted. They decided to become monks; living alone and thinking of God. But they are not thinking of God, they are thinking of each other.
*Cathors?against marriage- it will make u think about a lot of stuff. Not let u concentrate in God.
--- Everything in this world is a trick, u have to wait for the next world.
? Two types of Love: Eros and Agape
? Eros love is unattainable (physical), it is associated with passion, and it is union.
? Agape love is attainable, it is associated with marriage, and it is communion.
? Passion and marriage has nothing to do with each other.
? Tow people are together to help each other in life.
? Agape love is love of communion.
? Erotic means total union.
? When you are not with your mate, you have to see them as your husband/wife.
? Agape love means honoring a commitment in this world.
? In Eros love you are happy when you are thinking of the ideal love.
? Lovers are always alone; because he is hiding form some women.
? Eros is not physical
? Happiness is somewhat controllable.
? We want to have romantic relationship because we want experiences of love.
? Having sex is not what is erotic.
? Mysticism is not a sexual thing, sex derives from mysticism.


BATAILLE IDEAS
? Sex = Death
? Le petitmart?orgasm- Climax- coming- loss of self
? Climax a point where there is nothing left to persuade.
? Continuity( Eros) and Discontinuity (individuality)
? Continuity is the basic impulse for sex.
? We don?t want too much continuity we don?t want to lose ourselves
? Love is a solution after creating another problem.
? Transcendence
? What we feel is trying to get us to have kids.
? Why do we search for erotic pleasures that have nothing to do with procreation.
? Fascination- having an experience where we don?t have to do all the work
? Nakedness- is anti erotic- what is erotic is what we don?t see.
? Mystical eroticism is different form worldly eroticism.
? Eroticism in this world functions out of boredom.

LEE SIEGEL IDEAS
* Krishna- religious tradition based on the cultivation of emotions to the Gods.
* Immortality is equated to a never-ending desire to the Gods.
* Tristant and Iseult went t o separate forest to do penance.
* Tristant and Iseult did not love one another
* Eroticism and asceticism are connected.
* The Desire is not the goal; it is the fulfillment of it.
* Eroticism is a desire for more desire.
* Sex is something that you miss?that will increase desire, desire for more.
* Separation goes on and on.
* Separation from your lover is what makes passion.
* Folk-Ballads
* Maya is attach to sexuality
* Sexuality as an illusion (impermanent).
* Connection with sexuality and impermanent is a problem, it gives u the illusion that you can get what u want.
* Passion: Hope and Fear

First Undergraduate Essay, Shakespeare Class, Summer 2010

?Submit your essay both in hard copy and in .doc, .docx, or .rtf format via SafeAssign on our Blackboard Website.


I. Your Assignment
Below are the prompts for your full-length essay, which should be 1-2 double-spaced, typed pages in a normal-sized font (10-12-point) with one-inch margins. Do not give me a title page; just put your name, the date, my name, and the class in at the upper right corner of the first page, with your title centered just below that. Please number and staple your pages.

Choose one of the following prompts and write an original essay. The phrase original essay means that your essay as a whole should center upon an argument that comes out of your own head and that each of your paragraphs should also center upon an original sub-argument to develop your central argument. Your arguments should not come from my lectures or from anything else youve read or heard. You will of course use some ideas and background information from class and from other sources outside your own head, but these unoriginal ideas and information should be merely stepping stones to whatever argument youre making at the moment--and of course, as Section V below explains in detail, you must scrupulously cite any phrase that contains ideas that did not originate with you.

You need not refer to the entire play, but if you concentrate on one passage, character, or theme, keep in mind the function of the passage, character, or theme in the context of what you believe the entire work is trying to accomplish.

Prompt A: what is MND suggesting about the acting profession?

Prompt B: what is MND suggesting about humankinds relationship to animals?

Prompt C: what is MND suggesting about Europes relationship to the New World?

Prompt D: what is MND suggesting about humanism?

Prompt E: what is MND suggesting about service?"that is, about serving someone else (which most Elizabethans did)?


II. The Job of the Literary Critic

At every step of the way, ask yourself (silently; you neednt write the question down) how the text that you are analyzing constructs its meaning. That is, how does it use its materials to create a certain effect? How does it make us feel happy or sad or ambivalent, for example? Look always at specific words, phrases, and patterns in the work. Imagine that your readers are always asking you to convince them of whatever youve just said by showing them where its happening in the work. You can do this without having quotations at every third word in the sentence if you also develop each of your arguments. Remember that short quotations of less than a sentence long are often more effective than long, indented ones (especially in an essay under ten pages). Use quotations to support your argument rather than to summarize the plot.

Remember that the author may or may not be asking us to agree with what a particular character says about an issue. Look for evidence as to whether the author wants us to trust or admire that particular character.

Your job as a literary critic is to discover something about what the author is suggesting without saying outright. This is not a mysterious or elite task; in fact, we humans do it almost every day in other contexts: think about your job as a supporter of your closest friends. Imagine that your friend Helvetica is clearly distressed about something but wont talk to you about it directly. She is so distressed that it worries you. Your job is not to spin a fantasy about what Helvetica might conceivably be thinking; instead, your job is to pay attention to her facial expressions, conversation about other matters, personal history, milieu, etcetera, to look for clues about what the disturbance might be, in order to be able to help her. Thats pretty much what your job as a literary critic is: to look at the text and its surroundings in order to figure out something about what it is saying on a particular subject that it doesnt spell out. The main difference is that in addition to inadvertently not spelling out many ways in which they interact with their social environments, authors also often purposely avoid spelling out everything?"not (if the author is any good) in order to obfuscate meaning but in order to convey some meanings better. For example, an author can represent the emotional magic of a kiss far better by writing broken, confused dialogue after the kiss than by having the characters sit down and analyze the kiss. In addition, authors know that much of the pleasure?"and yes, much of the intellectual profit?"of reading a work of literature or watching a play lies in our doing some of the work of interpretation rather than being told everything outright.

Undergraduates often get confused about their literary task when they address social topics. Ill use sci-ence as an example of a social topic. A literary essay does not benefit from the authors explanation that women in Shakespeares plays are nurturers because womens brains are wired to be nurturing (whether or not we now know that to be the case?"and Ive purposely chosen an example that is currently under much scientific debate). With reference to social issues, your job as a literary critic is to look at what the text is saying about that social issue, not to use the text in order to try to persuade your reader to believe something about the social issue directly.

From my lectures and from the assigned readings, you will learn some useful bits of information about what scientific beliefs Elizabethans held. For example, most Elizabethans believed that womens uteruses wandered around their bodies, that womens humors were cold and moist, that womens bodies were leaky, that God had ordained that women be nurturers, and that social order was maintained by the differ-ences between the sexes. In a literary essay about the subject of nurturing in one or more plays, you could adduce some or all of this material, and that would be fine.

Yet that alone would not constitute a literary essay. After showing what many people in the Renaissance believed about these issues (with citations to your sources), you would need to delve into the question of how Shakespeare apparently internalized, or commented upon, some of these beliefs in his own particular way, different enough from the norm to be interesting. To convince your readers that this is true, you would need to give evidence from the texts.

If you find that Shakespeare simply reflects his social norm in some way without commenting on it or internalizing it in an interesting way, then you need to pick a different social topic. Its fine to mention along the way that like other people of his day, Shakespeare did not know that blood circulated, that he thought Europeans were superior to other peoples, or that he imagined most of his characters wearing Re-naissance clothing, but none of these observations are useful as arguments in a literary essay, because they are simply saying, This author reflects his society. Ho hum. As an analogy, imagine that a twenty-first-century scientist tried to publish an article in which his or her argument was that watermel-ons, like everything else on earth, obey the laws of gravity. No journal would accept that article for pub-lication, because no one would learn from it or be remotely interested in it. It would be very different, of course, if the scientist had discovered through experimentation that watermelons do not obey the laws of gravity?"or, to put this analogy more nearly in the realm of possibility?"that matter near black holes be-yond the Milky Way responds to what evidence suggests is a slightly altered set of gravitational laws. Similarly, a literary critic writing in the twenty-first century would have something interesting to say if he or she had found a novel published in 2008 that sets itself up as a realistic novel but consistently uses the word gravity as a metaphor for light-heartedness rather than for weighty thoughts.

There are, by the way legitimate, useful, and interesting ways in which to incorporate modern ideas of neurology into literary essays on Renaissance plays. One of these would be to argue, with evidence from the text, that startlingly enough, Shakespeare frequently uses phrases indicating that he believes women and men are born with brains (not merely thoughts) that determine their gendered characteristics. That would be startling because although people in the Renaissance considered men and women as having na-turally different sorts of thoughts, they didnt understand that thoughts were a function of permanent structures in the makeup of the brain.


III. Your Central Argument

Remember that a good thesis statement doesnt say the things that occurred to you the moment you read the literary works for the first time. Concentrate on some aspect of the work that at first confuses you, worries you, or makes you uncomfortable. Try to figure out what the author is doing and why.

If you feel the urge to write a thesis statement that incorporates a list of sub-arguments (e.g., In this play, Shakespeare is doing A, B, and C), remember that it must also give an umbrella argument, not just an umbrella topic, that joins these sub-arguments--and that the umbrella argument must be at least as interesting as your sub-arguments rather than itself being something obvious or too general to be thought-provoking. So, for example, the umbrella argument that Shakespeare was interested in many types of love would be pretty lame.

Eschew arguments that such-and-such in the literary work is realistic or unrealistic. Realism isnt what most authors in the history of world literature have been after, nor is it what most listeners and readers have wanted. Think of music videos; realism isnt what theyre after, either, so its not fair to judge them on that basis. And yet music videos deal with emotions, politics, and situations that are very real in our lives.

Avoid the term true love altogether, because just about any type of love is considered true love by somebody. Instead, just define what sort of love youre talking about. Then use evidence from the texts to convince your readers that the definition youve given is implied by Shakespeares works rather than simply by your twenty-first-century assumptions.

Do not write about fate. Its extremely difficult to write a scholarly essay about fate without ending up resorting to clichs.

You may well end up with a ho-hum paper if your central argument is that such-and-such a literary device helps the author to emphasize points, keep us interested, stress the characters emotions, dig more deeply into the obvious, or make us remember the work later. The problem is that many, if not most, literary devices serve these purposes. You need to figure out what this particular author is doing in this particular work with the particular literary device that youve decided to discuss.


IV. Consider Your Opposition

Especially toward the first of your essay, consider your opposition. That is, consider how you, yourself, can argue intelligently against your central argument and how your mind first persuaded itself to espouse that central argument despite the logical, intelligent opposing arguments. Often this means youll need to revise your argument to take complexity into account?"not by wavering back and forth but by figuring out what pattern can account for some of the complexity that you see when you think up counter-arguments. Think of your opposition as coming from your consideration of various alternatives rather than as coming from outside yourself. Certainly do not make up fictional groups of critics who have argued XYZ.

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V. READ THIS SECTION on Research, Documentation, and Plagiarism CAREFULLY.

I strongly recommend against your using outside sources for this paper, given that its more difficult to come up with your own original argument if youve read one or two persuasive articles (as opposed to ten or twenty persuasive articles, after which you begin synthesizing, choosing, questioning, adding). But if you have already taken a course?"or acted in a play?"during the course of which you have encountered one of the texts about which you are writing, it may be difficult to avoid bringing in some information youve already gotten from outside sources. In any case, you will probably want to bring in some of the information that you have learned from lectures and readings in this class. If you do use any source outside your own brain--whether it be a standard reference such as a book, article, or internet page or whether it be a less standard source such as a previous class, a conversation with someone, the editors footnotes in an edition of another authors work, or even something that you yourself have formally or informally published, e.g. by having it posted on the web--you must include a bibliography at the end and full citations throughout your essay. Full citations means that in addition to the bibliography, you must provide a MLA-formatted parenthetical citation for each and every sentence in your essay that contains even one tiny idea borrowed from someone else, whether or not you borrow the other authors actual words. Ideas are valuable academic property and must not be silently represented as your own when they belong to someone else. (You need not put a full citation after every quotation from Shakespeare; simply put a footnote or endnote after your first citation, saying that all Shakespearean quotations in your essay will be from the Norton edition edited by Stephen Greenblatt. Include a bibliographical entry for the anthology. Then every subsequent time you quote from one of the plays, simply give a parenthetical citation with the standard abbreviation for the play--which is in your syllabus--and the act, scene, and line numbers.)

Learn correct MLA style for bibliographies, for notes, and for parenthetical citations. Your bibliography should not be formatted like endnotes. This seems arbitrary and silly when youre an undergraduate, but later, as you deal with very long bibliographies and pages of endnotes for one article, youll see the wisdom of the system. It allows quick searches when the reader wants certain information.

Responsible scholarship also requires that you use words and punctuation marks in the body of your text to let your reader know which words youre quoting and where youre merely summarizing. Indicate summarized ideas with phrases such as Lou Reed argues that . . ., Reed further demonstrates that . . ., or As Reed persuasively writes . . ., and so on. If quoting, you must also provide a page number or, in the case of poetry or drama, a line number, after every quotation at the end of the sentence in which it appears. You may use either the MLA or Chicago style of documentation.

You must always make sure that you use the outside sources only as springboards for your own argument; neither your central argument nor your major argument for each paragraph can be anywhere near the same as arguments in the outside sources.

Online sources can be tricky, since impressive-looking websites can be full of errors. Evaluate any sites you use: ask yourself whether each site seems carefully documented or whether it makes extreme statements without proof. Find out what organization sponsors the site; obviously, a site maintained by, say, the New York Times or the Shakespeare Association of America will be more reliable than one maintained by Newsweek, by a narrowly politicized group (either conservative or liberal) or by any individual person. If you use any online sources for this class, you are responsible for including them in your bibliography and citations and for including a note after each such bibliography entry ?' explaining to me what evidence you have that this is a reliable, scholarly website.

According to university policy, failing to observe the above guidelines--that is, representing someone elses ideas or phrases as ones own without documentng them both in the text and in a bibliography or notes--should result at the very least in failing the essay or class, but possibly in expulsion from the university. You will fail this course if you cheat, so please dont put yourself through this. You care too much about your education.

Avoid phrases such as I think or it seems to me. Everything in your essay is presumed yours unless you specifically indicate otherwise, so such phrases sound wimpy, as though you dont believe that little ol you could say anything worthwhile. You can, however, use the first-person pronoun in other sorts of phrases, as for example, Although Baylor writes that Sir Gawain is an idealist, I would argue that. . . . Here, you need to distinguish your ideas from Baylors in the same sentence.


VI. Your Title
Make it interesting. Make it consistent with the tone and argument of your paper, though the title itself should be a topic rather than an argument. Dont underline or italicize it. When a title is actually physically on the work that its titling, its not italicized, underlined, or quoted, though its first, last, and major words are capitalized.

There are faxes for this order.

There are two stages to my Research paper process in the first stage (which I already did) I needed to give a personal response to the poem, I needed to explain what it means as it relates to me, What the poem evoked on me, and what does it remind me of in my life. All that stuff, down below I gave you a copy of that piece of work that I wrote already. I am allowed to use the same thesis statement (which is at the end of the first paragraph) if after reading all the criticism and stuff is the same as the first paper I did already. I can basically use the way I felt about the poem in what I did already I can use to compare the poems in the second stage. Its just that my thoughts and facts might change after reading all the criticisms.

And the second stage of the paper is the following. This papers needs to be 3 pages long and have eight sources. The sources may be direct quotations or paraphrasing and it must connect to your thesis statement. I need to discus the similarities by explicating each poem thoroughly. Use literary criticism and sources that instruct how to analyze a poem for source material. There are two parts one where you have to compare and the other, which involves the history of it. The type of comparison is comparing this poem to another by the same poet. Research the historical background of the era in which the poem was written. Discuss how the historical political and/or social events of the day affected the subject and style of the piece. The most important part is the there is an amazing introduction with a thesis statement at the end of the first paragraph and that it is repeated in different words in the conclusion.


_____________________________________________________________

First Stage of My paper:

Poetry may be one of the most common vehicles for emotional expression, especially the expression of romantic love. From Milton to Shakespeare, poets have woven words that capture their audiences as well as the object of their affection. Often the verses that talented poets pen linger for years, even centuries, as love is a universal experience. Love poems also appeal to all readers, especially if their language is straightforward and accessible. Without resorting to complicated diction or convoluted metaphors, George Gordon, Lord Byron, communicates his affection and admiration for his female lover in ?She Walks in Beauty.? Moreover, ?She Walks in Beauty? affects me personally because it reminds me of romantic ideals; like love itself, the poem is at once simple and evocative.




Lord Byron does not use unnecessary symbolism to describe his love. Instead, he extends metaphors to color the nature of his emotions. The first line of the poem sets the mood for the entire piece: ?She walks in beauty, like the night? evokes the soft, gentle, subdued nature of his affection that persists throughout the three-stanza poem. The first stanza is my personal favorite, as it encompasses a myriad of contrasts: ?all that?s best if dark and bright.? Byron describes the subtle yet powerful beauty of the woman by contrasting her ?tender light? to the ?gaudy day.? Besides being a lovely and strong image, this extended metaphor reminds me of the nature of aesthetic beauty. Physical attractiveness is not only the glossy, flashy kind evident in the mass media. Rather, the most attractive individuals possess a ?mellow?d,? ?Tender light / Which heaven to gaudy day denies.? Often, I cannot put a finger on why I find a person attractive, because it has more to do with that kind of subtle beauty. Sometimes people who have perfect features are not as appealing to me; they are like the ?gaudy day.? Thus, through his well-chosen words, Lord Byron perfectly reflects the uncluttered nature of true love.
We all crave the kind of love and romance that Lord Byron describes in ?She Walks in Beauty.? This poem reminds me of the times I have experienced genuine affection; not the fleeting nature of crushes or the obsessive qualities of some relationships. Instead, Byron writes about a ?soft?calm, yet eloquent? love. This is the kind of love I value, even if the initial effects of infatuations are more intoxicating. Byron paints a picture of his lover as being serene and sweet; she is not depicted as being aloof or at all arrogant. There is no power play game with Byron and the subject of the poem. This is true love, the kind of love that is pure, honest, and good. Both Byron and his lover have ?a heart whose love is innocent.? This final line of the poem sums up the quality of love that Byron describes and the kind of love that I would like to experience throughout my life. It is both requited and genuine.
I appreciate Lord Byron?s lines because they differ from the depictions of romance in most Hollywood movies. Some romantic comedies tend to be saccharine or artificial; the characters are shallow and predictable and the actors have perfect features. ?She Walks in Beauty? is sweet without being cloying. Because I am tired of the impossible ideals that the mass media establishes for romantic relationships, this poem appeals to me for its balance of romance and realism. The woman?s mind is ?at peace with all below,? implying that although Byron puts her on a pedestal, she is not an inaccessible statue.
Likewise, Byron?s poem is accessible to his readers. Byron is able to describe his love as both mysterious and palpable. In my own life, I have experienced this paradox: love is totally real and yet it is irrational. I love reading and re-reading this poem because its imagery is uncomplicated yet powerful. There is a ?nameless grace? to both the woman and to the poem, and this reminds me of the irresistible, ineffable, mystical nature of romance.

This is the poem:

She walks in Beauty
By George Gordon Byron, Lord Byron.

She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that''s best of dark and bright
Meet in her aspect and her eyes:
Thus mellow''d to that tender light
Which heaven to gaudy day denies.

One shade the more, one ray the less,
Had half impair''d the nameless grace
Which waves in every raven tress,
Or softly lightens o''er her face;
Where thoughts serenely sweet express
How pure, how dear their dwelling-place.
And on that cheek, and o''er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!

In a focused analytical essay of about 5-6 double-spaced pages, discuss one of the following topics. state your thesis in your introductory paragraph and support your important claims with textual evidence (including carefully selected quotations). The quality of your thesis will e an important criterion in my assessment of your essay: be sure that it makes a claim that does indeed need the work of your essay to demonstrate (a thesis that is vague or obviously true from the outset is not a strong one).
You may use secondary sources of criticism, but avoid the mistake of substituting a critic's ideas for your own thinking. Any secondary sources you use must be acknowledged according to MLA or chicago style conventions.
Use the following as a starting point for fashioning your own coherent discussion. Feel free to add or omit questions as you see fit, but be sure to indicate your inquiry questions in the text of your discussion (I won't be consulting this list of topics when I read your essay. I'll be expecting for you to explain clearly the analytical work your essay is doing.)

How does Laucelot Gobbo's relationship with and treatment of his father (see act two scene two lines 33-112) reflect other child-parent relationships in The Merchant of Venice? Consider (although you do not necessarily have to write on all of the following): Jessica and Shylock, Portia and her father, and even Antonio as a possible father-figure to Bassanio. How do children treat their parents in the play, and what does such treatment tell us about the world of the play?

Just ideas of what I came up with....
I was going to write about the children and parents option two for the
essay. I started looking at each pair compared to Gobbo and his
father. Then I picked up on the respect pattern and how each parental
figure respects and takes after their child, but they don't
necessarily receive the same back from the kids in most cases. At the
same time this lack of respect back could be contributed to the
generation gap and changing times. Also that the children don't
directly respect their parents, they still understand their reasoning
for such events, but don't see eye to eye in achieving such events.
As just one example Portia's father passing and leaving the caskets to
help her find true love shows that he is caring to her. Portia
understands she wants to fall in love, but her father is essentially
telling her she must do it this way.
Perhaps included in this could be the communication barriers that are
put in place between parents and children and the value towards
different ideals. Also, that even after many years of Shakespeare
writing this, much of these same patterns are still occurring today.

And then incorporating the Frye piece into it as another source....
To help give your discussion a sharper focus or stronger base you might
consider using Northrup Frye's article, "The Argument of Comedy" (on
e-reserve). Typically in comedy, Frye argues, the older generation
oversteps its authority and causes problems for the younger generation.
By a play's end, the parent finally gives way to the son or daughter,
thus allowing for the next generation to thrive and for life to go on.
(If you haven't already, read Frye's article for the specifics of this
argument.) How well does Frye's argument seem to fit the parent-child
relationships in The Merchant of Venice? I think much of what you want
to discuss could be approached by way of considering the typical
patterns of comedy.

There are no minimum number of quotes. Just as many as needed to support the thesis.

The Merchant of Venice, ed. A. R. Braunmuller (New York: Penguin, 2000)

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This assignment is for Pheelyks

It is important that you please reference both the readings and the film in response to the following assignment:

READING

Riverside:

Twentieth-Century Shakespeare Criticism, pp. 44-54;

Introduction to A Midsummer Night's Dream, pp 251-255;

A Midsummer Night's Dream, pp.256-283.

Cambridge Companion:

"Gender and Sexuality in Shakespeare" (129-146)

FILM

A Midsummer Night's Dream (Director: Michael Hoffman, with Kevin Kline, Michelle Pfeiffer, Calista Flockhart , 1999).

WEB SITES

MSND: Analysis
http://www.theatrehistory.com/british/midsummer001.html

Notes
http://www.classicnote.com/ClassicNotes/Titles/midsummernight/

Continuing the discussion began in 1 and 2, comment on the use of frames, that is, plays within plays, as ways Shakespeare developed to create an additional level of commentary and dramatic theme.

Again and again, Shakespeare's plays, both tragedies and comedies, begin with a conflict between a father, demanding filial rights, and his daughter, demanding freedom and individuality. In many ways, many of Shakespeare's views on women are modernand he is different from other writers of his time on this subject. The goal of this unit is to understand the sort of relationship that existed between fathers and daughters during the English renaissance, place Shakespeare's attitudes on the relationship within the era, and note how he differed from his own age and is considered modern in this respect. Some feminist critics view A Midsummer Night's Dream as a male-chauvinist play, one that exchanges one male domination for another, the husband replacing the father. Either interpretation depends on how the play is read, interpreted and performed. What do you believe Shakespeare is advocating in this play?

There are three independent stories in A Midsummer Night's Dream, all related. What are they and how to they interrelate? What three levels of reality are presented in the play by each of these stories? How does Shakespeare use the father-daughter relationship as a dramatic catalyst in this play and how does that relationship compare to the relationship between Kate and her father in The Taming of the Shrew?

In Peter Quince's troupe of players, what is the role of Bottom? What is the function of his name transparency, his metamorphosis, and this role as the character who connects all of the stories within the play? Is Shakespeare's language and comedy too coarse, too vulgar in some of the scenes in which Bottom appears? Discuss the varieties or levels of humor that Shakespeare uses in A Midsummer Night's Dream.

What is the role of Puck? Who is Puck in terms of English Folklore? Why does he make the comment, Oh, what fools these mortals be, when he views humans in love? Why does another character say The course of true love never did run smooth and who is that character and why is he the one to make that remark? Do you agree with either of these statements? How do they compare to the expanding list of definitions of love by Shakespeare that we began to compile in Unit 1, when we studied the sonnets, and in Unit 2?

In the film version of A Midsummer Night's Dream that we viewed, do you think that Kevin Kline brings more than comic appreciation to the character of Bottom? That is, do you think that he arouses empathy in the audience? Does Shakespeare use metamorphosis or shape-shifting well in this comedyremember that today we usually reserve this device for horror films (werewolves, vampires, and so on)? How would you evaluate the performances of the major characters in the play according to your reading of the next? Would you have made any major changes in interpretation in the play? Do you think the role of Puck was trivialized? Did the performance match the character you had in your mind when you read the play? Why is Puck considered one of Shakespeare's greatest characters and does the interpretation in the film meet these high expectations?

LENGTH: 1000-1200 words. Minimum of five full paragraphs of five sentences each.
Write an interpretation/evaluation essay about one of the following, and use the methods the criteria arguing cause and arguing evaluations and define the terms if necessary. You may even need to do some outside research as well to support your argument. Your argument will be based on aesthetics but may also be ethical.

This paper will be available to peer review.
Be aware that I may not have seen the topic you are writing about, so be very specific in all of your details in order to be persuasive.

1.a film you have seen more than once. This is because you will need to refer to detail that you probably won't get with one viewing

2.a novel you have read

3.a play you attended

4.a concert you attended

5.a comparison of a book to the movie based on it if you are familiar with both

6.If you have studied art, you might want to evaluate a work of art, such as a painting.

**** All play, movie, work of art, and movie titles are to be in italics, NOT quotes.


WARNING: You cannot merely tell the story of the film, play, or book. That would be a synopsis or summary of the work. This is not a "book report" to prove you read the book or saw the movie. You must pick three different aspects of the work to criticize and devote one paragraph to each of these. For example, if you write about a movie, here are some aspects to discuss: casting--were the actors believable in their roles?, acting--was it powerfully acted; were there any weak links?, direction, music, editing, score, costumes and make up, cinematography/effects, and writing. Please refer to these websites for film terms and film information, as you should know the names of the cast and crew.


http://www.filmsite.org/filmterms5.html
http://www.imdb.com

If it is a book, what is the pacing? Is it slow to get started, or does it grab you right away? Is it "visual" in that you can imagine what everything looks like, or are the descriptions rather flat? Is the dialog believable or stilted?


NOTE ON ALL PAPERS: Don't EVER spend more than one paragraph in any essay telling the plot, as that is NOT evaluation; it is narration. I want each topic sentence to give an evaluation (critique) of a certain aspect of the work you choose to evaluate.

LENGTH: 1000-1200 words. Minimum of five full paragraphs of five sentences each.


Practice


Examples of Evaluation Papers


EXAMPLES OF A RECOMMENDATION ESSAY

Saving Private Ryan: Duane Donnally


There have been hundreds of movies made about war since cellulose was first wound into a movie camera over one hundred years ago. Photojournalists have captured battle scene footage as early as the Spanish-American War (1898-1901) using the miracles of motion picture. Though moving pictures had been used forty years earlier, scenes of battle previous to World War II were primarily captured using still photography. World War II saw the first mass scale documentation of any war. World War II came to huge numbers of Americans via newsreels that were shown in local movie houses. These newsreels were nothing more than propaganda aimed at selling war bonds and keeping Americans motivated to fight the great oppressors of Germany and Japan. The coverage of the Gulf War in 1991 was a media blitz and provided unparalleled moving visuals compared to any other war but failed to reveal the emotion of war. Additionally, movies depicting war have been sensational, and many have been reasonably factual in regards to what happened during battles. The large disparity over the past hundred years of newsreels, documentaries, and movies has been the inability to effectively capture the essence of war. Though many movie producers have tried, Steven Spielberg was the first to successfully capture and deliver the view of war through the eyes of the soldier in his movie Saving Private Ryan.



Movies have too often glorified war. There is absolutely nothing glamorous about fighting wars as any military historian or veteran will attest. War involves lives - lives that are changed forever and prematurely as a result of war. Movies over the years have served to glorify the event of war, and producers have not been without their motives. In an effort to rally American resolve and patriotism during times of war, movies were produced depicting the good guys and the bad guys. For example, heroes like John Wayne presented images in wartime movies that all red-blooded American boys wanted to imitate. These movies served the purpose of getting America involved in the war and did that well. In contrast, many movies in recent years have attempted to accurately portray wars but have been ineffective. Memphis Belle, a movie about a B-17 bomber and its crew in World War II, was historically a quality movie, but it still glorified flying and fighting. It was only partially successful in showing the human side of fighting and dying in war. Saving Private Ryan did anything but glorify war. Spielberg's depiction of the D-Day invasion on the beaches of France was brutal and realistic. His combination of visual effects and sound were extremely objective and dynamic. The viewers of this scene have their senses attacked, outraged, and mercilessly overwhelmed during the Utah Beach landing. There is nothing glorious about watching a soldier lying in the surf holding his own intestines or watching a teenage soldier screaming in terror trying to hide from machine gun fire behind a six inch wide piece of steel. Only the most absent of emotion could view this scene from Saving Private Ryan and feel any glory in war.



Moreover, Saving Private Ryan allows the viewer to experience the fear and pain of war through the eyes of the soldier. As the Higgins Boats (landing craft) approach the beach, the atmosphere is that of impending doom. The effects of the scene appear to be nearly black and white, yet the movie is filmed in color. The affect serves to capture the gloom and fear that is hanging in the air as the soldiers anxiously approach their unknown fate on the beach. Their faces are pale and drawn and show fear unlike any scene from any war movie before. Some of the soldiers are seasick and get physically ill. Other soldiers pray continuously. Those that aren't shot or drowned exiting the Higgins Boats find themselves stepping straight into the hell of machine gun fire and mortars. Actor Tom Hanks delivers the amazing and very believable character of Lieutenant Miller. Spielberg does a masterful job using gut wrenching images and sound to drive home the atmosphere the soldiers and more in particular, Lieutenant Miller, were subjected to. Lieutenant Miller is obviously overwhelmed with fear and disbelief during the first minutes of the landing, so much so, that he falls deaf and has trouble understanding his surroundings. The viewer can not help but feel the agony and fear that Miller and the other men on Utah Beach are experiencing.



In addition, Steven Spielberg identifies the frailties and misconceptions people have about war. As noted author and historian Steve E. Ambrose pointed out during an interview regarding Saving Private Ryan, the men that fought World War II did not want to be there. They wanted to be home playing baseball or raising their families. The movie constantly points out the frailty of the soldiers. This can be seen in the soldiers' uncontrollable anger as they slaughter German soldiers trying to surrender. Some soldiers, including Hank's character, break down and cry during stressful points in the battle. Men reflect on their lives back home before the war and dream of the time when they return. In fact, little conversation occurs without some reference to "back home." When General Marshall finds out about that three of the four Ryan brothers fighting the war have been killed, he is able to recite from memory a letter that Abraham Lincoln wrote to a mother during the Civil War regarding the loss of all of her sons. Marshall's character was deeply moved by the situation and demanded the return of the surviving Ryan to his mother. All of the soldiers had a deep attachment to their fellow soldiers, but survival always rose above emotion as the soldiers visibly hardened after each encounter. In the end, the mission always took precedence because they had a job to do.



All of the very real characteristics of a man's personality are displayed in the movie ? heroism, cowardice, fear, sorrow, reflection, leadership, and much more. All of these emotions and ideas shared the same stage. Steven Spielberg was able to achieve in Saving Private Ryan where other producers have too often failed. He was able to draw the viewer into the movie and to experience the event. Author and historian Steve E. Ambrose stated that there has never been a more realistic account of war than was portrayed in Saving Private Ryan. From the landing on Utah Beach at the beginning of the movie until the defiant defense of the bridge at the end of the movie, the viewer is taken on a journey unlike any other - a journey of emotion.



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Douglas Duckson: 1984 **all novels should be italicized


In 1948, George Orwell, the author of Animal Farm, wrote the immortal work, 1984. The novel documents a turning point in the life of a man of the future, Winston Smith, who questions, subverts, and then is crushed by the totalitarian dictatorship of a fictitious future. The book was written at the start of the Cold War, when governments and people in western civilization were most afraid of the Red Threat, the rise of Communism, but after the thwarting of the Fascist and militaristic regimes of Germany and Japan. Readers of the period felt that Orwell was warning of a possible future, should the likes of Joseph Stalin and Soviet communism be allowed to expand. The fact is that Orwell was not warning as much as he was prophesizing in 1984 events that are commonplace in the world and particularly America, today.



Winston Smith's world of 1984 is divided into three countries: Oceania, Eastasia, and Eurasia. Smith lives in Airstrip One, formerly London, England, which is in Oceania. Oceania is comprised of what were Great Britain, North America, and Australia. Eastasia is Asia and Asia Minor. Eurasia is the European Continent. Oceania is constantly at war with one or the other of the other countries, with major battles being fought in Africa. An analogy can be inferred with alliances and trade agreements of today. North America is the largest trading partner of Great Britain, as it has been for over two hundred years. Further, North America is being drawn ever closer as one unit through the provisions of the North American Free Trade Agreement and the efforts many persons on both sides of the Mexico/United States borders to extend open borders as is between Canada and the US. Clearly, the cultures and the countries along with them are becoming more enmeshed. Likewise, we see the European Economic Community becoming the European Union with its shared currency, economy, and defense force. The EU is projecting further growth with the "westernization" of eastern European countries that clamber to become member nations. China, of course, is the largest country in the world with one-third of its population. It controls the governments of Tibet, Mongolia, and Hong Kong, and does not quibble in its desire to absorb or conquer neighboring regions such as Taiwan, Vietnam, or Korea. As its economy grows and its military might becomes larger, China will grow even larger in its influence and control of the Asian continent. All indicators of socio-economic development show that Orwell's vision of three major political powers in the world is going to be correct.



The government of Oceania keeps reign on its subjects through the efforts of the Thought Police. They are the enforcement arm of the government that monitors the actions of the people in their homes and in public through an apparatus called a "telescreen." The telescreen is not unlike a television in that it is used to broadcast news, training films, and propaganda from government sources. It is also, however, a live-feed audio/visual transmitter that is used by the thought police to identify "unorthodox" behavior. The people are constantly reminded through posters and other media that the leader of Oceania, "Big Brother is watching you." Today, so-called independent news media is used extensively by government to spread propaganda to garner public support for ideological positions that are not supported by fact and logic. The Clinton Administration and prominent members of the Democratic National Committee presented a very real example of this when arguments were broadcast to the masses alleging that the election of Republican leadership would starve children and retirees. The allegation was supported by a claim that Republicans would cut school lunch program grants and not fund Social Security increases. Another example of this is the selective airing of smart-bomb strikes and target locator video from strike aircraft during the Iraqi War in 1991. Such images convinced the viewer that "surgical strike capability" was a reality when, in fact, fewer that fifty percent of munitions dropped by Coalition Forces were on target. "Big Brother" in the form of government surveillance is a reality in today's world. Satellites in geo-synchronous orbit can read license plates on vehicles parked in front of a house. Cameras, installed and monitored by police, are overlooking public walkways in Miami and Great Britain, comparing digital images of pedestrians' faces with those of known criminal offenders. Narcotics officers in municipal police departments throughout California and other states are placing radio transponders under person's automobiles which allow the police to monitor and track their movements in real-time on laptop computer maps. All of this intrusion is available to the government without a warrant or other court order or authorization based on probable cause!



The Ministry of Truth is where facts and history are re-written. Winston Smith works in the Ministry of Truth, re-writing archival news stories to suit the political climate of the day. As Oceania is at war with one country, it is allied with the other and has always been so, according to official literature. The party propaganda put out by Smith and others like him states, for example, that Oceania is at war with Eastasia and has always been at war with Eastasia. Later though, when political climate and alliances change and Oceania is at war with Eurasia, the history is re-written to substantiate that war was always with Eurasia and not with Eastasia. This obvious contradiction of truths is called "doublethink" in the official language of Oceania called "Newspeak." Embracing the process of doublethink, two plus two can equal three, four, or five. The words "black" and "white" are combined to blackwhite, and can be used to name both colors on this page. The idea is to convert the language of thought processes to a soup of Newspeak that will stifle the independent thought processes. In our current society, histories of America's Founding Fathers are being re-written to reduce these men to less-than-giant status and to attack their intents and purposes contained in the Constitution of the United States and the Bill of Rights. These men are being touted as having been rich, white slave owners who started the grand experiment with our Republic in order to fill their pockets with additional gold. This undermining of the original documents and their literal meaning has caused them to become malleable and subject to contradictory interpretation by the courts. Today's version of Newspeak is political correctness. Activities that were once labeled deviant behavior are now called alternative lifestyles and are to be embraced as normalcy. Physical traits that were once looked upon as negative features are embraced as challenges and given greater access than those who were once labeled healthy. Even the law has embraced doublethink with the adoption of "hate crimes" legislation. It is now even more against the law to murder another if the perpetrator can be shown to have had certain thoughts in his or her head at the time of the murder. Such crimes of thinking scream for Orwell's Thought Police.



George Orwell may very well have lost a huge audience when he transposed the year of his writing, 1948, to 1984. For years, unknowing people have thought of the novel as another science fiction work depicting the future from the past perspective. Soviet Communism under Stalin and his successors has fallen and become just another piece of history. Perhaps that is why it is not required reading in high schools anymore. More likely, though, educators that read the book see it for what it is ? a terrifying depiction of a globalized society with no national sovereignty, a manipulated press, and thought control. This depiction is now a mirror image of our society. Orwell had prophesied in 1948 what life would be like today and tomorrow. 1984 is more important to read today than ever before.



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The Princess Bride: Christina Koser **All movie titles should be in italics!


I saw The Princess Bride for the first time sometime after its original theatrical release in 1987. I borrowed the video from a friend and immediately knew I had to own it myself. Directed by Rob Reiner, who has given us such entertaining and touching films as Stand By Me and When Harry Met Sally, it truly offers something for everyone. It is a love story, a comedy, a drama, an action adventure, and a fairytale, all rolled into one. It is well-written, has an interesting plot, is skillfully and sensitively directed and acted, was beautifully shot on location in Ireland, and is imbued with subtle humor throughout the entire charming piece. The Princess Bride is probably my all-time favorite movie and is a classic that belongs in every video collection.



The screenplay for the movie was adapted by William Goldman from his own delightful novel, The Princess Bride, The Good Parts. Goldman is an accomplished screenwriter, whose work includes Butch Cassidy and the Sundance Kid, Chaplin, and, more recently, Hearts in Atlantis. In The Princess Bride, he makes use of a clever literary gimmick, by purporting to abridge a book written by (non-existent) S. Morgenstern, adding his own editorial comments and notes throughout the book. Supposedly Goldman's father read him the book when he was a child, leaving out the boring parts. Director Rob Reiner makes effective use of a similar technique in the movie, as the entire fairytale is read by a grandfather (played perfectly by Peter Falk) to his sick grandson (Fred Savage). The grandfather supposedly skips "the kissing parts" and other less exciting sections. From time to time the action is halted by a comment from one or the other, as when the grandfather interrupts the story to reassure his grandson, "She doesn't get eaten by the eels at this time," referring to the title character.



The plot revolves around the love story between Buttercup and Westley, who are separated early on as he must go seek his fortune. (It is clear that this is an unpretentious fairytale that isn't to be taken too seriously. Why else would one name the heroine "Buttercup"?) Buttercup, believing Westley to be dead, is set to marry the evil Prince Humperdink, who is actually plotting to kill her in order to start a war. A secondary story involves the Spaniard, Inigo Montoya, who is out to avenge his father's death at the hands of the six-fingered Count Rugen. Westley must rescue Buttercup from the clutches of the Prince, but it takes a chocolate-coated miracle pill made by Miracle Max and some help from new friends Inigo and poetry-loving giant Fezzik to get the job done. The plot is sufficiently complicated, with some unexpected twists and turns, to retain the viewer's interest, while not being so involved as to be hard to follow.



The casting for this film is brilliant. Robin Wright (now Robin Wright-Penn) was a relative newcomer to Hollywood when she was cast for the role of Princess Buttercup, mostly because her appearance was exactly what the director and screenwriter had in mind for Buttercup. She did a creditable job with the part, even giving Buttercup a lilting British accent (Wright grew up in Texas). Carey Elwes makes the perfect Westley, moving easily from light sarcasm to swashbuckling heroism. My favorite character is Mandy Patinkin's Inigo Montoya. Although Inigo is primarily motivated by his desire for revenge, he comes across as warm and personable, and more honorable than most Spaniards, apparently. One can't help cheer him on when he finally gets to utter his long-rehearsed line to his arch-enemy, Count Rugen, (spoken with an entertaining Spanish accent) "Hello. My name is Inigo Montoya. You killed my father. Prepare to die." Andre the Giant does a decent job as Fezzik although it is sometimes hard to understand his speech. (Rob Reiner probably didn't have too many giants to choose from to cast in this role.) The threesome of henchmen is rounded out by Wallace Shawn, later the voice of the neurotic T. Rex in Toy Story, who is utterly perfect as the haranguing, underhanded Vizzini, hired by the Prince to kidnap Buttercup. Chris Sarandon and Christopher Guest do very good work as Prince Humperdink and Count Rugen, respectively. The fabulous Billy Crystal is Miracle Max, and Carol Kane is his wife, Valerie. Their very funny scene is vintage Billy Crystal, as evidenced by the line he says when he is presented with a dead body to work a miracle on, "I've seen worse."



Rob Reiner's sensitive direction doesn't leave anything to chance, and he adds a touch of realism to this fairytale by the choice of location. The film was mostly shot in Ireland, in some very wild and medieval looking terrain ? perfect for the dramatic chase across the Guilder frontier. There are some breathtaking panoramic views, such as the scene where Westley is revealed to Buttercup, right after she pushes him down into a steep ravine. Realizing her mistake, she tumbles down after him. Several other scenes take place inside the Prince's castle, which looks very authentic inside (cold, drafty, with tapestries draped here and there) and out (Old World, slightly ruinous).



The unpretentious humor of The Princess Bride is interspersed throughout the film and is what makes it such a joy. The humor is light and subtle, not heavy-handed and dependent on pratfalls and spoofs. As the three henchmen are being followed by the mysterious Man in Black after they have kidnapped the princess, Vizzini repeatedly says that it is "inconceivable" that anyone could keep up with them. Finally, Inigo pauses and looks thoughtfully at Vizzini. "You keep on using that word," he says in his thick accent. "I do not think it means what you think it means." I'm not sure why, but it is very funny. Soon after, during a perfectly choreographed swordfight scene, Westley and Inigo chat lightly, comparing notes on fencing techniques, admiring one another's skill, then getting back to the business at hand. Near the end there is a sequence that is hysterically funny, as Westley (who has been "mostly dead all day") can barely hold his head up, and is attempting to lead a castle onslaught to rescue the Princess. Lucky for him there is a giant around to help. Even though it is laugh-out-loud funny, the humor doesn't overshadow the charming story.



The Princess Bride really does have something for everyone. At the beginning of the movie, the grandson, reluctant to be dragged away from his video games, wants to know if the book has sports. "Are you kidding?" answers the grandfather. "Fencing, fighting, torture, revenge, giants, monsters, chases, escapes, true love, miracles." "Doesn't sound too bad. I'll try to stay awake," is the less-than-enthusiastic response from the grandson. By the end, he (like the viewer) is truly transported to another place, and he asks his grandfather to come back and "read it to me tomorrow." "As you wish," is the grandfather's touching answer. The Princess Bride is a charming and clever romantic fairytale, or a comedic action adventure, or so many other things. Anyone who has never seen it should rent it, and most likely he or she will want to own a copy. Until recently, it was hard to find copies of The Princess Bride for sale, but it has now been released on DVD, and thankfully it can be found at some video stores and at many online reseller sites.


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What makes a Classic Action Movie: Dave Pjontek **movie titles are in italics


Opinions about movies have a great deal to do with personal entertainment tastes, but there is a unique mix of ingredients for each type of movie that can make it good. The movie may be a feel good lighthearted romance like You've Got Mail, or maybe comedy is what the doctor ordered, and Happy Gilmore may get the call. Also, hard hitting dramas, exciting thrillers, or totally outrageous science fiction flicks are some of the choices available. However, all movies have the same ingredients: a screenplay, character portrayals by actors, and the visual presentation, but every type of movie has a formula that mixes the ingredients just a little differently. It is the quality and proportions of each ingredient that makes the movie a winner or one that receives a two-thumbs down rating. The Action adventure movie, for example, must be fast paced, intriguing, and visually stimulating, but its personality can range from deadly serious to lighthearted fun. One of the most successful action adventure films ever made is Raiders of the Lost Ark, and it spans this full range in its furious action sequences to the personal quirks of its hero. This film tracks the adventures of Indiana Jones, a professor of Archeology searching for the Ark of the Covenant and battling his arch rival Belloq, who is working for the Nazis in the late 1930's. This film is a fine example of how to make a good action adventure movie, and its imaginative screenplay, exciting character portals, and visually stunning special effects make it a winner.



An imaginative screenplay, a foundational element to a successful action movie, contains a continuous flow of exciting situations that are woven into an intriguing plot which force the hero to perform seemingly impossible feats to overcome the obstacles to success. For example, the opening sequence of Raider of the Lost Ark places the hero, Dr. Jones, in a trap-laden abandoned temple of an ancient civilization searching for a golden idol. This sequence has Dr. Jones perform incredible acts of ingenuity and agility that introduce the audience to his special talents and also to his crafty and opportunistic nemesis, Belloq. This incredible introduction sets the pace for the rest of the movie. Additionally, the screenplay must provide the dialogue that develops both the story and the characters to maintain the interest of the audience. For example, a glimpse into the personality of Dr. Jones, which increases the depth of the character, is provided by his description of the Ark to the Secret Servicemen and later his bargaining session in the Tibetan tavern with a young woman from his past. Additionally, a parallel storyline tracks the efforts of the bad guys, in this case the Nazi SS, that are constantly on the heel of Dr. Jones and demonstrating their willingness to stop at nothing to achieve their goals. The screenplay, while providing the structure and dialogue for the movie, does not bring life to the characters; this is the craft of the actor.



The characters are the catalysts that create a connection to the audience; the characters must be admired, despised, believed, and enjoyed to make the movie a winner. Merely reading the script and saying the words does not bring life to the character, but the actor adds the soul. Harrison Ford's voice and facial expressions perfectly fit the character of Dr. Jones. For example, when Dr. Jones stairs down into the Well of Souls and says, "Snakes, why did it have to be snakes, I hate snakes", everyone in the audience feels that crawly feeling in their stomachs. Furthermore, scenes like the shooting of the swordsman dressed in black and the fight with the German aviator demonstrate that he is only human, but he has this incredible ability for staying alive. Other characters in this movie are also portrayed perfectly, and although the performance would not be suitable for a serious drama, they are wonderful portrayals for this adventure. Some examples include the German SS agent with a propensity for torture, the large Egyptian friend of Dr. Jones, the feisty heroine, and the villain Belloq. All of these performances make for an enjoyable, entertaining, and engaging movie, but the knockout punch is delivered by the special effects.



A final must have ingredient for the action movie to be a success is visual impact; it will take the viewer to far away places, into the future or back in time, create an emotional impact, and dazzle the audience with visual effects. Raiders of the Lost Ark provides the viewers with action packed excitement at every turn in the script, and leaves them feeling some of Indiana's bruises. However, the style of visual effects is not so high tech that they steal the show, but they emphasize the humanity of Dr. Jones and his ability to narrowly escape certain death. Furthermore, the format of the visual effects perfectly fit the serial episode style of the thirties and forties, and the larger than life atmosphere of the entire movie. For example, scenes like the Tibetan tavern, the Map Room of Tanas, and the struggle with the German truck driver make this movie unforgettable. All of these scenes are of a style that relies on the physical agility of the performer, the ingenuity of the set designers, and just enough wizardry to amaze the viewers. This visual style is the trademark of Indiana Jones in this movie and is continued in the two sequels that follow with equal success.



Many action movies have done wonderfully at the box office, but Raiders of the Lost Ark is one of the best drawing a wide base of devoted fans. It has the correct mix of ingredients that make it a winner: a great screenplay, character portrayals that are right on the money, and a visual presentation that is exciting at every turn. It is the quality and proportions of these ingredients that make this movie a must see for any action adventure fan. There are movies that are more suspenseful, more frightening, more visually exciting, but Raiders of the Lost Ark with its perfect mix of furious action sequences, its lighthearted relief, and the personal quirks of Indiana Jones make it a classic.



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The Prince of Tides: Rachel Empey


The world of communication in our culture has drastically changed over the past few decades. Cell phones, pagers, and email have taken the place of getting together to talk over lunch. The busy pace of our lifestyles has reduced us to communicating on a level that can seem so cold and distant. It is inevitable that our society will always continue to grow and every day offer a new electronic "convenience;" however, electronics will never be able to replace the arts in our culture or their participation in effective communication within our society. There will never be an electronic replacement for the healing power of music, the ability to escape to a new world within the pages of a book, or the captivating power of theatrical arts. Movies, for instance, have a way of taking an audience by the hand and exploring the most intricate aspects of life. The on-screen experience allows us to witness life's joy and to share in each other's pain. It is therapeutic to watch as a character works through life's difficulties and offers the viewer hope for survival. The Prince of Tides is a film that offers such hope. With grace, The Prince of Tides tastefully explores the sensitive subject of emotional trauma, and allows the audience to take part in the journey of healing.



It isn't until we become adults that we realize the sensitivity of our childhood years. The self-examination that begins during our adolescence and continues throughout adulthood often includes questioning how we came to be the individuals that we are. The answers to such questions are quite often rooted in the developmental stage of our childhood years. Tom, the main character in The Prince of Tides, has done his best to avoid even remembering his childhood. Only because of the latest suicide attempt of his sister Savanah does Tom agree to walk down his painful path of memories. With an interesting new approach, this movie examines the effects of childhood trauma on an adult male? a rare thing to see as such a role is usually reserved for a female character. The bravery of this character cries out for the compassion of the audience as he places himself in the vulnerable position of exposing his wounds to a female psychiatrist. He shares with her the most intimate feelings of shame, betrayal, and confusion, allowing her to see the deepest parts of his soul, as he stops to examine them for the first time himself. With a sympathetic heart, the viewer accompanies Tom on his emotional journey of realization-- realization that no one can hide from his past and lead an emotionally healthy life at the same time.



This film not only includes the uncommon situation of a male character examining the details of painful childhood experiences, it goes even further by including sexual abuse as one of those details. Our society usually portrays women as victims of sexual abuse, therefore making it even more difficult for a man to move past the shameful feelings that accompany such experiences. Tom's character in The Prince of Tides accepts the unique challenge of overcoming the shame involved with sexual abuse. At the young age of ten, Tom becomes a victim of rape and assault to an escaped convict. While he physically survives the incident, we witness as Tom's childhood innocence is destroyed and replaced with wounded numbness. The courage of this movie and its characters offer an empowering message of hope and survival, as we watch Tom face the realities of this event and its impact on his life. He struggles to accept the fact that such an atrocity can actually happen to a boy, and he comes to understand that such a horrific circumstance does not affect his ability to be a "man." Tom's painful journey becomes one of healing as he acknowledges his wounds and learns to use them as tools for growth and understanding rather than anger and dissonance. It is a message of strength and optimism for young men facing similar situations, for such comforting messages are rare to see.



Another unique aspect of this movie is the relationship between Tom and his psychiatrist, Susan. Susan Lowenstein is an extremely successful, high-society professional, whom Tom ends up falling in love with. Their relationship starts off as one of tension and frustration and ends up being one of passion and intimacy. At first he resents her and her imposing questions; then over time, he becomes preoccupied with the feelings of closeness and healing she invokes in him. It is interesting to see what happens when a woman is cast in a role of "power" at the same time the male character is so vulnerable. Interesting even more as we see her character fulfill most of the archetypes women are known for, just within the realm of their relationship. It is established at the beginning of the film that she is a professional; throughout their sessions she takes on the role of a "comforter," usually associated with more of a maternal archetype; and in the end she becomes his lover. All of these roles build on each other throughout the movie as the trust between Susan and Tom continues to grow. It is a beautiful and crucial aspect of this film that a female is cast as Tom's psychiatrist; Tom's relationship with his mother played a large part in his childhood trauma, and ironically it is a woman who rescues him from the pain of his past. This sends an empowering message of strength and influence to all women.



Life is a journey, a journey that for many includes times of pain and suffering. The most important message to send to someone in pain is that he/she is not alone. The Prince of Tides does an excellent job of sending that message, all the while providing proof of the communication power of the arts. The audience, allowed to take part in a very intimate and personal experience, is witness to subjects that are often avoided because of the shame associated with them. The courage of the characters in this movie offers a message of hope and survival. It is important to realize that sometimes healing and comfort will be welcomed more coming from something as non-threatening as a movie; and this should definitely be appreciated, as there are some circumstances where the message might not be heard otherwise.



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Colors: Robert Ratcliffe **movies are in italics


With hundreds of police dramas to choose from, only a select few actually overcome the Hollywood touch of unrealistic phenomena. That is to say few movies directly related to police work actually keep reality as the basis of the motion picture. Many films are tainted with wild one-man rescues, explosions, and feats of super human strength. Sometimes they have scenes that contain all three, such as the explosive car chase where the officer manages to shoot out the tires of the suspect while driving the police vehicle on two wheels. Even with the introduction of the American audience to such reality television shows like, "Cops" or "Real Stories of the Highway Patrol", Hollywood still thinks the big screen is a place to fictionalize police work. The American public does support this phenomenon as proven by box office ticket sales to action packed, unrealistic, and down right ridiculous films that leave reality all together. One such film that does not allow typical Hollywood characteristics to over-shadow the realism of police work was the 1980s film, Colors. This film was loosely based on the real life story of officers from the Los Angeles Police Department's first "CRASH" unit in the 1970s. From the script writing to the direction, the film followed a realistic pattern of actual police officers. Through some outstanding acting by Robert Duvall and Sean Penn, Colors allowed the audience to understand some real-life trials that really do face officers then as well as today.



In reality-based shows, the relationship between partner officers can not be clearly shown in the typical thirty-minute program. On the big screen, Hollywood generally places characters together that show one, usually the star, as being a physically stronger, mentally stronger personality than that of the partner. Hollywood seems to want the audience to enjoy rooting for the star to either care for the partner by saving them or by eliminating them if he/she is a bad cop. This film pairs two officers that are very different from one-another. One officer, portrayed by Robert Duvall, is considerably older and more senior. He shows that he is wise to the ways of the streets and personally knows most of the older gang-members. His new partner, portrayed by Sean Penn, is a young hard charging officer who simply wants to take everyone to jail. This is not an uncommon pairing of personalities in real-life modern police work. The idea that the older, more senior officer can mentor the younger officer and the younger officer can re-ignite the older officer's passion to do police work is one that drives the story line. This pairing of young and old together is also true in real life policing. As the two characters move from one incident to the next, they continue to have conflicts between themselves. However, when they start to work together, they find themselves a viable, believable team of police officers.



While some films depict police officers as rogues who walk the edge of the legal system, this film allowed the audience to see conflict, action, and drama without liberal views of police officers breaking the law or being corrupt. Colors showed a clear, "us against them" message. Not only did this message show the police against the criminals; it also showed the true hatred that forms between rival groups such as the Bloods and the Crips of South Central Los Angeles. The film touched on an officer's personal life being sullied by his job when Sean Penn's character becomes romantically involved with a woman he met while working. This woman turns out to be related to members of a street gang that he had been working to stop. There were no twisting Hollywood plots in this story, but rather a simple example of how an officer can be drawn into the world he is trying so hard to change.



The two different styles of police work demonstrated by the two characters are typical of modern law enforcement officers. The senior officer wants to talk to the criminals he contacts and lull them into giving him the information he needs to fight the gang problem. The younger officer is just looking for a fight and thinks everyone who breaks the law should go directly to jail. The movie contains scenes that demonstrate these two methods at work by both officers. The two are in conflict with each other, but soon seem to learn to respect their partner's way of doing business. The older partner teaches the younger officer how to gain information by allowing a low-grade crime to go unpunished in turn for information. Later, the younger officer becomes involved in a life or death struggle with the same petty criminal who was set free in exchange for the information. This caused the two officers to see the validity of each other's policing style, while continuing a conflict between them. Interesting points such as this in the story line make this movie very interesting to the audience without making the film unbelievable.



The heart of this movie centers on the growing relationship between two professional law enforcement officers from different generations of the job. They are brought together in an atmosphere of the justice system that few police officers, much less civilians, ever see. These two characters show that they have real lives outside of law enforcement. Robert Duvall's character showing he lives a happy family life with his wife and son. Sean Penn portrays a young officer, who is struggling to find happiness outside of his job. He learns from what he sees in his new-found partner. These are real life scenarios that play out in all professions. The audience of this film can relate to this type of character development. By the conclusion of the movie, both partners have grown to understand the other. They still may not agree on the best way to carry out police work, but they are beginning to learn. The police action in this film is believable, and a great deal of it is based on real events. This film contained an appropriate amount of action and a fine character driven story line. It reflected the daily heroic acts of two police officers as they do their best to combat criminal street gangs. From the opening scene until the final rebirth of a new generation of officer, this film gives the audience something to appreciate and really think about.


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The Stand: Jeri White ** Names of books are in italics or underlined


Stephen King has written over thirty novels with an estimated 100 million copies currently in print. He has authored several collections of short stories including Skeleton Crew, Different Seasons, Danse Macabre, Night Shift, and Nightmares and Dreamscapes. King has also co-authored two books with Peter Straub (The Talisman and Black House), and written two serialization novels. He authored several books under the pseudonym Richard Bachman in the 1980s including Thinner, Rage, and The Running Man. Many of King's stories have been made into feature films such as Carrie, The Shining, Christine, Misery, The Dead Zone, and Firestarter, and television miniseries such as Salem's Lot, It, and The Stand. Although mostly known as a master horror writer, Stephen King has also written stories with not a hint of the supernatural. Stand by Me and The Shawshank Redemption are two excellent examples. Although The Stand was one of King's earliest novels (written in 1978), it is by far his finest body of work.



The story is immediately gripping with its beginning in a military facility in Atlanta. This facility is a viral biology lab where various viruses are produced and studied for possible use in biological warfare. After an accident releases a lethal virus, the facility is automatically shut down, but not before one man escapes. This man is well aware of the ramifications of fleeing the building, but fear is his prime motivator, and because he is so afraid, he runs as second nature. He goes home, grabs his family, and heads west trying to escape what he knows to be the inevitable. What follows shows just how quickly one contaminated person can infect first one, then another, then scores of other people who in turn infect scores of others. The virus has a 99.4% communicability rate, and soon the entire United States becomes aware of this virus as people become sick and then die within a matter of days. It doesn't take long for the virus to spread worldwide (one infected person hopping a plane and infecting everyone on that plane, many of those passengers making connections at the next airport. What makes for such a fascinating story is not the virus itself (dubbed the "Super Flu" or "Captain Trips") but the few who remain healthy and unaffected by it. All over the world, only 0.3% of mankind has a naturally occurring antibody to this particular virus. These survivors embark on a journey that leads to the ultimate battle between good and evil.



The characters in The Stand are richly drawn and so graphically depicted that the reader becomes completely enmeshed in each character's story. Stu is a stand-up kind of guy, a real man's man, from a small town where the originally infected military man comes to the end of his life. Stu becomes quarantined in Atlanta and used as a guinea pig because of his immunity. He is able to escape the military compound when all of the people involved in testing him become sick and die. Fran is a young girl who has just found out that she is pregnant. The father of her unborn child dies of Captain Trips, leaving Fran to wonder throughout the story at the fate of her child. Nick is a deaf mute who befriends a developmentally disabled man named Tom. Larry is a rock star with a drug problem. All of these characters have one thing in common: they dream of an old African-American woman named Mother Abigail. Mother Abigail is 108 years old and lives on a farm in Nebraska. The characters feel a strong need to migrate toward her. She embodies the ultimate "good" in this story. The ultimate "evil" in this story is a character named Randall Flagg, aka "The Walking Dude," aka "The Dark Man." Ironically this character resides in Las Vegas. All of the survivors who lean toward the darker side of life have dreams of Flagg and migrate toward him in the desert.



Along the way to the final confrontation between good and evil, there are friendships made and lost, love fallen into and out of, and betrayal. King's story makes for thought provoking reading as the reader realizes just how easy it would be for a young person with a confused sense of identity to turn from a basically good person into a follower of evil. He also shows how the ordinary man (or woman) can do extraordinary things given the right set of circumstances. King manages to manipulate the reader masterfully by drawing such rich characters and making the story so compelling that it is a difficult book to put down. Each character's story becomes a personal story for the reader. The reader is left to wonder about a world where there is no longer any law enforcement to stop robbery or enforce traffic laws. Of course there are hardly enough people left in the world to care about those kinds of things anyway. Although at times hard to read (bodies being disposed of, horrible symptoms of the flu itself) there will be much missed if the reader skips a single part of the book. There is just too much happening and too many important details.



When first published in 1978, The Stand was considered too long by the publisher at 1,200 pages, and King edited the book down to a more reasonable 823 pages. More than twenty years later, it was re-released in an original version. Although reading a book this long might seem a daunting task, The Stand is up for the challenge. There is never a dull moment even in the "uncut" version. Although not his usual type of horror, The Stand is the novel of ultimate horror, the end of life as we know it and the possible destruction of an honest and noble society. Considering the events of the last six weeks, this book is even more frightening. At the time of its publication, it doesn't seem like such an impossibility. The Stand shows just how devastating a single accident involving a deadly virus can be. This book stays in the back of the mind long after it is finished.

Message from me: the following staff is the responses from my peers, it is properly contained enough information for my essay, please create another good title for me, thank for effort, I really count on you!
Content requirements for the essay:
Examine at least one representative example from Extremely Loud and Incredibly Close
Discuss some aspect of the relationship between image and text.
Form requirements for the essay.
Create a title for your essay.
Make your paragraph breaks clear.
Cite your sources and use quotation marks or tag lines for direct sources (quotes).
Include a paragraph where you explain what you attempted to do in your essay and reflect on the process of writing it.

This is the quotes from the text book: http://girlwithacoin.wordpress.com/2008/08/21/extremely-loud-and-incredibly-close-quotes/

http://girlwithacoin.wordpress.com/2008/08/21/extremely-loud-and-incredibly-close-quotes/

Interview of the author:
http://www.themorningnews.org/archives/personalities/birnbaum_v_jonathan_safran_foer.php
#1
Jonathan Safran Foers novel, Extremely Loud and Incredibly Close, consists of several themes. One of the most prominent themes is regarding the loss of loved ones and how to not only move on with life, but to treasure it. All of the narrators (Oskar, his grandfather, and his grandmother) have lost people they loved and cherished. For Oskar, he loses his father in the 9/11 terrorist attack. Oskars grandfather loses his family and his true love, Anna, to a bombing incident at Germany. Oskars grandmother also loses her family, including her sister Anna, to the bombing in Germany. They all lose their loved ones to deadly unforeseen attacks. As a result of these losses, the narrators come to a realization of either life being too short or life being insignificant. Oskar is confused in the beginning. As a result of his fathers death, he realizes how relatively insignificant life is, and how, compared to the universe and compared to time, it didnt even matter if [he] existed at all (pg. 86). Oskars grandfather is also affected by the loss of his loved ones. He says, Im so afraid of losing something I love that I refuse to love anything (pg. 216). His grandfather even becomes mute, unable to bear the loss of his beloved Anna. Oskars grandmother regrets how she had never told [Anna] how much [she] loved her (pg. 314). Yet with time, the narrators learn to cope with their losses. Oskar, after digging up his fathers grave and discovering the lock, reopens himself. He learns to accept Ron and tries to understand his mother. Oskars grandfather never fully recovers, but he finds peace meeting his grandson. Oskars grandmother regret[s] that it takes a life to learn how to live if [she] were to live [her] life again, [she] would do things differently (pg. 184). She realizes how wonderful life can be and wishes that she could have lived her life even better. The main underlying theme behind Extremely Loud and Incredibly Close is the value of life and loving people around you. Anything can happen at anytime. Make sure to cherish the people in your life and make the best of what you have in life.
Peer response#2
In Jonathan Safran Foer's novel Extremely Loud & Incredibly close the author involves many underlying themes that intertwine the characters from many points of view. One of these main themes is the hunt or search. Most if not all of the book's characters are searching for something. Granted, they are all searching for something different, they are still similar in the sense that they need to know or see something that they have either lost or not yet discovered.

One main example of the search is Oskar's search for the lock that he can open with the key that belonged to his dad, and much of the novel involves his hunt for this. "'Your looking for something' Mr. Black asked.'The key used to belong to my dad,' I said, pulling it out from my shirt again, 'and I want to know what it opens.' He shrugged his shoulders and hollered, 'I'd want to know too!'" (pg. 160) Mr. Black was also searching for something, he was searching for adventure. After years of not having his hearing aids turned on Oskar turned them on and Mr. Black agreed to help Oskar on the hunt for the lock. In addition Oskars grandfather, also known as "The Renter", is on the hunt as well, he is on the hunt to get to know his grandson. Oskar's mother and grandmother also seem to be searching for something as well. Their individual searches, although not as well documented, help to tie the whole story in together as they search to fill the void of losing a loved one.

Though the idea of "loss" is probably the main theme in the book, the theme of search goes hand in hand. Human nature shows us that searching to get answers or searching to fill voids is one way to help the grieving process and thats exactly what is happening here in Foer's bestselling novel
Peer #3
In the novel, Extremely Loud and Incredibly Close, by Jonathan Safran Foer, a story is told of a young boy who lost his father in the 9/11 incident. Oskar, a nine year old boy goes through many obstacles that are difficult to handle physically, and emotionally. The loss of his father led him to feel alone in his family. After finding a blue vase with a key in it, Oskar was determined to find the main purpose of it. Oskar goes through a memorable adventure, connecting his life with many others. In this story the important theme is the traumatic loss of a loved one, and the obstacles that are faced following it. While it may be an emotional roller coaster, insightful information can be learned from it. In Oskars case, through his adventures, he learned more about his family and met many new people. The key connected him to all sort of connection, including his grandfather. It also connected him to the rightful owner of the key itself, a man who was in desperate need of the key.
By finding the lock that the key is used for, Oskar was hoping to learn more about his Dad. Little did he know that the adventure itself gave him more insight to his family, than the locked box would ever. Unlike most stories about 9/11, Foer left readers with an uplifting heavenly sensation. This one key connected so many people together for personal reasons. Everyone had a story to tell, and it all came together all because of one key. Even though the key was not used for what Oskar was expecting, it left a successful adventure that may in some way complete or cool down the emotional urges Oskar felt for his dad. While Oskar may have lost his father in 9/11, he will not share it alone. With his family, he will hold on to memories of a man that he cared very much for.
Peer #4
Death and loss are a part of life and it is something that is incredibly difficult for everyone to comprehend. We all have our own ways of coming to terms with it and, from my personal experience, each new loss requires a new understanding. In Extremely Loud and Incredibly Close by Jonathan Safran Foer, the role of narrator for the bulk of the novel is not some grisly, life-hardened old man, but rather a precocious nine-year-old named Oskar Schell who has lost his father in the attacks of 9/11. The book has several other characters and shows their own growth through loss beyond just Oskars as well.
Oskars own method of dealing with the loss is this personal search/adventure he embarks on to discover what lock a key of his fathers he found fits into. Unlike Oskars mother, who chooses to ignore her pain and try and move on with her life, Oskar chooses to hold onto the living memory of his father with his search. Neither has accepted the loss of Oskars father, but both are dealing with it in very different manners.
I was 16-years-old when 9/11 occurred. And although I lost no one in those attacks, I still remember watching those news broadcasts live that morning. I remember seeing that second plane hit shortly after I had started complaining that my morning cartoons (that I never usually get to see as I am rarely up that early before school) were being inerrupted by what, at the time, was considered a freak accident and not a purposeful attack. I cannot even begin to imagine looking at those buildings and knowing that someone I cared about was inside them. When I was 18-years-old, I was told that I was far too young to possibly comprehend mortality and the ease with which life can be lost by a professor. While I do agree that we are not born with the innate ability to fully grasp this concept, it is those periods when we face devastating loss that we are forced to learn that life is not forever. I was reminded of this when I learned the age of the main narrator and this in itself pulled me in deeper. Although I am certainly not 9-years-old, and have not been for 15 years, I find I can still relate to being so young and having to deal with something so adult, so to speak.
I was exceedingly impressed with the format of the novel. While I usually describe books I have read (at least the well-written ones) as movies played out in minds eye, the format of the text on these pages gave visual emotion to the words. You can feel the desperation and pain leap off the page and inject your own senses with the same loss each character is experiencing. Life is hard and this novel seems to seek to illustrate not loss, specifically, but what happens after that loss and going on with life.
Peer #5
Oskar is a highly intelligent 9-year old boy. He's creates jewelry, creates facncy inventions , speaks French, writes letter to Stephen Hawking,actually S.Hawking was dead already, Oskar keeps corresponding with him means he feels so lonely after his dad's dead, plays the tambourine, and he's both an atheist and a pacifist.
Decades ago there was a tragedy in Dresden, where Oskar's grandfather lost all his family members during a firebombing. He also lost his love , losing the ability to speak, that's why he wrote yes and no in his two hands, so he can answer questions by showing the appropriate hand. He writes messages for conversation, often pointing to the same sentences over and over by flipping over the pages in his notebook. He also has been spening his life writing.
This is one of the theme, that is how the lost of love affected one's life.
Since Oskar's dad died, Oskar found a key and an envelope with the word "Black". Oskar set off a frant search for the locks and people with black as their last name over the New York City. His consistency and persistent in doing this is to make himself closer to his father. He also said he would prefer his mother's death to his father's death.
This is the another main story of Extremely Loud and Incredibly Close, showing how the 9/11 attack affected Oskar's emotion and life.
Together it tells the history of this family, and the pain and suffering caused by the loss of their loved one.
Peer #6
A major theme here is the good that we find through pain. When something tragic happens, we do not usually focus on the outcome in a positive sense. We usually tend to only be aware of our pain and suffering that we fell, and sometimes this can even have a physical effect on us. However, through this struggle to keep living and breathing and going on in our everyday lives, we sometimes gain strength and pride without even realizing it. Oskar Schell deals with the pain and frustration of losing his father by embarking on a grand adventure. His grandfather dealt with the pain of losing his love by physically becoming mute and also by marrying her family member. Although these things do not seem great at the time, they turn out to be good in the end. It builds strength and it builds character.
An outside example I can relate this is to one of my favorite movies, Sleepless in Seattle. Sam Baldwin has just lost his wife to cancer and he is having a hard time moving on. When a phone-in radio deejay asks him what he is going to do with himself he replies, Well Im going to get out of bed every morning...breathe in and out all day long. Then, after a while I wont have to remind myself to get out of bed every morning and breathe in and out...and, then after a while, I wont have to think about how great I had it,
In situations like these, where we are faced with extreme depression and sadness caused by the loss of someone we love, whether it is 9/11, or WW II, we just have to focus on the rest of our lives and deal with the pain in a way that is positive. Oskars grandparents are finally beginning to realize this.
Peer #7
In the novel "Extremely Loud and Incredibly Close, Jonathan Safran Foer brings an emotional story about Oskar Schell and his life after 9/11. The story revolves around Oskar, who attempts to find the truth of his father's key. The book greatly emphasizes on the concept of memory, lost, pain and moving on. Characters like Oskar, Oskar's grandfather, and Oskar's grandmother all suffered memories that they try to hide or prove. Oskar for example, can't get over the fact that the key was nothing special (unable to move on) and tries relentelessly to find the key and the truth, believing his father had left him a secret. His grandmother still is lost in the memories of her past from the bombing. She marries Oskar's grandfather because she felt that he could be a reason and a gate to her past. Oskar's grandfather became mute after the bombing and married Oskar's grandmother because she reminded him of Anna. They both are unable to move on from the past even after they set up rules to protect them from remembering the past. Oskar's grandfather realizes that he is unable to forget the past, and it was time to move on. I believe that the main idea of this story is moving on and whether the characters in the story can get over their past. Most of the characters have troubling memories, but them overcome them, such as the grandfather. He understood that the relationship with grandmother was not love, it was only a replacement.

Textbook (Norton Anthology of World Literature, Second Edition, Books A-C)
Story :Beowulf



__PLEASE READ THE SPECIFICATIONS

__THREE PAGES

please write a fictional addendum to it(Beowulf)--a "prequel," a new ending, an unseen aspect to the story, whatever. The only rule is that you should stay within the conceptual framework of the original story, and you should write this IN THE STYLE OF THE ORIGINAL PIECE. If it's a play, write it like a play; if it's in third person, you write in third person. Beyond that, it's free and clear. For instance,( these are just examples in the same book but the paper has to be about Beowulf ) what if Gilgamesh achieved immortality? What if Odysseus wasnt able to defeat the suitors? What if the Wife of Bath actually found true love? The choice is yours.

I need to write about my impression and opion about one page for each topic as show blow. it for perceiving the art


1-the first paper about my impression about the movie WHEN IN ROME here some of the information about the movie and what my impression about it
WHEN IN ROME, a fast-paced, well-meaning, romantic comedy. The story itself is a mindless chick-flick that never fully connects, but Kristen Bell as workaholic Beth Harper and Josh Duhamel as reporter, Nick, are lovely to look at and are quite entertaining. The film opens with Beth in her workplace, but the real impact comes when she travels to Rome for her sister's wedding. There she meets a handsome and charming man (Duhamel), soon becomes discouraged, and eventually jumps into a legendary Fountain of Love. The tradition is that men drop coins in the water of this fountain hoping to find their true love. It was good movie.. It is pretty funny comedy. Movie charming great concept, context excellent well thoughtout. Story line had good beginning middle and captivating ending. the audio play was good but picture and the harmony was incredible.

2-the second paper about my impression about the movie Losing Isaiah
here some of the information about the movie and what my impression about it

The best in the movie was the picture and the light also audio play was very strong
Really liked this movie. Real tear jerker! Hallie Berry is a great actress and is very conviencing. I stumbled across this movie by accident, but I am glad I saw it.
Lange and Berry were superb in this film about a social worker's (Lange) attempt to rescue and adopt a black male baby after he was found abandoned in the trash by his crack-addicted mother (Berry). Berry cleans up and decides to re-claim her rights to the baby. Jackson is very good as her attorney. His courtroom interragation of Lange is especially powerful as is her response

3-the thierd paper about my impression about the Impressions from the Alvin Ailey Dance Theater performance here some of the information about the movie and what my impression about it
With all the emphasis on dance in today?s guard programming, seeing truly trained dancers as they explored ballet, jazz, and modern idioms was both an eye opening and confirming experience to me.

First, the technical skills of the dancers were outstanding throughout the program. Forged by years of practice and training, they routinely performed at an individual technical level that just doesn?t exist in our activity. Their sense of ?center? and control throughout the evening belied the complexity of movement that was performed.

Next, the individual artistry displayed through movement was also above what we encounter in the activity. The range of expression, mood, and emotion, as well as the level of comfort that these dancers possessed was outstanding. That they were able to communicate so well during such a demanding program shows a level of maturity that is seldom matched in indoor pageantry. The words ?artistic verses athletic? come to mind.

The use of form, color, props, and lighting (if only this were an option for color guard......) were impressive, but they have nothing on the activity here. Our use of equipment adds an element that is only touched on by the Ailey Theater. But, simply stated, ?it?s dance, not color guard

Essay Title :
What is the nature and purpose of Ethical Frameworks and how does ethical practice involve working positively with diversity and difference?

when writing this essay please consider the fact that i am an African living in Britan. i am disable. the following is an email i received from my tutor which includes reading list. i want all the bibliography, works cited, etc to come from the following books and handouts which is mentioned in the email from my tutor:

EMAIL FROM TUTOR:
I think you are the ones who might be doing the ethics essay. Some have asked for reading. You don?t have to go into all individual differences in the essay but reading about them can help put you into the shoes of others.

The docs which start eth opp above are handouts and exercises. Don?t be overwhelmed- just see what is helpful for you.

Tim Bond for the general stuff, yes,
The Therapeutic Relationship (Petruska Clarkson)
BACP Ethical Framework (bacp.co.uk)
The Mirror Crack?d--really good (ANNE KEARNS)
?good fences make good neighbours??
Being White in the Helping Professions (JUDY RYDE)
Black Issues in the therapeutic process (ISHA MCKENZiE-MAVINGA)
the chapter on gay affirmative
Guidelines for LGBT- an A4 sized thing, bright pink- good brief read, might just get you thinking about working with any stigmatised minorities

Don?t forget that differences are all kinds- think culture in the broadest sense=- and what happens when we think someone is the same as us?

Handouts1

mkSame-Sex Relationships, an Historical Overview

My intention in this presentation is to look at some of the main religious influences on our attitudes to homosexual relationships in Britain. The law banning consenting sex between two adult men was repealed in Britain in 1967. The origins of this common law can be traced back to the decision by King Henry VIII to incorporate the Church's condemnation of homosexuality into secular governance in 1533. Even then, the attempt to outlaw and punish those who preferred sex with their own gender was nothing new.
One of the earliest recorded laws so far found on the matter is usually regarded as the Holiness Code of Leviticus, which is generally considered well over 3,000 years old. Verse 20:13 reads: "If a man also lie with mankind as he lies with a woman, both of them have committed an abomination: they shall surely be put to death." This passage has been used throughout the intervening centuries by innumerable religious sects and governments to justify the imprisonment, torture, and execution of people imagined, rightly or wrongly, to be gay.
Not all Jews and Christians have accepted it without question. Many, such as John Selby Spong, have pointed out that surrounding passages also call for the execution of teenagers who are rude to their parents, and describe the wearing of polycotton shirts as an abomination in the eyes of Adonai. That has a certain surreal humour value, unless you happen to know of someone who was murdered or driven to suicide by the unrelenting hatred of the supposedly godly.
Many scholars also look to Persian religion as a source of sanction against homosexuality. Whilst Zoroastrianism has not had a prominent influence on British attitudes, it has arguable! had an indirect influence via its impact on Judaism, Christianity and Islam. In its earliest form, the religion of Persia was polytheistic and had no laws against gay sex ~ a fairly common circumstance back then, given that polytheism tends to embrace diversity. For most of those ancient religions, an individuals sexual preferences were essentially a matter of personal taste, rather than a matter of morality or spirituality.
When the prophet Zarathushtra converted the Persians to monotheism, he appears to have made no comment on the matter either. It was not until the writing of the Vendidad many centuries later, between 200 and 400CE, that we find the first Persian sanction. Fargad 8, Verse 32 states ~ "The man that lies with mankind as man lies with womankind, or as woman lies with mankind, is the man that is a Daeva; this one is the man that is a worshipper of the Daevas, that is a male paramour of the Daevas."
The word Daeva is usually translated as meaning a devil, though originally it signified one of the Shining Ones, or gods. Ahura Mazda was asked, in Verse 27, how a Zoroastrian may cleanse themselves of the sin of homosexuality. He responded ~ "For that deed there is nothing that can pay, nothing that can atone, nothing that can cleanse from it; it is a trespass for which there is no atonement, for ever and ever."
It is curious that the word used to criticise homosexuals can mean either a devil or a shining god. The Phoenician or Canaanite religion had priests known as qedeshim. For a time they were part of early Hebrew religion too, though the Old Testament recommended their expulsion. This Canaanite word originally meant holy man, though the King James and various other translations render it as sodomite. The feminine term, qedeshoth, is conventionally translated as prostitute. These religious castes were primarily devoted to the goddess Asherah, also called Astarte. Historians hotly debate wether this caste offered sexual services in addition to the more conventional priestly ones. Certainly in the minds of a great many Bible translators they did. Modem-day devotees of Asherah take the concept of sacred sexuality very seriously.
Victorian schoolteachers would often fmd their Classics classes a little difficult when the euphemistic 'unspeakable sin of the Greeks' reared its head in poetic and philosophical texts. Way back in 630BCE, the Greek poet Alcman composed poetry for a lesbian wedding. Same-sex marriages are nothing new. The word lesbian itself, of course, derives from the Greek. The isle of Lesbos was once the home of poet, playwright, and headmistress Sappho, most of whose poetry to the beautiful girls in her Finishing School was repressed and burnt by the Vatican. Enough survived that people two thousand years later should speak of lesbians and sapphics. As well as being a literary genius, the bisexual Sappho was also a priestess to the goddess Aphrodite. Not only did the ancient world invent the idea of same-sex weddings, but it had no particular problem with gay priests or priestesses either. It should be noted that Romano-Greek definitions of sexual identity were not structured by the issue of gender, such as our views are today. For the Mediterranean cultures the social status of the two partners was far more crucial than the gender, and defined what erotic acts were considered socially acceptable. They had no concepts of gay, straight or bisexual. Only ideas of high caste and low caste. Such sexual laws as those cultures had then, mostly dealt with issues of class rather than gender.
The Greeks also gave us such now-outmoded words for gay men as uranians and catamites, both terms derived from the names of old gods. Greek myth attributed the invention of homosexual love not to some fiendish devil, but to the most beautiful of all the Olympians ~ Apollo himself. His was the first male-male partnership, when he fell in love with the beautiful prince Hyacinthus. The mighty warriors of Sparta so admired Hyacinthus and his love for the radiant sun god, that every summer they held a three-day festival in his honour, which still occurs in some places today.
The Egyptians referred to homosexual activity in a variety of mythical and cultural contexts. They have even left us what may well be the earliest tomb of two male lovers. Khnum-hotep and Ni-ankh-khnum were courtiers, unrelated by blood, who took the unusual step of being buried together in the same tomb. One of the wall paintings shows them with arms round each other, an act of intimacy almost unknown in Egyptian art ~ even for heterosexual married couples.
The Greeks, Romans and Egyptians were apt to engage in apotheosis - the process by which the recently deceased are elevated beyond the realms of minor ancestral spirits and into the ranks of demigods. One of the last pagans to be apotheosised was Antinous. This classically handsome young man was the lover of the Emperor Hadrian (he of the Scottish wall), who took the throne in the year 117CE, dying in 138. Greek-bom Antinous was loved for a few short but passionate years, before he drowned in the Nile at the age of about 20. A spontaneous reverence for the lost youth soon sprang up, along with tales of his rising from the grave to become an immortal god. When Hadrian heard of this, he responded by instituting a state cult. At least seven large temples were built across the Empire to this sanctified figure, and a whole city was built in his honour on the banks of the Nile.
Festivals were instituted in honour of Antinous, most notably his death on October 28th and birth on November 27th. Whilst Britain was part of the Roman Empire, these festivals were marked here too, indeed they are still marked by some modem pagans. In the numerous small shrines built to him, he was (and still is) honoured as a patron of the arts, of male beauty, and seen as a general protector and guide to the dead. Whilst the impact of Antinous on British attitudes has not been large, it is worth noting that whilst for some faiths homosexuals are devils, for others they are gods!
Whilst the attitudes of Mediterranean polytheist religions is well documented, the views of the faiths from Northern Europe are less well known. Some commentary has, however, survived. The Hellenic writer Diodorus, back in 400BCE, described, with some degree of surprise, how the Celts had no concepts of social dominance within the sexual arena, but "...they weave around other males in a strange frenzy. They are accustomed to sleeping on the ground upon hides of wild beasts and indulge together ?with male partners on both sides for sex." At much the same time Aristotle spoke of "...those nations which openly approve of sexual relations between men, such as the Celts and certain others."
The Christian commentator Bardaisan wrote in the early 3rd century that "In the countries of the north, in the lands of the Germans and those of their neighbours, handsome young men assume the role of wives towards other men, and they celebrate marriage feasts." Fellow Christian historian Eusebius ofCaesarea, wrote in the 4th century that "Among the Gauls, the young men marry each other with complete freedom. In doing this, they do not incur any reproach or blame, since this is done according to custom amongst them." Commentary on lesbian relationships is harder to find, largely because the mostly male historians of that period had little interest in what women got up to.
Whilst we cannot say that every single tribe followed the same pattern, the suggestion is that same-sex love was not considered odd or strange, or something to be stamped out. The Fenechus law codes of Ireland, which changed little under Christian rule, make no specific mention of homosexuality. The Tain bo Cualigne myth, itself committed to writing by monks during a period when Ireland maintained both Christian and Druid traditions, contains some beautiful love poetry sung by the warrior Cuchulainn over the corpse of his dead companion Ferdiad. The poem describes them as "men ~who shared a bed", and does so in entirely sympathetic terms.
During the 19th century it was common for European writers to refer to homosexuality as either the German .or the English vice, different predilections being associated with different countries. Whether this was in any way a hang-over of those early tribal attitudes, or simply a matter of nationalist stereotyping, is hard to say.
We have already mentioned Leviticus as a source for justifying later laws against gay unions. Another Biblical tale frequently quoted is that of Sodom and Gomorrah. Two angels visit Lot in the city, and the men of the city gather in a mob outside demanding to "know" the visitors ~ which a good many have taken to mean rape, though this is not actually stated. Many theologians have considered angels as essentially sexless, neither male nor female. The attempted rape (if such a thing took place at all) of a genderless entity could hardly be constituted as a homosexual act, or a heterosexual one either. Quite how it should be labelled is anyone's guess. Many commentators have focussed on the sin of Sodom as being inhospitality towards strangers, not a particular sexual predilection. By the end of the first century CE, an increasing number of Jewish and Christian thinkers, such as the historian Josephus, promoted the idea that the sin of Sodom was homosexuality. It is ironic that this tale should have been made into one of sexual morality, given that Lot's apparently religiously acceptable response to the mob was to offer his own two daughters up to be raped instead. Scarcely an icon of sexual probity.
Despite the proscriptions, there have been vicars, priests, rabbis and so forth over the centuries who have broken with tradition to bless same-sex unions. Often ending up in a good deal of trouble for doing so. In recent years those religions that stigmatise homosexuality have seen growing lobbies from within to either change their views entirely, or to distinguish between the sinner and the sin ~ that is, to tolerate gays so long as they are celibate. Much of the latter argument has been largely in response to assorted unproven psychological theories claiming genetic origins for homosexual desire. Those who subscribe to such ideas have inclined to the view that me urge is taken out of the realm of choice (and therefore can scarcely be condemned), it being only the decision to act on the urge that carries a moral value.
Pressure to change laws in Britain has been growing since the Victorian age, and has come primarily from secular and humanist sources. Whilst some religious voices have been in favour of liberalisation, the loudest have usually been conservative ones. Britain has yet to see the more extreme examples from America of evangelists picketing the funerals of gay people, and screaming abuse at the mourners. However, we still have many examples of people who feel it their moral right to spit at, or beat up suspected gays. Or to kick them to death, or bomb gay pubs. The views of such people are not bom in a moral vacuum, but out of generations of people being indoctrinated with the socially-sanctioned notion that homosexuality warrants violence or death.
In concentrating primarily on those religions that have had a strong influence on our British legal and moral system, I have not touched upon the wealth of sources from the Far East. Acceptance of same-sex marriages was common in China, as was nanshoku in Japan. Nor have I mentioned the diverse array of practices amongst the native tribes of North and Central America, some of which had third and fourth genders. Nor have we looked at practices in India, nor at the love poetry of Muslims such as Abu Nuwas and later medieval writers. Suffice to say that world is a vast and diverse place. Gay marriage is not some bit of contemporary political correctness. It is a long tradition, with its roots in the polytheist faiths of the ancient world, that has continued to grow and develop throughout the prominence of monotheism and secular humanism.
The earlier quote from the Vendidad relates specifically to how Zoroastrians are expected to behave. It makes no proscription as to the behaviour of non-believers. Clearly it is the right of each religion to demark what is and is not acceptable for their own followers. In exploring the attitudes of varying faiths, it is not my intention to suggest that religion A adopt the views of religion B, simply to comment on the source of those views. However, I would like to emphasise my personal view that the world would probably be a happier place if religions focussed on instructing their own devotees, and did not attempt to impose their laws on the world at large.
A review by Robin Heme
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Handout 2

What are the potential abuses of these kinds of power in the relationship between counsellor and client?

This exercise should be done bearing in mind everything you know about ethics, moral values, cultural identity and working with difference. Think about the differing constraints between the context of the counselling; eg private practice, doing outsourced work for EAPs (Employee Assisted Programmes) or other agencies, employment by the NHS or other agencies.

Ability to offer or withhold rewards, privileges or specialist services
Power to compel or punish the other into compliance
Having specialist knowledge or training
Possession of knowledge and the ability to communicate effectively
Power invested by law or status
Status of the two parties in relation to each other
Ability to meet the other?s emotional needs
Sexual power
Cultural power- belonging to the dominant culture (gender, race, sexuality, etc)
Social, class based power
Coping power- being more able to cope or function, emotionally or practically, than the other
Economic power
Being in possession of the territory
Any other kinds?



Janet Dowding 02.2010 saved as power
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Handout3

Attitudes Toward Difference Survey: The Riddle Scale
Put a check next to each statement with which you agree. Bracket the 2-3 consecutive statements that reflect your current range of thinking about lesbian, gay, bisexual, and transgender (LGBT) people.
___ 1. Homosexuality is unnatural and immoral. LGBT people are emotionally or psychologically ill.
___ 2. LGBT people should participate in reparative therapy or any other treatment available to help them change their sexual orientation.
___ 3. We should have compassion for LGBT people. They can?t be blamed for how they were born.
___ 4. LGBT people didn?t choose to be the way they are. If they could somehow become heterosexual, they would surely do so.
___ 5. Homosexuality is a phase that many people go through and most grow out of.
___ 6. LGBT people need our support and guidance as they wrestle with the many difficult issues associated with their lifestyle.
___ 7. I have no problem with LGBT people, but see no need for them to flaunt their sexual orientation publicly.
___ 8. What LGBT people do in the privacy of their own bedroom is their business.
___ 9. LGBT people deserve the same rights and privileges as everybody else.
___10. Homophobia is wrong. Society needs to take a stand against anti-LGBT bias.
___11. It takes strength and courage for LGBT people to be themselves in today?s world.
___12. It is important for me to examine my own attitudes so that I can actively support the struggle for equality that LGBT people have undertaken.
___13. There is great value in our human diversity. LGBT people are an important part of that diversity.
___14. It is important for me to stand up to those who demonstrate homophobic attitudes.
___15. LGBT people are an indispensable part of our society. They have contributed much to our world and there is much to be learned from their experiences.
___16. I would be proud to be part of an LGBT organization, and to openly advocate for the full and equal inclusion of LGBT people at all levels of our society.

Attitudes Toward Difference Survey Scoring Guide
Find the numbers below that correspond to the bracketed range on your survey. Read the attitude and characteristics that encompass this range. According to the Attitudes Toward Difference Scale developed by psychologist Dorothy Riddle, this is where you stand with regard to lesbian, gay, bisexual and transgender (LGBT) people.
1-2 Repulsion: LGBT people are strange, sick, crazy and aversive.
3-4 Pity: LGBT people are somehow born that way and it is pitiful.
5-6 Tolerance: Life for LGBT people is hard; anti-gay attitudes just make things worse.
7-8 Acceptance: Homosexuality is a fact of life that should neither be punished nor celebrated.
9-10 Support: The rights of LGBT people should be protected and safeguarded.
11-12 Admiration: Being LGBT in our society takes strength.
13-14 Appreciation: There is value in diversity. Homophobic attitudes should be confronted.
15-16 Nurturance: LGBT people are an indispensable part of society.
Adapted from: Riddle, D. (1985). "Homophobia Scale." In Opening Doors to Understanding and Acceptance. ed. K. Obear and A. Reynolds. Boston: Unpublished essay.
Your Rating:
1-4 Your personal feelings may be preventing you from accepting and respecting LGBT people.
5-8 You are somewhat accepting, but may not be willing to actively work against anti-LGBT bias.
9-12 You are willing to provide support and work toward equal rights for LGBT people.
13-16 You are able to fully embrace LGBT people as equal and valuable members of the community.
Food for Thought:
Are your attitudes toward LGBT people based upon experience or preconceptions?
Are you as accepting of LGBT people as you are of people from different racial, ethnic or religious backgrounds? Why or why not? Have you ever had an LGBT friend? How might your attitudes help or hinder you from being an ally for LGBT people? What can you do educate yourself about LGBT issues and improve your attitude with regard to LGBT people?
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Handout 4



Acceptance
One of Rogers? core conditions for counselling was ?unconditional positive regard?. Acceptance is a major aspect of this.

Much has been written about what unconditional positive regard might mean and what the difficulties are. One of the other core conditions is that of congruence, or genuineness. What are the conflicts between congruence and acceptance?

Classifying, stereotyping, prejudice
As human beings we are naturally prone to organising our world by classifying things:
?these things are furniture- this is a table, but that is a chair?
?that is a wren and that is a blackbird?

- and we do it with our fellow human beings:
?You are male, you are female?,
?you are black, she is white?

This leads to: ?you are like me, you are not like me?

? and stereotypes are born:
?men can?t express their feelings?,
?women can?t read maps?,
?black people can run faster?

And the judgements and assumptions based on the stereotypes creep in:
Scots are mean with money,
gay relationships never last,
black boys drive too fast,
These are clearly a barrier to seeing people as individuals.

It happens. We are all prejudiced, and we have all grown up absorbing the values and norms of society. However we can be aware of which ones are still active which dormant, and which have truly been changed by life experience.

Why is acceptance a prized attitude in counsellors?
An attitude of acceptance enables the client to feel free to explore their difficulties
? Without judgement
? Knowing that the therapist will not become involved in their lives
? Without having the opinions or values of the counsellor imposed on them
? Whilst maintaining their autonomy (ie no advice!)
? With the minimum of shame, which interrupts the process

As a counsellor the aim is to accept the client?s
? worth
? experience
? thoughts, feelings, desires and fantasies-
? identity and culture
? the validity of their values, even if they are different

?The subject matter of psychotherapy includes fantasies, fears, and feelings which patients find very hard to acknowledge, even to themselves? psychotherapy is a medium where the normal rules of social encounters are suspended and where it is safe to regress at times into kinds of behaviour which would be quite inappropriate in another setting.?
Holmes and Lindley quoted by Bond in Ethics of Counselling , 2000, p151

Acceptance of the client?s experience involves listening for the emotional rather than literal truth? clients often use metaphor, or use highly emotional language in order to convey the complexities of their inner world. Even when you suspect that another person might experience the same thing quite differently, it is the client?s experience which leads to the necessary understanding.

Acceptance of the person rather than their behaviour

Person centred theorists suggest that respecting the person and accepting their worth might be distinguished from the counsellor? feelings about behaviour.

Clients may exhibit judgemental, hostile, prejudiced or narrow views- they may admit to disloyalty, cruelty, to lying or cheating, to hurting someone else; they may appear to be incapable of love or empathy for others or for themselves? they may offend you your values or your principles? the behaviour may be out there in the world or in the room with you.

(NB Whether s/he admits it initially or not, the client may have come because s/he doesn?t like the behaviour either.)

The behaviour may be due to
? outmoded childhood survival strategies
? an avoidance of negative feeling- sadness, fear
? defence against shame
? entrenched patterns of relating
? a lack of self-worth
? unresolved trauma
? a history of being bullied or neglected
-and so on.

The following examples might illustrate this point:
? a teacher who tells you that she enjoys humiliating her pupils
? a man who makes it clear that a woman?s place is in the kitchen
? a client who swears aggressively throughout the session
? a client who considers beatings from her partner to be justified or normal
? a manager who brags to you about sexually harassing his staff

Acceptance of the client?s identity and culture

Person centred theorists haven?t generally paid a great deal of attention to cultural difference.

A cautionary note:

It?s vital for counsellors to be self-aware about their morals beliefs and values, to examine how thoroughly they have questioned those that they were brought up with to arrive at their own.

Where your values beliefs and morals are so different from the client?s and when the behaviour in question is related to the culture or identity of the client, beware the pull to ?love the sinner, hate the sin?. Taking homosexuality as an example: It is oppressive to cloak feelings of disapproval, repulsion or negative views of homosexuality in a warm but less than genuine regard for the client.

?Gay clients have no desire to be confronted by therapists who warmly offer to help them with a poor situation. In fact, such an attitude is one of the subtler forms of homophobia. Therapists who are unable to accept homosexuality as a positive and potentially creative way of being should recognize this fact and not take on gay clients: their fear, anxiety and ambivalence will inevitably be conveyed to their clients?.

(Woodman and Lenna, 1980) quoted in Pink Therapy Vol 2: Ed. Davies and Neal Therapeutic perspectives on working with lesbian, gay and bisexual clients. 2000, p100.

To summarise:
Acceptance in the Rogerian sense is an acceptance of the client?s experience and inner world.

Acceptance of this need not require you to like their behaviour (or allow it, if it violates your boundaries). However acceptance that it is as it is may help you to stay open enough to find out what lies behind it.

?Acceptance? can be experienced by some stigmatised minorities as patronising or pathologising; they might ask:

?What is there to accept? Who are you to say that I am alright by you? Are you judging that my way of being in the world is less valid than yours??


What are the challenges to us as counsellors in aiming to be congruent and accepting?

Where might your limits lie?

Which clients do you feel that you really could or should not work with?

Janet Dowding March 2010 Saved as Acceptance

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Handout 5

How does your internalised oppression operate?

In what ways does the way that you identify hold you back?

Do you stand in your own way because you have embedded beliefs about how your identity makes you unacceptable to others?

Think about which of your cultural identifiers make you a member of a stigmatised minority- even if it is mainly only in certain situations.

Have you internalised injunctions about how women, or (substitute your sexual orientation, religious background, ethnicity, etc) should be or behave?

If you are not in the dominant culture in your workplace, do you imagine that there is only so far that you can progress and still be liked by other people?

Do you sometimes feel / fear that people see you as a stereotype and not as an individual?

Do you find yourself acting out stereotypes?

Do you start to believe the stereotypes?

Are you hyper-critical of yourself, of others like you, of others different to you?

Do you blame your identity for a lack of self-esteem?

Do you blame your identity for a lack of academic or career progress?

Do you skimp on self-care or settle for less than what you really need?

Do your feelings of difference stop you from getting close to people?

Do you tone down your culturally determined behaviour to blend in or make yourself more acceptable, when with people not like you? (e.g. as a man in a group of women, be less macho / as an American, tone down your accent , as a Christian, choose not to mention your religious beliefs.)

If the stereotype about your identity is that you are prone to anger, do you spend a lot of time trying to be nice?

Do you wear a mask in certain situations either to hide an aspect of your identity or to make you acceptable in spite of your difference?

If the stereotype about your identity is that you are vulnerable, do you minimise your needs?
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Handout 6

AN ETHICAL DECISION MAKING MODEL


1. Identify the situation or problem and write a clear description

2. Whose problem is it?
? Practitioner?s dilemma?
? Shared dilemma?
? Organisational dilemma?
Consider all relational aspects

3. Check out relevant ethical frameworks and the law
? What is required by law?
? What is prohibited by law?

4. Consider the principles and values underlying the counselling work
? Beneficence ? what decisions and actions will achieve the greatest good?
? Non-maleficence ? what decisions and actions will cause the least harm?
? Justice ? what decisions and actions will be fairest for all parties concerned?
? Autonomy ? what decisions and actions respect and maximise opportunities for individuals to implement their own choices?
? Fidelity ? what decisions and actions honour the trust placed in the practitioner?
? Self-respect ? how should the practitioner?s own need for the above principles and values be taken into account?

5. Identify all available support

6. Identify all possible courses of action

7. Review each possibility by identifying which principles/values are brought into conflict by each one, and consider the impact and likely consequences of each.

8. Select the appropriate course of action. Take into account three tests:
? Universality ? could your chosen course of action be recommended to others? Would you condone it, if it was done by someone else?
? Publicity ? could I explain my chosen course of action to other practitioners? Would I be willing to have my actions and rationale exposed to scrutiny in a public forum?
? Justice ? would I do the same for other clients/counsellors in a similar position? Would I do the same if the client/counsellor was well known or influential (or was not)?

9. Document the above process carefully

10. Evaluate the outcome
? Was the outcome as you hoped?
? Had you considered all relevant factors?
? Would you do the same again in similar circumstances?

11. Review any personal impact the situation has caused
? How has this situation affected me?
? Can I identify any skills or knowledge areas that need to be developed?
? Has any need for personal therapy emerged?


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Handout 7

Boundary problems and dual relationships

Dual relationships are seldom neutral. It is necessary to consider their impact on counselling process and entering into them calls for careful consideration, not least because of the boundary issues involved.

? Direct dual relationships e.g. client and trainee; trainee and supervisee; line management and supervision; supervisee and friend
? Indirect dual relationships e.g. counselling someone when you know their partner; acting as a consultant for a training course when one of the students is a current client of yours; counselling a client who is the supervisee of your supervisor; counselling a client who is the supervisee of a colleague

In these situations it is necessary to consider confidentiality and the potential for compromising the efficacy of specific roles. Ethical principles that come into play include justice, fidelity and self-respect.

? Crossing boundaries - usually involves consideration, negotiation and has the client?s needs in the foreground eg client arrives with a flat tyre and without their mobile phone, so you offer the use of your phone or negotiating seeing a client twice weekly when your usual practice is once weekly.
? Breaking boundaries ? usually involves the intentional or unintentional use or abuse of a client, financially, emotionally or sexually

?A board-certified psychiatrist saw a woman in individual therapy for ten years. During the course of the therapeutic relationship, he negotiated with her to sell her two of his boats, sight unseen. Additional transactions involved sales of her personal property to him: Waterford crystal, china, and a silver service, the last of which as appraised at $1,600 but was purchased by the psychiatrist for $200. In the same year he accepted a refrigerator and a dining table with six chairs as gifts. During the course of these commercial trasactions, the patient had run up a significant bill with the psychiatrist. She sold her father?s coin collection to the psychiatrist for $1,000 as a means of getting one of the boats into the water. Within a year, the back repossessed the boat and the patient declared bankruptcy.?

(Norris, Gutheil and Strasburger 2003)

This seems improbable but illustrates the potential power of a practitioner. Less obvious forms of exploitation or enmeshment might include taking on a client with issues beyond your competance because of the need for work; over running sessions because of enjoying the client?s company; continuing to see a client within an organisational setting when they are no longer entitled to counselling, because of feeling no one else can help.

Breaking sexual boundaries

A US studies (Pope 1988) showed that on average 8.3% of male mental health professionals and 1.7% of female mental health professionals had sexually engaged with clients. Given that the respondents willingly gave this information it is reasonably to expect that others had sexually engaged with clients but did not want to disclose this.

Practitioners who sexually engage with clients often thought of as ?a scheming, malicious therapist overpowering ? perhaps by physical force ? a reluctant client? (Pope 1988 p.222). This is a misconception.

Common scenarios (from Pope 1988 p.223)


Role Trading therapist becomes the ?patient? and the wants and needs of the therapist become the focus of the treatment
Sex Therapy therapist fraudulently presents therapist-client sexual intimacy as a valid treatment for sexual or other kinds of difficulties
As if? therapist treats positive transference as if it were not the result of the therapeutic situation
Svengali therapist creates and exploits an exaggerated dependence on the part of the client
Drugs therapist uses drugs or alcohol as part of the seduction
Rape therapist uses physical force, threats, and/or intimidation
?True Love? therapist uses rationalizations that attempt to discount the professional nature of the relationship with its attendant responsibilities and dynamics
It just got out of hand therapist fails to treat the emotional closeness that develops in therapy with sufficient attention, care and respect
Time out therapist fails to acknowledge and take into account that the therapeutic relationship does not cease to exist between scheduled sessions or outside the therapist?s office
Hold me therapist exploits client?s desire for non-erotic physical contact and client?s possible difficulties distinguishing between erotic and non-erotic contact


Therapist risk factors (Norris, Gutheil and Strasburger 2003)

? Life crises
? Transitions
? Therapist illness
? Loneliness and the impulse to confide
? Idealisation and the ?special patient? ? ?I don?t usually do this with my clients, but??.?
? Pride and shame (this couldn?t happen to me: I know what I?m doing)
? Problem with setting limits
? Denial

These are a variety of circumstances that may create vulnerability for the therapist and so increase the likelihood of using a client or clients to resolve the sense of uncertainty, loneliness, stress etc, as well as evoking feelings that skew judgement and inhibit finding support and help.

Factors increasing client vulnerability

? a pattern of seeking enmeshment
? the difficulty of challenging therapist behaviour
? previous experience of boundary violations, especially early in life
? shame and self-blame
It is important to remember that whatever is happening for the client, it is always the practitioners responsibility to maintain appropriate boundaries. Boundary violations are never the fault of clients.

Damage done by therapist-client sexual contact (Pope 1988)

? Ambivalence ? feelings of alternately or simultaneously wanting to get away from the therapist and cling to or protect the therapist
? Feelings of guilt ? affected clients feel to blame, although the responsibility always rests with the therapist
? Sense of emptiness and isolation ? a sense of being cut off and worthless
? Sexual confusion ? including traumatic memories, avoidance of sex or compulsive sex
? Impaired ability to trust ? others and themselves for having trusted the therapist
? Identity, boundary and role confusion ? harm is done to the sense of a separate self and the ability to establish and maintain boundaries
? Emotional liability ? strong feelings including anxiety or depression that can overwhelm
? Suppressed rage
? Increased suicidal risk
? Cognitive dysfunction ? especially with attention and concentration

These affects are very similar to the affects of early trauma, rape and assault.

Approaching sexual feelings in counselling

The intimacy inherent in counselling gives rise to strong feelings ? positive and negative. Sexual feeling can be particularly problematic as:

? issues of sexuality are often neglected on counsellor training courses
? the problem is often downplayed or denied amongst professionals
? discomfort inhibits or blocks conversation about the sexual feelings that commonly arise for practitioners. For instance, research has shown supervisees are often reticent to talk about sexual feelings arising in their work in supervision (Webb and Wheeler 1998)



References

Norris, D., Gutheil, T. and Strasburger, L. (2003) ?This Couldn?t Happen to Me: Boundary Problems and Sexual Misconduct in the Psychotherapy Relationship? in Pyschiatric Services http://psychservices.psychiatryonline.org. Vol. 54. No.4.

Pope, K. (1988). ?How Clients are Harmed by Sexual Contact with Mental Health Professional: The Syndrome and its Prevalence? in Journal of Counselling and Development. Vol 67.

Webb, A. and Wheeler, S. (1998) ?How honest do counsellors dare to be in the supervisory relationship?: an exploratory study? in British Journal of Guidance and Counselling. Vol. 26. No. 4.



? Sarah Hawtin 2007

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Handout 8

Boundaries and the therapeutic framework



What are boundaries? What might they look like in the counselling relationship? Why are they important?

Boundaries form the limits of therapy and include time, place and emotional, psychological and sexual limits. Boundaries include the recognition that practitioner and client may well have different expectations and hopes about what is possible.

? Time/place ? expectations may be influenced by prior ideas about counselling; feelings of needing help and/or feeling able/unable to cope; implications of what is offered ? short term/long term; time limited and open ended

? Emotional, psychological and sexual limits ? need to recognise the constellation of feelings that cluster around relationships past and present; need, dependency, love, desire, security, frustration, abandonment, fear/anxiety, hate, jealousy etc etc

A practitioner needs to convey their commitment, understanding and willingness to help without becoming involved in a ways that:

? perpetuates the state/s a client is seeking to resolve
? primarily serves the counsellor
? undermines the client?s capacity to build trust in themselves, their feelings and their ability to act


Contracts

Contracts are mutually agreed limits ? usually including time, place, duration, confidentiality, payment and goals (do more of this in the working alliance weekend). Forming a contract is part of an open exploration of expectations and hopes. It makes boundaries transparent, therefore suppporting a client?s autonomy and helps with negotiation.


Boundaries and confidentiality ? the ideal and the actual

The most idealistic image of therapy is of the closed door, sealed against any intrusion. This can be taken literally and symbolically i.e. the idea of dedicated time, free from outside interference and with the total focus being the client. However, the reality is there are duties that may conflict. For instance, the duties of confidentiality and care may collide if there is a likelihood of self-harm or harm to another.

Mark Aveline (2001) has highlighted the professional, ethical, legal and employment obligations that are part of therapeutic working (see Figure 1 below). The responsible practitioner cannot ignore the realities of those institutions or individuals who are potentially affected by counselling.




Figure 1 ? Possible stakeholders in the counselling process.



The function of the therapeutic framework

The therapeutic framework is the constellation of boundaries or limits to working. This is always ?holding? (providing consistency, safety and in some instances a reparative relationship) and may also be illuminating (highlighting patterns of behaviour and feeling).

The use of the therapeutic framework varies between approaches:

? person-centred ? has a reputation for flexible boundaries, including variable length sessions. This needs to be understood as a proactive process of negotiation in reponse to client need, rather than being reactive.
? psychodynamic ? the framework is more consciously encorporated, because of wanting to ?use? the frame as a way of coming to understand a client more fully. The emphasis on transference also raises the need for appropriate and safe holding.



References

Aveline, M. (2001). ?Complexities of practice: psychotherapy in the real world? in eds. Palmer Barnes, F. and Murdin, L. Values and Ethics in the Practice of Psychotherapy and Counselling. Buckingham: Open University Press.


? Sarah Hawtin 2007
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Handout 9

Working with Transgender Clients
Tina Livingstone
B.Ed Hons, Dip Couns
Introduction
For the purposes of this document I shall refer to the client group as T, rather
than transvestite, transgender or transsexual, partly because counselling may
precede any clinical diagnosis and partly because it is an inclusive, though not
ideal, identifier for a rainbow of trans-identities that seems too diverse to
quantify into a tripartite system.
I write from the perspective of a non ?Trans, Client Centred counsellor with 15
years personal experience within the trans-community. Currently working in
private practice, my T clients are from all areas and walks of life, and include
those who self identify as transsexual, transvestites, and transgendered
people, those with clinical diagnosis of transsexualism, people pre- and post
gender transition, pre and post reassignment surgery, those struggling with
gender issues and indeed those struggling with other issues.
N.B
It is wrong to assume that T clients always come to counselling with gender
based issues, though there is no doubt that these can provide another layer of
difficulty even when the source of the struggle lays elsewhere
As with the rest of the population contact with myself as a counsellor often
occurs at a crossroads / dilemma junction or is the result of cumulative stress;
in the case of T clients such need may occur pre-, during, and/or post clinical
treatment. My clients come to me through advertisement and on
recommendation within the trans-community itself.
My professional experience is that the relevance of counselling to the
emotional and psychological health of T people is both significant and diverse.
The emotional / psychological pressure of being in a socially stigmatised
minority being one of the primary pressures.
It is my belief that ideally those who work with T clients should have some
grounding in the issues arising, relevant legislation, and current clinical
treatment, thus enabling connection with the clients frame of reference and
facilitating informed practice. (It can be off putting for a client to be met as a
curiosity or questioned about process and equally challenging for the
counsellor not to know what the client is talking about - detracting from
therapeutic process in both cases)
My experience is that the Humanistic approaches, acknowledging the right to
self autonomy, and providing a suitably empathic and non judgemental basis
for therapeutic process, are most useful with these clients.

XXXXX

i just need an executive summary of the campaigns book of Facebook. A writer already did some work for me so maybe its easier if the same one does it, cause it would be faster since I need it for today. But if that writer is not available then it doesnt matter if another one does it. Please if you can do it single space. Please let me know if there is any question.

Here is the campaign book:

Agency and Philosophy

Name and Slogan
Babble Group

"We Get the Word Out"


Team Goals

The goals we have set for Facebook include reaching full target audience awareness of Facebook, maximizing new profile registrations, informing/educating audience of service benefits and features, and building hype of Facebook to new and existing users. We will position Facebook against other similar social media outlets, and through our advertising efforts, we specifically aim to increase trial usage of Facebook by 15%.


Mission Statement

We work on a personal level with every client to actively and creatively communicate their ideas and attain their goals.


Corporate Philosophy

Our corporate philosophy is built on strategic planning, forward thinking ideas, and personal attention to our clients. Our standards are no lower than perfect and our team is no less than the best. We take pride in our originality, creativity, and acute attention to detail. Our commitment and dedication translates our clients' visions into realities. We get the word out.


Executive Summary




Situation Analysis


Company
Current Top 20 Social Networking Sites:
1. MySpace
2. Facebook
3. Bebo
4. BlackPlanet.com
5. Xanga
6. iMeem
7. Yahoo! 360
8. Classmates
9. Hi5
10. Tagged
11. LiveJournal
12. Gaiaonline.com
13. Friendster
14. Orkut
15. Live Spaces
16. HoverSpot
17. Buzznet
18. Sconex
19. MiGente.com
20. myYearbook

The dollar sales for social networking sites continue to grow rapidly every year; in 2005 MySpace was acquired by News Corp. for $580 million in cash. Facebook was offered $1 billion by Yahoo! but the founders decided to hold off. In August of 2006, Google made a $900 million agreement with MySpace to sell their ads on their site. It was reported by FOX Interactive that in the fiscal year of 2008, MySpace will have a revenue of $800 million, and this year it is estimated that Facebook will bring in over $400 million in revenue, whereas, in 2007, Bebo reported having $20 million in revenue.


Social networking sites have the power to bring people together, either to reconnect or to meet for the first time. They are used to share personal news, exchange photos, and have become a personal tool for daily communication. Social networking sites are being utilized for dating as well; thousands of people around the world have found true love while on these sites . The amount of interest these sites acquire from millions of people around the world, results in a high traffic flow within these sights during all hours of the day. This is a great strength for these web sites, as advertisers are searching for high traffic sites to place their ads, and they will pay large amounts of money to whoever has the highest amounts of visitors, hence why MySpace has such a high profit amount.


There is a social networking site for any interest ranging from dog lovers to band starters, and if there isnt, then there is a place where people can talk about their interests or start their own groups. These sites have grown to capture the interest of people of all ages because there is something for everyone. One may join a site to connect with old friends, maintain a relationship at long distances, promote a new band, or post pictures of their vacations for friends to see.


History of the Industry

It is these strengths of the social networking industry that are putting them at the top of the dotcom chain. The industry began in 1997 with a site called SixDegrees.com. The site only allowed users to create profiles and add friends, but by 1998, users were able to surf lists of friends. There were sites before SixDegrees that allowed users to find old friends and list them, however, users couldnt surf each others friends or create profiles. SixDegrees was the first to combine these features. This site was ahead of its time and attracted millions of people to connect and share messages with friends. However, it couldnt sustain its business because early adopters complained about not being able to do much after accepting friends and they were not interested in meeting strangers on the web. By 2000, SixDegrees.com closed.


Between 1997 and 2001 many community sites began supporting the concept of profile creations and gathering of friends. Sites like AsianAvenue, BlackPlanet, and MiGente allowed users to connect with friends whose profiles they found without having to get the approval first. Other sites include LiveJournal, whose founder created one-directional connections, where friends could follow each others journals and manage their own privacy settings, and Cyworld, a Korean virtual world, added social networking site features in 2001.


Beginning in 2001, Ryze.com was created in San Francisco by a close nitch of friends who wanted to connect to help people leverage their business networks. The founder kept it amongst his friends only, who were primarly in the business and technology communities. Included among them were the entrepreneurs and investors of many future social networking sites, such as Tribe.net, LinkedIn, and Friendster. These creators were close on both a personal and professional level and believed they could help one another. Eventually each site fell through, with Friendster being one of the biggest Internet disappointments in history. Below is a timeline (insert image here) of the launch dates of many social networking sites and dates when community sites re-launched with social networking features.




Characteristics of the Industry

Social networking sites should be:

-Functional: The site should provide all the features the user wants it to.

-Usable: It should be user friendly, if people cant access the features easily the network will suffer.

-High Performing: The site should be able to handle heavy loads or unexpected traffic spikes well enough to upload onto the users computer fast enough so that they dont get annoyed or bored by it.

-Aesthetically pleasing: The appearance of the site should be attractive to users, too much content should be avoided, or overpowering graphics.


insert chart here

This chart indicates some growth characteristics amongst top social networking sites. It clearly shows how much the number of visits a website recieves can fluctuate from month to month. MySpace is the number one social network site, yet in February of 2007 the visits indicated a -1% visits, while Facebook had 77%. The growth of top sites is clearly increasing from year to year, which can be seen in the number of market share and dollar sales. However, it is key to maintain a close eye on the monthly visits to calculate future growth.


Company History
Originally called thefacebook, Facebook was founded by former-Harvard student Mark Zuckerberg (while at Harvard) in 2004. Zuckerberg ran it as one of his hobby projects with some financial help from Eduardo Saverin. Within months, Facebook and its core idea spread across the dorm rooms of Harvard where it was very well received. Soon enough, it was extended to Stanford and Yale where, like Harvard, it was widely endorsed.

Before he knew it, Mark Zuckerberg was joined by two other fellow Harvard-students - Dustin Moskovitz and Chris Hughes - to help him grow the site to the next level. Only months later when it was officially a national student network phenomenon, Zuckerberg and Moskovitz dropped out of Harvard to pursue their dreams and run Facebook full time. In August 2005, thefacebook was officially called Facebook and the domain Facebook.com was purchased for a reported $200,000.

Facebook began with 200,000 users in 200 and grew in market share throughout the years. In 2006, Facebook had 10.59% of the market share and grew an amazing 51% in 2007 having 16.03% of the market share. One of its biggest growing markets right now is amongst business professionals. As for its profitability, Zuckerberg was offered $1 billion for purchase of Facebook. However, the founders know it is or will be worth more than that and turned down the offer to increase its profits and therefore its value.

Strengths and Weaknesses

Strengths:
-Truly compelling product
-Continual viral growth
-Virtually unlimited feature set
-High user retention

Weaknesses:
-Low revenue per user
-Currently only support English (limited market)
-Inexperienced in overseas market & culture
-High learning curve for new users

Facebook Reputation Characteristics:
-Fun
-Entertaining
-Helpful / Useful
-Organized / Unorganized
-Great tool to connect
-Distracting
-Addicting


Product or Service

Facebook is a social networking site that allows users to communicate and interact with their friends, family and coworkers in a trusted environment. Users can join networks organized by city, workplace, school, and region to connect with people. The site gives users access to such functions as adding friends, sending messages, sharing photos,, and updating personal profiles. When Facebook was initially launched in 2004, its primary focus was on college students. In order to join the social network site you had to have a valid email associated with one of the 30,000+ recognized institutions. Since then, the site has been made available for anyone to join, has grown to over 70 million active users (half of those users being outside of college), and has expanded worldwide. The countries with the most users outside of the U.S. include the U.K., Canada, Turkey, Australia, France, Sweden, Norway, Columbia, and South Africa. Today the site is home to over 55,000 regional, work-related, collegiate, and high school network.


Features


Profile

The Profile page contains all the information about users that their friends and people in their networks can see.


Wall
The Wall is a forum for users friends to post comments. Users can always remove comments they don't like from their own Walls. They can restrict who their Wall is visible to, or turn it off entirely, by going to the "Profile" section of the Privacy page.


Friends
The Friends page is the main source of finding information about Facebook friends. From the Friends page, users can find all of their Facebook friends, update their friend details and quickly navigate to specific friends' profiles.


Networks

Facebook is made up of many networks, each based around a region, workplace, or school. Being a member of a network grants users permission to view most of the profiles in that network and join most of the groups.


Inbox
The Inbox is where all users messages are kept. All messages are visible only to the sender and recipients. All Facebook messages are private between the recipients.


Updated Privacy Controls
The updated privacy controls work towards the goal of giving users the control they need in order to share information comfortably on Facebook. The two ways main updates: a standardized privacy interface across the site, and new privacy options available through this interface. Users can hide certain actions from their News and Mini Feeds and hide certain parts of their profile to specific friends.


Photos
Facebook allows users to upload unlimited photos and create photo albums from them. Each photo album can contain up to sixty photos. While adding an album, users can rotate photos, add captions, and tag the people in their photos. Also, a user's friends can "tag" them in their photos, Users friends can then view their photos and leave comments. Users can set specific privacy settings for each of their albums, making them visible to certain networks and friends.


Groups
With the Groups application, users can see groups their friends have joined, as well as navigate to their own groups, and create new groups. Users can always search and browse for groups to join from this page as well.


Marketplace
Marketplace is Facebook's self-service application for listing items for sale, housing for rent, jobs available, and so on. Users can use Marketplace to find things they want to buy or use, as well as list anything they are in the market for purchasing, renting, etc.


Gifts
Facebook Gifts are icons that can be purchased for $1 and sent to friends on Facebook. The icons are designed by Susan Kare, the designer of the original icon set for the Macintosh computer in 1983.


Facebook Chat
Facebook Chat enables users to communicate with friends in real-time without any additional installation and without having to create a separate buddy list. It pops up within the Facebook window, and functions similarly to messenger programs such as AIM and MSN Messenger.


News Feed
News Feed is a constantly updating list of news stories about users friends' activities on Facebook; it shows the date and time of users' activities and is the main section of the homepage. For example, when users upload new photo albums, the friends of these users may receive a story about this in their News Feeds.


Mini-Feed
Mini-Feed allows users to quickly and easily see what the people they care about have been up to. When looking at a profile, Mini-Feed will show the most recent Facebook actions by that user. The stories that are listed are all actions that a friend would have been able to see by clicking around the site.


Events
The Events application is a great resource to let friends know about interesting things coming up in the community and to organize social gatherings. Users can create an event, upload photos, describe the details (date, time, location, attire, etc), invite friends, and see who has RSVP'd. The Events page contains all of the important information about a users Facebook events.


Facebook Ads
Facebook Ads is an ad system for businesses to create a presence on Facebook, spread information virally and to target advertising to the exact audiences they want. Advertisers have the ability to target specific demographic groups on Facebook, and even utilize profile interests to target audiences. Facebook Ads consist of three elements: Facebook Pages, Facebook Beacon, and Social Ads.


Mobile
There are three mobile options for using Facebook on the go: Mobile Web, Mobile Uploads, and Mobile Texts. Facebook Mobile Web is an alternate version of Facebook specially designed for mobile phones. It includes just about everything from the regular site, and it fits on a mobile screen. Facebook Mobile Uploads allows users to upload photos and notes from their mobile phone straight to Facebook. Facebook Mobile Texts allow users to connect with friends and look up info on Facebook by using their phones to send and receive text messages.


Product Research


Currently there are about 70 companies developing applications for the Facebook Platform, a development platform that enables companies to integrate with the website and gain access to the millions of users through the social networks. By creating these applications, companies will have the ability to reach many people and build a business that is relevant to peoples lives. Some of the companies in the process of developing applications include Amazon, Forbes.com, Microsoft, Red Bull, Warner Bros. Records, and Virgin Mobile.


Target Market

Primary
Although Facebook started out as an online social network specifically for college students from the United States, it has since expanded to allow anyone to join. There is still a very large college membership, with 85% of all college students using Facebook, however, there is a growing number of users outside of this category and outside of the United States as well.


Though the range of Facebook members vary, the majority of its users arein the 18-34 year old range. Members are split mostly even between male and female, with the female population being only slightly larger than the male. 40.2% of all users are from the United States, the second largest group is the United Kingdom with 9.5% and Canada s third with 6.9%. The high percentage of students who comprise the Facebook user population reflects the average household income, with the average being less than $25,000 annually.


(insert chart)

The average Facebook user is young and on the go; they lead a busy life and find it hard to keep up with not only school, work, and their friends. They like the ease and quickness of talking with their friends, finding out about social events, and planning their own events on Facebook. They spend money on entertainment, whether it is going out with friends to a club or bar, or going to the latest movies or concerts. They are up-to-date with the newest technology and the latest gadgets. These young adults are just starting out their life beyond school; they are making contacts in the business world and working towards their careers.


Secondary

The secondary market are 35-54 males and females from the United States. Similary to the primary group, this group is split about half male and half female with a slightly larger female population. This group consists of adults already established in their careers. They use Facebook to reconnect with old friends and classmates that they might not be able to talk with otherwise. They have, or are starting, families and have different priorities and habits than the younger user group.


Brand Distribution


General Growth

Currently, Facebook has more than 70 million active users and is the 6th most trafficked website, and 2nd most-trafficked social media site, in the world.


User Demographics

There are over 55,000 regional, work-related, collegiate, and high school networks within Facebook. Over half of these users are outside of college, with the fastest growing demographic being 25 years old and older. Facebook currently maintains 85% market share of 4-year U.S. universities.


International Growth

Second to the U.S., the U.K. has over 8 million active users. Canada is the third largest country with over 7 million users. Remaining countries in order of active users (after the U.S., U.K., and Canada) are Turkey, Australia, France, Sweden, Norway, Colombia, and South Africa.



Applications

Applications are a growing trend on Facebook with more than 95% of Facebook members using at least one application on the site. There are over 20,000 applications built on the Facebook platform with 140 new ones being added every day. Additionally, Facebook is rated the number one photo sharing application on the Web, there are more than 14 million photos uploaded daily.



Future Prospects for 2008:

* Facebook will break the 125 million user mark
* There will be over 37,000 different Facebook applications
* Facebook will license its platform to 3 major social networking sites
* It will be the top social networking site in over 13 countries
* There will be a Facebook platform 2 with more features and options
* Facebook will hit over $400 million in revenue
* Facebooks unified payment system will bring the beginnings of ecommerce to a social ecosystem that generates over 300 million in transactions





Co-op Programs

Growing popularity of Facebook along with versatile mobile phone usage on the go has created new co-op opportunities. In August of 2007, Facebook released a version of its sight specifically for the iPhone so people could check the website wherever they were. This application offers many of the same features as logging onto the web through a computer such as: news feed, pending requests, profile, wall, friends status updates, friends photos, and inbox reading and composing. This application offers all these features but in a different format that is simplified for iPhone use. The feedback has been positive, many Facebook users want to log in to check their Facebook while on the go, now they can easily do so on their iPhones.



Promotions for the Facebook-iPhone deal have been seen in commercials as recent as May, 2008. Apple announces in the commercial, If you love Facebook so much that you check it all the time on your computer, just think how great it would be to check it every timeyoure, well, nowhere near your computer. This is the first time Apple has used a web application on the iPhone in a commercial, which says a great deal about the growing significance of Facebook in its users everyday lives.



Future prospects show that Facebook users might be able to spend even more time on their favorite site. As of January 2008, Facebook and Nokia have been working on plans to incorporate Facebook as a prominent part of Nokias phone menus. It may be incorporated in a way similar to how YouTube is shown on iPhones main menu buttons. Additionally, this deal involves Facebook having a place in retail displays for Nokias products. Other discussions for this co op have included Nokia possibly purchasing a stake in the company as well. This Nokia-Facebook deal will give Facebook huge mobile distribution considering Nokia is the worlds largest maker of mobile phones.



Competition


Primary

Facebook is one of many social networking sites on the market at the moment. To its credit, Facebook ranks second out of the top twenty contending sites. Its primary competition being the immensely popular MySpace; Bebo and Blackplanet come in third and fourth place, respectively.

Secondary Competition

Facebook must compete with a multitude of sites that extend similar services to their customers on a daily basis. Sites such as Photobucket, which allows you to share photos, and YouTube which allows its members to share movies, both offer services one might find on Facebook. One of the companys newest features is its instant messaging option called Facebook Chat. Users will be able to communicate with friends in real time, an idea previously dominated by AOL and its instant messaging software AIM. Competing with AIM and currently dominating the European and Latin American markets is MSN Messenger; both programs are highly recognizable and extremely popular throughout the world.

Market Share
Myspace: 80.74% of the Market Share.
Bebo: 1.18% of the Market Share.
BlackPlanet.com: 0.88% of the Market Share.

Competitors' Products
All of Facebooks primary competitors offer similar products and services to their users. Myspace, Facebook's primary competitor, offers a wider range of customization than Facebook does, and allows users to have the ability to post songs, images, and videos on their pages. Myspace has the same messaging and friend interaction as Facebook, with every user having a "wall" area where friends can also post comments, images, and videos. It also has a groups feature, which allows users to create and join specific interest groups. Myspace does provide its users with a broader range of artistic outlets and forums; musicians and bands can have pages where members can friend, listen to, and even download their music.

Competitor's Goals and Attitudes
Facebooks competitors, especially Myspace, seem determined to satisfy user needs, changing and accommodating their product as user demands change. The ever changing needs and wants of members directly affects the goals of these companies, driving them to seemingly endless tweaking of their products. The aim and ultimate goal is to satisfy as many people in as many areas as possible.

About the Competition:

MySpace.com

Specs: Employs 300 People

The 100th millionth account was created in August 6,2006

It is internationally utilized

Creates revenue through advertising.

Co-op with Google to provide a search facility

Contains standard sections where users can describe themselves

Allows users to personalize their pages using HTML coding or private sites where layouts have already been made

Music can be streamed and downloaded

Photos and movies can be shared and streamed

MYSPACE IM

Classifieds section

News Section

MySpace Mobile

Newly introduced MySpace Karaoke.

Bebo.com

Founded January 2005

International usage

Purchased by AOL March 2008 for 850 million dollars.

Includes Sections where users describe themselves

Includes a comments section

Pages can be personalized using Bebo Skins

Allows users to share pictures

Allows users to limit access to profile

Allows users to view what changes have been made to their friends pages

Allows users to see who have viewed their own profiles.

Instant messaging is provided

The site offers music to users

Blackplanet.com

Launched in 1999

It is considered a niche social networking site because its geared to the African American community

5th Most frequented social networking site

It is the only Race Specific site in the top five

There are 16.5 million members since June of 2007

Offers it users personal from celebrities such as Kimora Lee Simmons

Provides widgets

Groups

Chats

IM feature

Videos

Music



There is a distinctive pattern amongst most social networking sites, as seen above these sites are geared towards bringing people together. The features vary slightly from site to site, however there seems to be a domino effect as far as the adoption of these tools. MySpace the number one social networking site (and Facebooks Largest competitor) seems to be the most complicated of the three as far as being user-friendly is concerned. Again the goal of these sites is to bring people together by offering the most innovative and creative way to do so.







Advertising

In the beginning, Facebook primarily targeted college students through word of mouth, branding itself as a forum-like website to connect with friends. In fact, the company once required an official college email address to be eligible for membership. It has relied mainly on viral marketing, marketing techniques that use pre-existing social networks to produce increases in brand awareness, through self-replicating viral processes. Students are offered the ability to connect with friends, share photos, and swap music tips. While on the site, they consume ads from Generation-Y brands such as Apple, Jeep and Red Bull.

Facebook has a new vision that includes spanning from just a social networking site to a professional networking site. The company wants to build a much larger base of users and is targeting both younger users as well as older professionals in addition to its traditional base of college students. The companys initial efforts have been focused on older users, defined as professionals in their 30s and 40s. It has begun with the more technology savvy audiences in the high technology industry. To attract new users, it has created networks for large companies such as Ernst & Young and Citigroup, each having gained thousands of members. Facebook is supplementing generation Y ads with high-technology ads. Most of Facebooks revenue now comes from Microsofts banner ads. The company is also directly selling more interactive campaigns such as profiles and stories that appear in a users news feed. These include things such as Hewlett-Packard computers and PNC Bank financial services.


Facebook is also transforming itself into a platform for new applications to attract a broader audience. It has more than 3,200 new applications on its site, the strategy is to organize literally everything on the Internet. Applications enhance Facebook as a social hub, but also as professional hub serving recruiters, manager and colleagues seeking to hire and promote job candidates. It also tracks consumer tastes to help vendors better target their products and services.

Facebooks campaigns are very successful. Total registrations in 2007 quadrupled over those in 2006. In June 2007, 11.5 million of Facebook visitors were 35 or older, more than double the number a year before. Also, according to Ricadela, this age group now accounts for more than 41% of all Facebook visitors.

On the social network front, MySpace is Facebooks main competitor while LinkedIn is Facebooks major professional network competitor. Like Facebook, these sites have relied mostly on viral marketing techniques instead of traditional advertising. However, Facebook has a more upscale audience than MySpace and is winning against LinkedIn by generating more buzz and excitement and avoiding the button-down feel of LinkeIn. Another difference is that MySpace has encouraged users to create new identities, meet and link to people they barely knew while Facebook has emphasized authenticity and identity.


Primary Research


Focus Group Themes


Privacy Concerns

One of the primary themes noticed throughout the focus groups was a general concern of privacy by social network users. Some people are concerned with who is joining Facebook and what those people can view on their profiles. Others feel they do not know enough about how to use privacy settings and who can access what information. Although people have these concerns, in comparison to other social networks, they also feel that Facebook is more secure than other social networks such as Myspace.



It appears that people like to "see but not be seen on social networks." One of the positive aspects of a social network such as Facebook is that you can stay connected with your friends and always know what is going on, which seems to also be a general theme of our focus groups. However, with new changes to Facebook such as the mini feed, people are giving up some of their privacy. When they leave comments on their friends walls or make changes to their profiles, it will be displayed on the main display page when their friends log on for anyone to see. This was not perceived in a positive light when it was first added, however, people have learned to enjoy stalking people as one student explained in the focus groups. One participant commented on this by saying, I like to know what other people are doing. Not when people can see like, you know, on my own page like all the stupid stuff. Like, Jessica talked to this person. I dont want you to know that I did this or I did that.



Of all the concerns of privacy while using social networks, one of the biggest complaints has been how Facebook has changed from being a college network site to opening up to anyone with an email address who wants to join. "I started to, not hate Facebook, but not like it as much, because once everyone could start joiningthey did it for high school students and I was like okay, theyre still in school, thats alright, but then everyone can join? Whats the difference between Facebook and Myspace now?" Another student added, "I thought that Facebook was pretty innovative when it first came out because it was only meant as a college websitenow that it opened up to the public its kind of diluted the concept of it."



Many students interviewed expressed feelings of concern that their parents, employers and even grandparents were joining Facebook and they felt a distress as to what these people may see on their profiles and how it may affect their personal or work lives. A student expressed his concern by saying, "when they hire somebody, they go and search their Facebookit makes me nervous." Another student commented on his father joining Facebook by saying, "he joined under a fake name, and the picture is not him, and he friended me, but I limited him to my profile because I dont want him to see everything onmy page." Although Facebook has continued to improve and update the privacy settings available to users, a few students were still unaware that they could change the settings, and did not know how to do so. This has become an issue for many Facebook users.



Many of the students that participated in the focus groups have a negative perception of the older adults who have joined. Supporting this point, one student commented, I just feel like if you are that old, and youre not in college and youre joining Facebook now, it makes me feel like youre perverted. She continued to agree that she was creeped out by the idea of older people joining Facebook.



Although these are concerns related to Facebook, focus group participants expressed an even stronger concern for privacy on other social networks such as Myspace, since it has even more of an array of people and age groups. One male commented, Myspace is just everyone though, cause you can have like middle school, even elementary school and then some 80 year old women down the block who wants to be friends with you on Myspace. Also, social networking sites such as Myspace allow users to change their name, age, and hometown as often as they wish; another major privacy concern leading to users not knowing who is friending them.


Lifestyle



One major theme that came out when conducting the focus groups was that Facebook has become more than just a social networking website, it has become integrated into peoples everyday lives and is part of a lifestyle. All of the participants said they had Facebook accounts and made it clear it was something they checked frequently. When the participants were asked what websites they visit most often when they are on the Internet, most responded that the first thing they do is check their e-mail and then their Facebook account. One participant said I check Facebook and my e-mail throughout the day. It seems that Facebook has become just as important for people to check as their e-mails.


Facebook has quickly become more than just a place to socialize with friends. Now it seems that people depend on the social networking site to keep track of their lives. This is not hard to believe considering the array of features Facebook offers its users. One participant stated I rely on Facebook to document my life. Users are also using the site to keep track of their friends lives as well as their own. One participant described Facebook as US Weekly for the non-famous because you always can see what your friends are up toI can see what everyone did last weekend, what parties are going on, if they are looking bad or good.



Facebook has become such a big part of peoples lives that some view it as an addiction or obsession. When the participants were asked how they would be affected if Facebook was deleted, the general response was that they would be very upset. From the responses it seems that Facebook is such a part of their everyday lifestyle, they would be lost without it. One participant stated, I just rely on it for so much today, while another said All of our pictures would get lost! That would suck. The Facebook addiction that most people claim to have is also something that turns people off to the idea of the website. One participant said that a friend of hers does not have a Facebook account because theyre afraid they might get addicted to it so they prefer to just stay away completely. Another participant described her relationship with Facebook as an on and off relationshipsometimes I feel like I get too addicted and I dont want to see it so I delete my profilebut then I miss it so I get back on.



Benefits
Throughout the focus groups, a main point that all of the participants talked about were the various benefits of Facebook. Though there are a wide variety, some reasons were a bit more recurrent than others. Some of these included keeping in touch with friends, business networking and sharing photos among other things.

Keeping in Touch
When prompted as to why so many of the focus group participants used Facebook, most of them said the main reason was to keep in touch with their friends. Whether they were trying to stay in touch with highschool, college, or current friends, all of them used Facebook for it. One participant said, "I joined [Facebook] in high school because I wanted to keep in touch with my friends while I was in college." Another participant who had recently graduated from college said, "I use it just to keep in touch with all my old friends... I graduated from school already so, that's my main reason for using it right now, to keep in touch with my old classmates." The students still in school seemed to want to reconnect with their gradeschool friends.
Users also like Facebook because they can keep track of all of their current friends. When talking about this subject, one participant responded, "Facebook is like US Weekly for the non-famous, because you always can see what your friends are up to... I can see what everyone did last weekend, what parties are going on, if they're looking bad or good." There is a definite voyeuristic aspect to this benefit of Facebook; you have the ability to see what all your friends are up to without them actually knowing. "I use [Facebook] to keep in touch with friends. I always know what they're up to."

Business Networking
Another benefit that arose in the focus group discussions was business networking through Facebook. One participant said that his company had started a network on Facebook, a useful tool for the college graduate on Facebook looking for a job. Another participant mentioned, in regard to networking on Facebook, "I would use it to look for networking. If I had an old college friend and I knew they did a certain thing, I'd contact them."

Facebook as a College Aid
A benefit many of the college students in the focus groups appreciated was the fact that they could use Facebook as an aid in college. "[On Facebook] I am friends with people in my classes, so it makes it a lot easier to communicate with classmates whenever I have a question, or when we have to do group projects..." said one participant. Another participant mentioned, "I use facebook because it is just a college reference, for classes and stuff."

Photos
Many of the participants really liked the photo storing and sharing aspects of Facebook. Besides the previous mentioned benefit that you can see your friends, how they look, what they are doing, one participant said that she liked "anything relating to pictures..." and that she "loves the albums." Also, when asked how they would be affected if Facebook were deleted, they were devastated by the thought of all of their tagged pictures being gone forever.

Classifieds
Surprisingly, Facebook seemed not only to serve as a site for networking, but also as a classifieds or a community bulletin board. This section, called the Marketplace, is a section on Facebook where members can items for sale, housing, jobs, and free stuff. A participant even told the group "I found my roommate through Facebook."

Superiority of Facebook

User Friendly

After reviewing our primary research we found that Facebook users find it easier to navigate through its pages, as compared with other social networking sites. The organization of the pages, and the flow of the site have given it high usability, making it easier for users to read and understand so that they can move along the site without confusion. A participant described Facebook asclean and easy to read



Nice Layout Format

People commented that although Facebook has some clutter because of the new applications, they are still in the grid, in separate boxes that make it much more organized than other sites. MySpace was described by the focus group participants as having too much clutter, and the freedom to customize your individual page however you choose is a main reason for the clutter. Having a universal layout for everyones profile has become an advantage fr Facebook, because it has made the site appear more classy, clean and simple. Regular Facebook users even say that it is more mature because of it; everything is laid out well, like you can say here is my inbox, here is my profile so that makes it really easy to use

Survey Data and Results




Target Market Profile


Primary Age 22-34

Dan Oliver is 27 years old and just finished Graduate School. He recently moved to Chicago and is looking for a job as an accountant; he is networking and trying to make new friends. His 10 year high school reunion is coming up, and Dan has been making an effort to get a hold of his old friends and see if they will be attending. However, it is difficult to get in touch with them because of his busy lifestyle. When he is not working or making business contacts, he plays kickball with an adult kickball league he just joined; they drink beer every Friday at their neighborhood bar. His sister just had a baby, but he hasnt even seen her yet because he is too busy to fly home.



Secondary Age 35-54

Kate Benson is 43 years old lives in a suburb of Hartford, Connecticut with her husband and two kids Jack, 10, and Lily, 7. When shes not running her home-run jewelry business, she keeps busy by taking her kids to soccer and cello practice, and planning events for the PTA. Over the years she has lost touch with her best friends from high school, but is trying to reconnect with them and plan a girls trip. She is finding it hard to get in touch with her friends, since many of them have moved or changed their phone numbers.


SWOT Analysis


Strengths



Real-World Network

Facebook is a social networking site that has grown exponentially since its conception; this growth is largely in part because its strengths heavily outweigh its weaknesses. Some of Facebook's strengths include its clean layout, privacy features, open platform features, and addictive properties.



Clean Layout

Facebook's aesthetics feature a clean, grid-based layout and easy to navigate site flow. The use of one universal look for each user's page has prevented it becoming as cluttered as other social networking sites such as Myspace, whose clutter seems to stem from the open-ended, endless customization of a user's page. Although this can be perceived as both a strength and a weakness, we found that most people liked the clean layout because it looked more mature, professional, and trustworthy than other social networking sites. Users can still customize their pages by the use of applications, but all are contained within the grid structure of the page, still keeping it very clean and simple.



Privacy
Mostly, Facebook heeds its user's requests concerning privacy features. To ensure that its users felt safe, Facebook has implemented privacy settings that can be changed for everyone who sees your profile, or limited profile settings to allow certain people to only see portions of your profile. As more and more users are being allowed onto the site, Facebook has grown and expanded its privacy settings to satisfy its users' needs.


Uniting Communities

Facebook's network feature has become a useful tool in connecting communities. Now, not only are there networks for colleges and cities, bringing students and members of a town together, but also businesses are beginning to create networks. People meet new friends and even love interests on Facebook; people who meet someone they like can go online and "Facebook them" to get to know them a little better. All of this has helped bring communities of people together.



Addictive
Facebook's addictive tendencies have become a great strength for it, all of its features where others can tap into others lives and the curiosity that drives them has made people become attached to the site like white on rice! The fact that the site sends you a notice when someone adds you as a friend or writes on your wall forces one to sign on and check it out for a while, its almost an excuse people use to get on, and once they are there, they will continue to use other applications and navigate through its easy user interface. The service is truly persuasive and convincing.


Open Platform

Facebook recently became an open platform site. Anyone has the opportunity to create an application to be put on users' Facebook pages. This freedom to personalize applications has created a myriad of different features that Facebook users can pick and choose to put on their page. This is a definite differentiation between Facebook and other social networking sites.



Partners
Relating to its last strength, Facebook has acquired partners and 3rd party applications these are companies that use Facebook for peer-to-peer networking and provides them with a platform to launch their applications. For the revenue generating applications, the high volume of user data and implicit targeting make the site extremely powerful for them. Facebook has picked up great momentum on the internet, they are getting a lot of attention from millions of people around the world as well as from big companies like Microsoft and Google who also want a piece of the site. The users they have acquired are loyal and do not seem to be going anywhere anytime soon.




Weaknesses


The good thing for Facebook, as a social networking site, is that it has very few weaknesses. It is perceived as being the top social networking site to the majority of people for many different reasons, however, there are a few areas that could be improved upon.



Privacy

Privacy is a main concern for people when joining any social network site. You are displaying your personal information on the web for anyone to see. This raises concerns for many users. However, recently more people are concerned with privacy on Facebook since it has switched from being a college site, to being open to the public for anyone to join (including parents, coworkers, employers etc.) Changes have been made in the variety and extent of privacy settings available on Facebook, however, it seems that many users are either unaware or do not know how to use these new privacy settings. Therefore, it still seems to be a concern that is lurking in the minds of social network users.



Customization

Many people have praised Facebook for its simple/clean layout and design. Facebook is constantly updating its site and adding new features and applications. Currently, with 140 new applications added per day, Facebook has over 20,000 applications on its platform. These applications have taken off and become new additions to many Facebook profiles. The extent to which you can customize your Facebook profile ends at adding applications and moving them around on your profile page layout, and some people view this as a weakness in comparison to other social networking sites such as Myspace, which allow you to completely customize your page from the background design, font, colors, and music and videos that automatically begin when you open a profile page. Therefore, customization limits on Facebook are seen as a strength for some people and a weakness for others who enjoy customizing their profile pages.


Threats


Myspace and other social networking sites

There are many websites and other social networking tools that compete with Facebook. One of Facebooks biggest competitors and threats is Myspace. Myspace, like Facebook, is a popular social networking site that offers an interactive site for its users to make profiles, post pictures and blogs, and connect with friends. Since Myspace was launched before Facebook and from the start was open for anyone to join, they gained an advantage over Facebook. Currently Myspace has over 110 million active users, as compared to Facebook which has more than 70 million active users. There are also other social networking sites that can be seen as threats to Facebook such as Friendster and a few other small sites. However, they are not seen as major threats to the Facebook market share.



AIM / MSN Messenger

Aside from the competing networking sites, other communication tools such as AIM and MSN Messenger are viewed as threats to Facebook. People use these messaging systems as an easy way to chat and catch up with friends. With these services, users also have the option to create profiles, put up away messages, and have a customizable symbol to represent them. These messaging services are threats to Facebook because they are used as alternative methods to contacting friends and can be used in place of Facebook.


YouTube / Photobucket

Some of the most popular websites are those in which people can share video files and images, such as YouTube and Photobucket. YouTube is the most widely used video sharing website today. Before YouTube there were few methods available to post videos online for the everyday computer user. YouTube created a simple, easy to use interface for users to upload, view, and share video clips. Photobucket is also a video hosting website where users can upload videos as well as images and create slideshows and photo albums to share with others. Although these sites offer the same service of video and photo sharing as Facebook, they are not as threatening as other social networking sites because they do not offer users any other features that Facebook offers.


Opportunities


New Markets

Although Facebook holds the highest market share for social networking sites among college students, they have only recently began to expand beyond that. There is a large opportunity and large group awaiting them in the older demographic; Facebook must not only work to capture this significant market, but also to maintain the popularity with their original user base, making sure not to alienate them. Another market that Facebook has the opportunity to delve into are the MySpace users. Facebook must address what they can offer that MySpace can't, and what features are better with them, but there is possibility for stealing some of MySpace's market share.


Fully Integrated Platform

With the current flux of internet growth and technological developments, there are a wide array of opportunities in store for Facebook; there are many current trends in the internet that Facebook could build upon. People use YouTube for sharing videos, Flickr for sharing photos, iTunes store for buying music, and so on. There is an opportunity here for Facebook to integrate many of these online trends into one functioning platform. They have already begun to integrate more and more features into the social site, but Facebook could expand to have one central place where users could talk to their friends, listen to and buy music, share videos, share documents, and even buy products that relate to them and their interests. Not only could this be a possible way to generate revenue, but it would also set them apart from other social networking sites. Facebook could create a new category within the social networking site genre; a fully integrated website that could branch out from social interaction and become an entirely new internet obsession.


Objectives - Measurable

Sales

Communication:


Advertising:
Creative Objectives:



Through our ads we want to efficiently reach our target market so that they become more aware of Facebook.com and all of its features. We want to build familiarity of the site to a piece of market that doesnt traditionally believe they have use for these services, but the ads will showcase the advantages to the consumers once they become members.

We wish to gain more profile sign-ups and increase frequency visits to the site. The ads should reflect Facebooks simplicity and wittiness. They will also be memorable and flaunt the sites personality and style. Our market should see the obvious benefits of the site and fall into what those of us in the Facebook world knows it as: addicted!





Promotional Reunions:



Strategy: The target cities chosen will be those that lie within the top thirty DMAS. Because some lie relatively close to one another we will make sure to spread them out evenly throughout the country. We will start by contacting the party planning companies being used for the chosen schools; we will offer our services free of charge and make sure they know how incorporating facebook at their event will benefit them. The participating reunion companys name and information will be displayed on the class Facebook page and on a special section of the Facebook homepage. The name of these companies will also be featured in any press kits/releases, junkets etc. providing them with free publicity. All photos taken at the reunion must be supplied to the company in their original resolution; an agreement allowing them to use the photos for promotional purposes will be drawn up as well. An agreement stating that Facebook (or any other vendor/contractor) will refrain from selling, manipulating or distributing the photos in any way other than to post them on the Facebook website without written permission from the participating company and any person visible in the photograph.

Our goals for Facebook are to increase trial usage in the 22-54 year old markets in a fun creative and innovative fashion. We plan to have 2-4 booths at each reunion, depending on the space and size of the actual party. We will send out a general footprint for the booths which is about 3 ft by 4 ft to the reunion companies in order to make sure the proper space is allocated. The photos taken would be directly uploaded onto the Facebook page created for the class It would be completely free for the attendees. Facebook will be responsible for employees who will man each photo booth, help with questions, and show attendees how to set up their pages. Facebook will be responsible for moving the photo booths, installing them, maintaining them and shipping them. The idea is for our company to add to these special events making the memories last as long as possible, we feel that our participation will do just that, add to peoples lives.

Rational: Why show up at high school reunions you ask? Simply to lead by example, with these parties facebook goes from the talked about to the well known. People in our demographic age, specifically the new users are at a stage in their lives where they may not find it pertinent to seek out a social networking site, we at face book found an easy solution to this problem, go to them. We are giving potential users a reason to join, keep in touch or as it is seen at the reunions (KIT). At these events we will include an extension of our campaign with the reunion theme KIT or Keep in Touch. Any ads , flyers, banners or posters will appear exactly as they would otherwise with the exception of the letters KIT written along the bottom of our tagline Satisfy Your Curiosity in a handwritten font. Our rational behind this is as follows, new members begin using Facebook to remain in contact with old classmates, and soon begin to use the site and its many other features, finally leading them to speak and tell others about it. At Facebook we dont just believe in telling people to do something, we want to be there to show them; we want to convey a feeling of friendship, fun and camaraderie.

Public Relations:



(Company Logo)







Contact: Katrina Bravo FOR IMMEDIATE RELEASE

Tel. (305) 455-2710

Email: [email protected]





FACE BOOK TAKES ON HIGH SCHOOL REUNIONS

(Enticing a whole new demographic)



Face Book is set to take on a whole new arena in the rapidly growing social networking game; the players are men and woman between the ages of 24-55. Face Book will be launching an aggressive campaign making their services known at high school reunions around the country. The social networking site Face Book was created and launched in February 2004 by Mark Zuckerberg has up until recently, been geared towards a younger market, mainly, college-aged young adults. Members frequentthe site several times daily in order to use the many applications offered to them but primarily, to keep in-touch with old friends. Currently 70 million people around the world call themselves members, so, the question here is really, how does such a relatively young company incite such rapid growth?



Face Book is making sure that those who are unfamiliar with the website hear, directly from the horses mouth, what they can provide for them. Said to launch _____________ , 2009 the company will employ a team if experts to man quasi- photo booths at different high school reunions in states across the country. These photo booths will be linked to a computer where partygoers can set up their very own Face Book homepage, and even become group members of their graduating class. The onsite employees will provide information as well as assistance to those who need it. The idea here is really to keep people in touch; Face Book is dedicated to bringing old friends back together in a fun and easy way. The company has set up an entire home page for reunions where they detail their goals and benefits to participants. There is also a messaging feature where those who are interested in having Face Book attend their High School reunions can request their presence. In effect, Face Book is proving to be a continuing asset to its members lives and now theres one more reason to take that trip home for a reunion. That reason is connectivity.

If youd like more information about this topic, or to schedule an interview with Katrina Bravo, please call Robert Thorne at (305) 455-2268 or e-mail Robert at [email protected].










Sales/Trade Promotions

Direct Marketing:

Other


Advertising

Creative Strategy and Rationale

Media Execution







Pull Quotes

"What's the difference between Facebook and Myspace now?"
"Stalking people"
"Facebook is clean and easy to read"

"I rely on Facebook to document my life"

US Weekly for the non-famous because you always can see what your friends are up toI can see what everyone did last weekend, what parties are going on, if they are looking bad or good.