Thei deams ae moe depessing than they ae inspiing. When, fo example, Ms. Gibbs expesses he desie to see Pais, the audience knows she will not eve get to achieve he deam because of he husband's stubbon closed-mindedness. Emily's fustation with the lack of awaeness on the pat of the living in the thid act also daws attention to the stubbon clinging to outmoded ways of thinking that can chaacteize small town existence. Wilde exploes small town insulaity with aplomb in Ou Town, and this in-depth exploation is the play's geatest stength.
Globalization dawned aound the tun of the centuy, intoducing East to West and West to East and in Ou Town, Wilde delves into Buddhist and othe Easten philosophies. The playwight does so subtly and possibly unintentionally, examining the baies between eality and fiction, life and death. The Stage Manage begs the audience to ethink thei ole as viewes.…...
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references to industrialization or urbanization. Instead the insight into every day life in Grover's Corners lends insight into how America was changing at that crucial period in world history. Although gender values and social roles were generally unchanged, persons of Emily's and George's generation were on the brink of a major turning point at which the world's balance of power would indelibly change. The coming World Wars would alter the geo-political landscape in Europe and propel America onto the world's stage in a role that the nation had never served before. Wilder hints at the dramatic future of America through his time capsule and also through his use of the Stage Manager, who directly addresses the audience in a dramatically ironic manner.
happiness of the Gibbs and ebbs families with the misery of Simon Stimson. Is it true that Simon is just not cut out for small town life, or is there more to it?
On the surface, Thornton ilder's drama Our Town depicts the happiness present in small town life. Its major plot revolves around the marriage of Emily ebb and George Gibb. Emily dies and in the third act when she comes back to the town as a ghost she marvels how people do not appreciate the goodness of life while they are living. On the surface, the play appears to celebrate small town life. However, there are many indications, particularly in the life of the minor characters, that small town life has a confining, depressing aspect to it. The most obvious example of this is the choir director Simon Stimson who hangs himself. But although not all of the…...
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Works Cited
Wilder, Thornton. Our Town. New York: Harper, 2003.
OMEN IN THE LATE 19th AND 20th CENTURIES
LAURA INGALLS ILDER
Laura Ingalls ilder is famous for writing extensively about the lives of a family that moved westward in the late 19th century. In some respects, her work is quite accurate and enhances an accurate picture of the Great Prairie during those times. However, in other respects her work is inaccurate, particularly in the way it glosses over the presence and lives of Native Americans, as well as the hostility and brutality of pioneers toward Native Americans, very nearly resulting in the extinction of Native Americans.
In some respects, ilder's work exemplifies life on the Great Prairie during the late 19th Century; however, it also falls far short of explaining that life in other respects. The ilder family lived in isconsin, Kansas and Minnesota during Laura Ingalls ilder's early life but moved to De Smet, South Dakota, when Laura was 11-12 years old…...
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Works Cited
Brammer, R., & Greetham, P. (2008). De Smet, South Dakota. Retrieved from www.liwfrontiergirl.com: http://www.liwfrontiergirl.com/
DuBois, E. C., & Dumenil, L. (2016). Through Women's Eyes: An American History with Documents, 4th Ed. New York: Bedford/St. Martin's.
Wilder, L. I. (1953). Little House on the Prairie (Little House, No. 3). New York: HarperCollins Children's Books.
By capturing the these seemingly simple values in the life of a "typical" American small town, ilder was telling a profound story that exploded the accepted norms of drama and in one explosion catapulted the American play from the nineteenth century to the twentieth via the chautauqua esque visage. This is why it is a mistake to typecast ilder as a traditionalist. Rather he was a modernist that translated Asian and European ideas into the American idiom via drama (ibid, xv).
ilder's experience of this style of drama came about as he was influenced by the economy of the storytelling of Noh drama. This drama style boldly compressed a huge time span into a short period of time with a minimum of scenery (ibid, xvi). This gives it an appeal that is beyond just the American experience. The popularity of the play around the world attests to the play having…...
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Works Cited
Wilder, Thornton. The Collected Short Plays of Thornton Wilder Volume II. II. New
York, NY: Theater Communications Group, 1998.
Wilder, Thornton. Our Town. New York, NY: Harper Collins Publishers Inc., 2003
films, or of stories in magazines in different price ranges, depend not so much on subject matter as on classifying, organizing, and labeling consumers. Something is provided for all so that none may escape; the distinctions are emphasized and extended. The public is catered for with a hierarchical range of mass-produced products of varying quality, thus advancing the rule of complete quantification. Everybody must behave (as if spontaneously) in accordance with his previously determined and indexed level, and choose the category of mass product turned out for his type. Consumers appear as statistics on research organization charts, and are divided by income groups into red, green, and blue areas; the technique is that used for any type of propaganda (Adorno & Horkheimer).
The media is of course complacent in such a system, in that it plays a significant role in turning heroes of consumption - actors, singers, and models -…...
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Bibliography
Adorno, Theodor and Max Horkheimer. "The Culture Industry: Enlightenment as Mass
" (16) In other words, since God is not completely benevolent, one must protest against God for allowing that which is not just or that which is evil to exist.
In an illustration of this strategy, oth refers to the work of Elie Wiesel, who "shows that life in a post-Holocaust world can be more troublesome with God than without him" (9). In his works, Wiesel looks at different forms of theodicies and does not accept them for various reasons. Because of his experiences, he has put together his own personal theory of theodicy that allows him to accept God while still handle his violent experiences. In his book Night, Eliezer, who, despite his young age, has studied Jewish theology, at first wonders the suffering is due to committed sins, but then changes his mind and sees it instead as something to which someone must submit.
In Chapter 3 of Night, Eliezer…...
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References Cited:
Hick, John. Evil and the God of Love. New York: MacMillan, 1967.
Kushner, Harold. When Bad Things Happen to Good People. New York: Random House, 1981.
Peterson, Michael. The Problem of Evil. Notre Dame, IND: Notre Dame University, 1992
Roth, John. "Theodicy of Protest" Davis S.T. (Ed.), Encountering Evil: Live Options in Theodicy, Westminster: John Knox Press, 2001
There is no male equivalent of Sugar Cane in Some Like it Hot. Unlike the unequivocally feminine Sugar Cane, neither Joe nor Jerry plays the role of the cad or the cowboy. In fact, Joe shows genuine emotion and caring for Sugar as his feelings for her deepen. Joe and Jerry, like Sugar Cane, are musicians. All three are therefore portrayed as social equals regardless of gender.
Gender and sexuality are treated differently in Some Like it Hot. The key scenes in Some Like it Hot with allusions to homosexuality are the ones in which Osgood pursues Daphne. Osgood challenges conventional gender roles and stereotypes. He has been married "six or seven times" and only his mama has kept track. His inability to remain in a stable heterosexual relationship may be viewed as a typically male, cavalier attitude toward marriage. However, given the last line of Some Like it Hot,…...
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Work Cited
Wilder, Billy (Dir.). Some Like it Hot. Feature film. 1959.
Sunset Boulevard is a classic film noir produced in 1950 and directed by Billy Wilder. The film begins with the murder of Joe Gillis, a floundering screenwriter who ends up dead in a swimming pool. "Poor dope," the voice over says. "He'd always wanted a pool. Well, in the end he got himself a pool, only the price turned out to be a little high." The voice over, delivered in classic film noir style, turns out to be none other than Gillis himself. Far from being an unreliable narrator, though, Gillis promises "the facts" and delivers. The entire film Sunset Boulevard is the retelling of "the facts" from Gillis's perspective. Wilder's choice of narration is dutifully ironic, as a failed filmmaker becomes famous. The theme of the movie is reminiscent of the Great Gatsby, with its peek at American decadence and lost dreams. Because it offers rich social commentary, Sunset…...
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References
Armstrong, R. (2000). Billy Wilder: American Film Realist. NC: McFarland & Co.
All the greatest people ever lived have been telling us that for five thousand years and yet you'd be surprised how people are always losing hold of it. There's something way down deep that's eternal about every human being (Wilder, p.68).
Looking at what happens in Act III with reference to that quotation, it is clear that Wilder is trying to say that something about Emily lives on in the town. It is not Emily. By having the Stage Manager offer to take her back to life and demonstrating that Emily literally cannot return to the world of the living, Wilder explodes the idea that Emily can return to the living. He makes it clear that death does mean the end of something. However, it is important to realize that Wilder's play does show some type of life in the cemetery. The cemetery's inhabitants may not be engaging in the…...
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References
Naughton, James. (2003). Our Town. Line by Line Productions.
Wilder, Thornton. (1938). Our Town: A Play in Three Acts. New York: Coward McCann, Inc.
Towns, Alike in Dignity
Modern theatrical literature has become increasingly concerned with the goings-on in small towns and often largely un-notable communities. The epic plots and larger-than-life characters that occupied plays in Shakespeare's day and in much subsequent drama took place either in large metropolises, both real and imagined, or else in wildernesses of untamed forest or uninhabited isles. The small towns and hamlets that most people occupied were largely ignored, and the fanciful and more important-seeming tales of the rich and powerful and the cities that they occupied held the stage. Interestingly, as industrialization has increased urbanization so that now most people live in or near major cities, drama has begun to focus on the smaller towns that are being left behind. Perhaps this can be understood as a reaction to the loss itself, in some instances, and in others it has more to do with the continuation of…...
(1906)
Finding exception to this presumption, a study for a doctoral dissertation by Christina Edmonds on the influence of perceptions of parent racial attitude and intergroup contact on adolescent cross-race relationships, published this year, demonstrates that, in spite of the perception that groups have considerable weight in the area of peer attitudes in preteens and adolescents, parental attitudes actually had the larger effect. In research on cross-race-relationships in Edmonds' study, one group members' evaluations of their parental and personal attitudes towards who should make the rules for adolescents' dating and friendship choices showed that parents evaluated cross-race friendship differently, but also that their attitudes had a significant effect on the actual experiences of the participants. (2006)
One group study by Eduardo B. Andrade and Teck-Hua Ho demonstrates how knowledge about the incidental affect of others may have a strong influence on one's strategic decision. Moreover, they found this effect is moderated…...
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References
Andrade, E.B. And Ho, Teck-Hua. (2005) How is the boss's mood today? I want a raise. New York: Journal of Consumer Research, 32, 355-362.
Ashmore, R.D., Jussim, L., and Wilder, D.(2001) Social Identity, Intergroup Conflict, and Conflict Reduction. Rutgers Series on Self and Social Identity. Boston: Praeger; 2nd edition, 1994.
Brown, R. And Hewstone, M. (2005). An integrative theory of intergroup contact in Zanna, M.P (Ed), Advances in experimental social psychology (Vol. 37, pp. 255-343). San Diego, CA U.S.: Elsevier.
Edmonds, Christina Maria, (Advisor: Killen, Melanie in Ph.D.) (year: 2005), the influence of perceptions of parent racial attitude and intergroup contact on adolescent cross-race relationships. dissertation for the University of Maryland, College Park. (June, 2006)
Tshcinag and Goddeck
What dew me to the poem? I am always cuious and fascinated at poetic mysteies. That is, what is the poet eally talking about? What line o lines offes a clue (o clues) to the pupose of the poem? The post itself is somewhat confusing and even vague. "The only thing that comes to mind is that it's about abuse between a fathe and a boy," the post explains. I will ty to evaluate and citique the post along with the poem.
The post offes some inteesting appoaches to undestanding the poem. But while I agee that the fathe appaently doesn't know what the boy is thinking o seeing, and doesn't eally elate to the boy's feelings, I don't immediately elate to the assetion that the fathe is the abuse. I'm not saying it isn't possible that the fathe is the abuse but when the fathe says, "Come now,…...
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references from other poetry rather than trying to determine exactly what this poem is attempting to convey.
Goethe's poems talk about people's experiences, the post says. That is a generalization and in that context has no bearing whatsoever on the meaning of this poem. "…Extreme writing" makes poems more "real" and "more attractive" to the reader, the post goes on. I disagree. Many noted poets, from Robert Frost to Countee Cullen, from Dylan Thomas to Bob Dylan, simply write poems with meaning that isn't extreme at all, but that are designed to bring pleasure, humor, sympathy, empathy, or even sadness. It is not good to simply suggest that a poem has to be extreme to be valuable.
In conclusion, this is an interesting poem, and the post has some valid points, but overall, I don't think the person who wrote the post has a grasp on the full meaning of the poem.
G) We hear this hymn in every act of Our Town. How might the circumstances of its being sung affect the listerner's interpretation? The Hynm is appropriate just because it is interpretive, like the Stage Manager, the Hymn is contemplative in its pathos and hope, its dual nature of pessimism and optimism, and its ability to celebrate life as well as comment on a clear path or dogma.
H) What was the future that George had planned? George Gibbs is pragmatic, honorable, and a stereotypical all-American man. In his own mind he has a very logical plan which goes awry when he allows his feelings from Emily to evolve. His inability to deal with Emily's death suggests that George, and others, do not appreciate life while living, and George becomes rather pitiable -- but understandable, in that the future is not constant, and decisions planned are not necessarily decisions made.
Humor in 3 Films
Comedy has often provided the perfect vehicle for social and political commentary. Three films that use comedy to as the basis for social and political commentary are Duck Soup (1933), The Great Dictator (1940), and Some Like It Hot (1959). Duck Soup, The Great Dictator, and Some Like It Hot provide commentary on social and political issues, as well as on issues of sex and gender.
Duck Soup is a Marx Brothers classic directed by Leo McCarey in which Groucho Marx plays Rufus T. Firefly, a man who is appointed to the position of Freedonia, a small country that has recently gone bankrupt (Duck Soup). Firefly's appointment as leader is made as part of an agreement between undisclosed members of the country in exchange for continued financial support from Mrs. Gloria Teasdale, a wealthy widow. At the same time, Freedonia's neighbor, Sylvania, is plotting to take over the…...
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Works Cited
Duck Soup. Directed by Leo McCarey. United States: Paramount Pictures, 1933. Netflix Instant
Streaming. Web. 1 March 2013.
The Great Dictator. Directed by Charles Chaplin. United States: United Artists, 1940. DVD.
Polsson, Ken. "Chronology of World History." 14 February 2013. Web. 1 March 2013.
Of note, Out of the Past was released in Europe and Great Britain as Build My Gallows High. It seems that both films could have been subtitled with this alternative note, particularly when we focus upon the editing -- each piece is but a plank in the construction of the gallows and when the camera has had enough of these nefarious people they are then cast aside as they do others (Homes).
Editing Example 2 -- Geometric vs. Sound-Based Editing- Geometric editing is essentially a technique that uses the positions of the camera, one following each other, when put together, form a geometric shape or picture of the action. For example, the interaction of close ups (when the policemen are talking, for instance) with long shots, of traffic and the city, in The Line Up. In addition, the geometry of the editing moved from box to box, almost in a lineup…...
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REFERENCES
Ballinger and Graydon. The Rough Guide to Film Noir. New York: Routledge, 2007.
Christopher, N. Somewhere in the Night: Film Noir and the American City. New York: Hentry Holt, 1997.
Dancyger, K. The Technique of Film and Video Editing: History, Theory, and Practice. Burlington, MA: Focal Press, 2007.
Dmytryk, E. On Film Editing. Boston: Focal Press, 1984.
The canvas of communication is vast, and its colors myriad. Among the array of expressive forms, the paragraph stands out as a versatile and potent tool, capable of conveying intricate ideas with remarkable depth and nuance. Within its confines, a skilled writer can weave a tapestry of words that illuminate complex concepts, challenge perspectives, and evoke profound emotions.
The secret to crafting a paragraph that effectively conveys a complex idea lies not merely in the choice of words but in the architecture of thought. Just as a building's foundation determines its stability, the structure of a paragraph provides the framework upon....
Summer sleep-away camp experiences during childhood hold transformative power, shaping individuals' overall development and well-being in myriad ways. These immersive environments foster independence, social skills, personal growth, and a profound appreciation for nature, laying a foundation that influences their perspectives and outlooks later in life.
Independence and Self-Reliance
At camp, children are thrust into a setting where they are expected to manage their daily routines and responsibilities independently. They learn to make their beds, pack their belongings, and adhere to schedules without parental supervision. This newfound autonomy cultivates a sense of self-reliance and prepares them for future challenges.
A Crossroads of Belief: Navigating the Loss of Faith
When faith falters, a profound journey begins – a journey into the uncharted territories of doubt, uncertainty, and the search for meaning amidst the ruins of shattered beliefs. Capturing the essence of this transformative experience, a title that encapsulates the multifaceted nature of this exploration is crucial.
1. Unveiling the Ashes of Faith
The loss of faith is often akin to a volcanic eruption – a cataclysmic event that leaves behind a desolate landscape. The once-solid foundation of belief crumbles into ashes, and the individual is left grappling with the void that remains. "Unveiling....
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