...CMST 2060 34 11/26/2013 In October, I attended a comedy event at the LSU Union Theatre. T.J. Miller and his companions hosted a stand-up comedy event for the students of LSU and anyone was welcome to attend free of charge. Miller and his friends’ purpose were to entertain the audience; however, there were many elements such as structure, content, and delivery attributing to the efficacy, direction, and purpose of their performances. T.J. Miller did not adhere to a strict structural script within his performance. His performance was impromptu and minimally scripted. Therefore, a strict structure did not exist. Instead, his performance had a topical organization—jumping from idea to idea, carefully accommodating the audience’s reactions. Due to the abrupt topical switches, he had little transitional sentences, but I do not believe this negatively impacted the performance. His initial contact with the audience was dry, but eventually connected with the audience. Miller began with an introduction of himself and his background, which served as a bridge to relate with the audience and establish his credibility or ethos. In addition, he interacted with audience members by asking them questions and using their answers as jokes to further establish his ethos. There was no specific objective in his comedy other than the overarching goal to entertain. His speeches and monologues were varied and covered many topics from school to sex and drugs. Therefore, an explicit thesis did not...
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...LITERARY THEMES IN OTHELLO The play, Othello, is a tragedy by William Shakespeare, that circles around a man by the name Othello. He is a highly esteemed general in the service of Venice. Iago is Othello's ambitious friend. Othello promotes the Michael Cassio to the position of personal lieutenant and Iago is deadly jealous. Othello elopes with Desdemona, who a gentleman Roderigo, had once hoped to marry. Iago starts to plot against the newly wed couple. Desdemona is also the daughter of Brabantio, a Venetian senator, who considers the union theft of his property and is more than convinced that Othello used magic to get Desdemona to marry him. Othello becomes jealous and suspicious of Desdemona, as Iago has managed to poison his mind by convincing him that Cassio and Desdemona are having an affair. This is supported by Bianca, Cassio's significant other, being in possession of Desdemona's handkerchief, which Othello had given to Desdemona. Plots and murders ensue and Othello returns to the castle to kill his innocent wife. He then kills her on her marital bed. Emilia, Iago's wife and Desdemona's lady-in-waiting, tells Othello the truth about the scheming Iago. Othello wounds Iago and then proceeds to kill himself. Iago in turn, kills Emilia. A theme can be defined as the central topic, subject or concept that the author is trying to put across. The themes Shakespeare used in the play are as follows: 1. JEALOUSY Jealousy is a resentful and bitter feeling usually associated...
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...His long career as a writer was a continuous search for originality. He dealt with social criticism and moral values, and the psychological motivations are closely related to the social and historical stage of the private lives of the characters. Considered as an experimental novelist and a father of Modernism. He supplied the 20th novel with the structural and formal principles of the rhythmic juxtaposition of scenes and the skillful union of significant moments. He was the first to discover and explore the center of consciousness, the limited point of view, ambivalence and ambiguity. The pictorial method and the realism, the scenic structuring of the plot combined with the subjective reconstruction of the intelligent observer; the dramatic form combined with the field of consciousness. CHARACTERISTICS: the referential ambiguity in pronouns; the end-linking, which shows the insecurity of someone who never considers anything finished (but nothing is ever finished in Jame’s world, there’s always some word, some idea at the end of the period to repeat. James revised his works again and again after serial publication, for new editions… He is one of the most autobiographical of the great fiction writers, and when he makes his characters projections of himself, the result is ambiguity. He doesn’t use the actual events of his life in his writings but his mental life, his thoughts, conflicts and emotions, since James’s style is personal and subjective. This is clear...
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...JAMES JOYCE -AN IRISH MODERNIST MODERN FICTION GROUP NUMBER 4 GROUP MEMBERS : HAFSA SHAHID R CONTENTS: Introduction to James Joyce Modernism and James Joyce A portrait of an Artist as aYoung Man Ulysses Themes and Style of Joyce's two Works a) Mythological Allusions b) Kunslerroman c)Stream of conciousness c)Focus on inner time rather than outer time d)Search for identity e)Treatment of religion f)Treatment of sexuality Conclusion James Joyce (from February 2, 1882 to January 13, 1941) was one of the most preeminent Irish authors of the 20th century. He is known for his literary innovation strictly focused narrative and indirect style. James Joyce matriculated from University College of Dublin in 1903. After moving to Paris, Joyce planned on studying medicine. The lectures were conducted in a technical French but Joyce’s education had not prepared him for it. Despite his mother’s attempts to get him to return to Catholic Church, Joyce remained unmoved even after her death. Joyce studied at Clongowes Wood College from 1888 until 1892. When the family’s financial state devolved, Joyce had to leave the school. After a brief time at Christian Brothers School, Joyce was enrolled at Belvedere College in 1893. In 1898, Joyce began studying Italian, English and French at University College Dublin. At this time, Joyce also began his entry into the artistic...
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...Ch8 Study Guide 1. Directors started having rehearsals to work on the play as well as trying to make a more organized and natural approach to staging rather than the artificial acting style that was being used. Actor-managers and pageant masters were in charge of the play before directors. Actor-managers had little concern for a production that was unified, unlike directors who believe the acting should be unified. 2. Gesamtkunstwerk literally means “total art work”. The union of all the theatrical elements to create a thematically unified stage work. Richard Wagner developed the term. It unified the theatrical work and set the tone and mood for the characters. 3. A) Weimer Classicism: Johann Wolfgang von Goethe is related to this type of movement. He made rules for actors to follow on stage so the piece would be well-composed. All the actors had to read the text together rather than memorizing it on their own. B) Meiningen Players: Georg II, Duke of Saxe-Meiningen, ran this company. He wanted his costumes and setting to be very accurate to history. Crowd scenes displayed each actor as an individual character, while at the same time working in unison with the other actors. C) Naturalism: Andre Antoine used naturalism in his productions. In La Terre he used real hay and live chickens in a farm scene. He also used natural lights from candles showing that a real barn is being presented. 4. A) Choosing the Text: This is the first job of the directors. They may...
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..."Journey of the Magi" is the monologue of a man who has made his own choice, who has achieved belief in the Incarnation, but who is still part of that life which the Redeemer came to sweep away. Like Gerontion, he cannot break loose from the past. Oppressed by a sense of death-in-life (Tiresias' anguish "between two lives"), he is content to submit to "another death" for his final deliverance from the world of old desires and gods, the world of "the silken girls." It is not that the Birth that is also Death has brought him hope of a new life, but that it has revealed to him the hopelessness of the previous life. He is resigned rather than joyous, absorbed in the negation of his former existence but not yet physically liberated from it. Whereas Gerontion is "waiting for rain" in this life, and the hollow men desire the "eyes" in the next life, the speaker here has put behind him both the life of the senses and the affirmative symbol of the Child; he has reached the state of desiring nothing. His negation is partly ignorant, for he does not understand in what way the Birth is a Death; he is not aware of the sacrifice. Instead, he himself has become the sacrifice; he has reached essentially, on a symbolic level true to his emotional, if not to his intellectual, life, the humble, negative stage that in a mystical progress would be prerequisite to union. Although in the literal circumstances his will cannot be fixed upon mystical experience, because of the time and condition of his...
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...The twelve adventures refer to the delays and the obstacles that Odysseus had to overcome in order to return home from the Trojan war. First, they arrive at Ismarus, the land of the Cicones. They sack the city, killing the men and taking the women and treasure as bounty. They are later attacked by the Cicones. Second, They arrive in the Land of the Lotus-eaters. Here, his men eat lotus flowers. The flowers cause the men to lose their desire to return home, so Odysseus must force them back to the ship. Third, at the Cyclops' cave, his men escape being eaten only by Odysseus blinding the one-eyed Polyphemus (son of Poseidon). He does so by claiming that his name is "No One." When Polyphemus screams, he says that "No One" is attacking him, so his fellow cyclopes do not come to his rescue. As a result, Poseidon threatens Odysseus with much suffering and the ultimate loss of his men. Fourth, King Aeolus gives Odysseus and his men a place to stay for about a month. Upon their departure, Aeolus puts winds in a bag and gives them to Odysseus, instructing him not to open it. The crew get close to Ithaca, but while Odysseus sleeps, they open the bag of winds and are flown back towards Aeolia. Fifth, at the Land of the Laestrygens, giant cannibals eat all but one of Odysseus' ships. Sixth, at Aeaea, the enchantress Circe turns Odysseus' scouting party into pigs. But Hermes, the messenger of the gods, gives Odysseus an herb against a similar fate. Odysseus sleeps with...
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...The current issue and full text archive of this journal is available at www.emeraldinsight.com/0953-4814.htm Leadership style and entrepreneurial change The Centurion operation at Philips Electronics Luchien Karsten University of Groningen, Groningen, The Netherlands Leadership style 73 Sjoerd Keulen University of Amsterdam, Amsterdam, The Netherlands Ronald Kroeze Free University of Amsterdam, Amsterdam, The Netherlands, and Rik Peters University of Groningen, Groningen, The Netherlands Abstract Purpose – This paper aims to look at the role of the top and middle management of the Philips organization during the transition from one type of organizational change to another in the 1990s and the role the history of the organisation played in this process. Design/methodology/approach – The paper analysis is based on historical records, literature and interviews with former Philips top managers. Findings – The paper shows that Philips’ leaders used different styles of leadership to create a deliberate atmosphere and willingness to change. The final emergent transformation, however, could only sufficiently materialise while it rejuvenated existing management concepts like Quality Management. The success was partly based on the fact that these concepts played a historical role in the Philips organisation. Originality/value – The paper adds the historical style approach to leadership research and pays attention to the important role of the organization’s history...
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...The current issue and full text archive of this journal is available at www.emeraldinsight.com/0953-4814.htm Leadership style and entrepreneurial change The Centurion operation at Philips Electronics Leadership style 73 Luchien Karsten University of Groningen, Groningen, The Netherlands Sjoerd Keulen University of Amsterdam, Amsterdam, The Netherlands Ronald Kroeze Free University of Amsterdam, Amsterdam, The Netherlands, and Rik Peters University of Groningen, Groningen, The Netherlands Abstract Purpose – This paper aims to look at the role of the top and middle management of the Philips organization during the transition from one type of organizational change to another in the 1990s and the role the history of the organisation played in this process. Design/methodology/approach – The paper analysis is based on historical records, literature and interviews with former Philips top managers. Findings – The paper shows that Philips’ leaders used different styles of leadership to create a deliberate atmosphere and willingness to change. The final emergent transformation, however, could only sufficiently materialise while it rejuvenated existing management concepts like Quality Management. The success was partly based on the fact that these concepts played a historical role in the Philips organisation. Originality/value – The paper adds the historical style approach to leadership research and pays attention to the important role of the organization’s history during processes...
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...New Historicism: T.S. Eliot’s “The Wasteland” T.S. Eliot’s highly influential 433-line modernist poem is perhaps the most famous and most written-about long poem of the twentieth-century. Eliot’s composition brings forth a reader to understand the work through its historical context and to understand cultural and intellectual history through this piece of literature, which documents the new discipline of the history of ideas. In other words, The Waste Land is subject to New Historicism to further understand the text of the poem and its relevance to history. T.S. Eliot’s poem, The Waste Land, was published in October of 1922. The 1920’s and 1930’s are often known as the interwar period. The decades were profoundly shaped by the dislocations of World War I and then the mounting crisis that led to World War II. These were decades of considerable dislocation in the West. Revolutionary regimes in several societies provided another source of change. New, authoritarian political systems were another response to crisis, particularly after the Great Depression, in several parts of the world. All of this occurred even as resistance to European imperialism was mounting (Davies 938). In addition, the 1920’s was marked by major patterns. One of the first major patterns, Western Europe recovered from World War I incompletely, particularly in economics and politics. Cultural creativity was important, and several social developments marked real innovation. But political...
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...Eugene O’Neill wrote a play called the Hairy Ape that focuses on the time period in America during the industrial revolution. The play follows a man, Yank, searching for how he fits into the world. The themes of the play revolve around how the United States was changing during this crucial moment in America’s history. New ideas, technologies and cultures were emerging, and O’Neill saw this. He wanted to express his views and opinions of how America was changing through his plays. His plays became influential and powerful because it focused on real-life issues and problems that were occurring during that time, even though the plays were fictional stories. The Hairy Ape is no exception and is one of many of his fantastic plays that delved into the dark reality that was occurring in post WWI America. O’Neill opens his play with a scene showing some firemen working in the engine room of a ship talking amongst each other. This scene is important because it already shows a major topic that O’Neill is tackling: the transformation of humans into “machines” by industrialization. The firemen work in a harsh and monotonous environment; they repeat the same task over and over without putting any thought into it. They are also shown as uneducated, primitive and uncivilized people. O’Neill portrays these people this way to show how degrading humans into tools are making them less intellectual and less “human.” Humans have the capability to think, create and be innovative, but O’Neill sees...
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...Siu Man, Yuen Rich K English 102 February 29, 2012 Gabriel Garcia Marquez & Magical Realism Magical Realism is often perceived as a form of literature where the author blends the realistic and fantastic elements together, and readers cannot tell what is reality or fantasy. The definition of Magical Realism always stays in that frame. However, Gabriel Garcia Marquez takes the definition of Magical Realism to a whole new level. Under his pen, Garcia Marquez uses Magical Realism as a tool to show readers the multi-layered side of his motherland, Colombia. To be more precise, Garcia Marquez tends to reveal mostly politics in his writings. Garcia Marquez was born in 1928 in the town of Aracataca, Colombia. Colombia is a unitary constitutional republic comprised of thirty-two departments. In the past, the intense battle over sovereignty between the conservatives and liberals never stopped; the continuing conflicts between political parties even initiated civil wars, which played a big role in the formation of Colombia. The unstable and chaotic political situation partly influenced Garcia Marquez’s writings. As a Colombian who was born during such turbulent times, Garcia Marquez witnessed and experienced various historical events. The history of Colombia and his personal experiences played a huge part in inspiring Garcia Marquez’s writing. Here comes the question, why would Garcia Marquez write about politics through Magical Realism? What is his intention? Since Garcia Marquez’s...
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...“Wherever there is a man who exercises authority, there is a person who resists authority” –Oscar Wilde, this quote shows how throughout history there is always an individual who will stand up against a tyrant. This is also a feature of literature as well which is shown by: Brutus in ‘Julius Caesar’ who is fighting because of his ideals for a perfect life of liberty, Winston Smith in ‘1984’ who is fighting against a brutal totalitarian regime and Sir Thomas More in ‘A man for all seasons’ who is fighting due to his conscience being able to rule over his loyalty to King Henry. All three of these characters are in positions of power within the states they will later fight against: Brutus is one of Caesar’s key advisers who is described as patriotic as shown by the quote “Not that I loved Caesar less, but that I loved Rome more” and is frequently referred to as an honourable man, Winston Smith is a technician within the Ministry of Truth and his job is to destroy any parts of history which disagree with the official party line and is described as having a “varicose ulcer above his right ankle” which forces him to “rest several times” on his way home and finally Sir Thomas More is Henry’s Chancellor of the Exchequer and is described as a kind and generous man who “would give anything to anyone” and very importantly he is a staunch Catholic, but what drives each of these men to strike out against the state they themselves are a part of? “Wherever there is a man who exercises authority...
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...http://en.wikipedia.org/wiki/The_Dark_Knight_(film) http://www.imdb.com/title/tt0468569/ http://thedarkknight.warnerbros.com/dvdsite/ http://www.rottentomatoes.com/m/the_dark_knight/ 1. With reference to the opening sequence of one narrative you have studied this year, explain how the opening sequence of the narrative starts the chain of cause and effect and establishes characters. 2. Explain how Harvey Dent is established as a character at the beginning of the film. 3. Explain how the character of Bruce Wayne, and his relationship with both Rachel and Harvey Dents, is developed further using a combination of production elements (00:18:34-00:20:46) 4. Explain how The Joker is developed as a character using a combination of production elements when he meets the mob bosses (00:20:47-00:25:05). How does Nolan use stereotypical characterisation throughout this scene? 5. Explain how Nolan uses the structuring of time to compress Bruce Wayne’s journey to Hong Kong (00:27:27-00:28:23) 6. Explain how The Joker is developed as a character when he kills Gambol. How does Nolan engage the audience in this scene? (00:28:23-00:30:24) 7. Explain how Nolan uses the structuring of time when Dent tries the mob bosses and their associates (00:37:56-00:38:56). 8. Explain how Nolan uses a combination of acting, mise-en-scene, camera movement and music to develop the character of The Joker in the video of him tormenting the Batman impersonator (00:40:43- 00:41:46) 9. Explain how multiple...
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...Othello “The Moor” vs. “Honest” Iago Characters within a story are meant to have their own tale, just as the characters in one’s lives have their own stories of how they came to be. William Shakespeare, the modern father of the Drama, understood this concept all too well when developing his complex, yet relatable characters. In his master works Othello, each character has their socially impacting story line with their own effect on the overall plotline that help shape the complex Venetian society in which the play is set. With their friendship at the root of evil deeds, Othello and Iago help define the writing in the play: love for one self before that of a friend. With Othello’s honest friendship, and Iago’s piercing betrayal, they help mold the storyline told in this Venetian world. With his triumph on the battlefield, Othello is sought after by Dukes and Senator, and well admired and respected within the Venetian community. He is considered an outsider from his peers, and the community based on his African descent. All the success came at the price of Othello spending his childhood under slavery, then joining the military at a young age in order to gain his presence within society. Shakespeare exemplifies this quality by showing a separation from the other characters, and usually referring to Othello in racial slurs such as “the Moor”, and references to his exotic body such as “the thick-lips” and “black.” All these strategies amplify the feeling throughout the play that...
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