Hamlet Act I Essay Example for Free

Hamlet Act I Essay The first time that we are introduced to Hamlet is in Act I Scene II. It is apparent that the predominant thought in the atmosphere is the death of King Hamlet, Hamlets father. Claudius says; Though yet of Hamlet our dear brothers death the memory be green. This first introduces the Hamlet as mourning for his fathers death, setting the scene for Hamlets mood. The first time that that hamlet speaks is just after Claudius has called him his cousin and son, where Hamlet replies; A little more than kin, and less than kind. Here he is making a pun on the words kin and kind, saying how feels now too closely related to Claudius. He also says; Not so my lord, I am too much Ithsun. Here he is saying that he feels too much like Claudiuss son. Both of these show that Hamlet is quite witty, and also that he is a good listener, and picks up on other things that maybe other people dont. Hamlet feels that the wedding of his mother and Claudius is too soon after the death of his father, and he planned to go back to school, however when his mother asks him not to he says; I shall in all my best obey you madam. This shows that although he does not want to stay he will to please his mother. His displeasure at the wedding is also shown in his soliloquy at the end of the scene, where he says; She married. Oh most wicked speed, to post with such dexterity to incestuous sheets. Here he is saying how he thought she remarried too quickly and that it is like incest to marry her dead husbands brother. Although the end of the scene, as Horatio is telling Hamlet that he saw the ghost of his father, Hamlets speech becomes quite fast and abrupt, unlike the dialogue before. This shows that he has strong feelings for anything to do with his father, and wishes to see him again, even though he must be a ghost. In scene III Ophelia is talking to her brother Laertes about the move that she thinks her and hamlet share. However, Laertes thinks that it is just a whim and that Hamlet does not really love her; Forward, not permanent, sweet, not lasting. He is saying that although it may seem to Ophelia to be real, it is not and Ophelia should not believe Hamlet when he says he loves her. Polonius also reflects this view, and tells his daughter to ignore Hamlet. The entire of Act IV seems to reflect Hamlet character and mood. He has come to see the ghost, and even though this is most unnatural he has come any way. This could be because he misses his father, but also because he feels that something is rotten in the state of Denmark. He is unhappy at his mothers speedy marriage, especially to his satyr uncle. Perhaps he feels that the ghost of his father can in some way help him with this. Also he threatens to kill his friends if they do not let him go when the ghost beckons him, even though there is risk; By heaven Ill make a ghost of him that lets me. He seems to want to speak to the ghost of his father, even more than the risks of following a ghost which may be evil. In Act V, when the ghost tells Hamlet that he was murdered, yet not by whom yet, Hamlet says: I with wings as swift as meditation or the thoughts of love may sweep to my revenge. This shows that already he believes that this apparition is his father, and immediately at the thought that his was murder he says that he will exact revenge. This shows how upset he is at his fathers leaving, reflecting that he thought all along that something strange was going on. Hamlets reaction to what the ghost tells him seems to be full of emotion; Hold, hold, my heart, and you my sinews grow not instant old. This how bad he is feeling not only for the spirit of his father but also for the fact that he has just learned that his father was murdered, by his uncle, who is now king. He calls his uncle; O villain, villain, smiling damni d villain! This is because in old plays the villain was usually described as being evil but smiling pretending to be good as is Claudius. After he has spoken with the Ghost, Hamlet tells his friends not to speak of the ghost, and also to ignore him if he starts acting strangely; Nay but sweart. He makes them swear on his sword that they will not say anything. This could be because he wants to sort out the thoughts in his head first because this has been quite a big thing he has learned. Also, it may be a way in which he can plan to exact his revenge on Claudius for he cannot stand to be made to act a son to him. In conclusion, in Act I, Shakespeare sets up the introduction of the story, but also with hints as what is to come later on in the play he plays on Hamlet use of words to show his distaste for the marriage and his uncle, but also by using the ghost to tell hamlet of its fate and also hamlet pretending to be mad it implies that the rest of the play will be much centred on this, and also make us question as to whether hamlet is still pretending to be mad or whether he has actually crossed over the line to madness. Certainly there are things he does that other people consider madness, but he can also be normal. However, like where he sees Ophelia and is not properly dressed, if he loves her as he says he does it seems that he would not do these things event o her.

The Degrading of Women Essay Example for Free

The Degrading of Women Essay In the 16th century, one of the last things anyone wants to be is a female. Throughout the play, it is evident that the role of a woman is burdensome. There is a set perception of a perfect woman, and only those depicting these characteristics are accepted by society. In The Taming of the Shrew era, a womans opinion is never valued, there is a class gap between males and females men are born with a higher rank -, and women are often seen, and are treated, as pieces of property. A womans opinion is not valued in the least and others always make decisions for her against her will. Throughout the male society, there are mental expectations as to how a woman should behave. These standards, although not written in concrete, are expected of all women. Not only is the male society aware of these expectations, but the females are as well, and they often live to meet these expectations. In the play, Katherina vocalizes the basis of these expectations: they are bound to serve, love, and obey (V, II, 164). In this quote, they refers to women, and bound is a very interesting word to use in this context. This is only one example of the thousands on how a womans opinion is not acknowledged. A woman is not only deprived of making her opinions heard, but they are bound to listen to, accept, and to honour a mans beliefs. In this case, the males viewpoint is that a woman is obliged to love, to serve, and to obey. Men even go as far as to decide a womans future husband. Not only is her voice not heard, she is sold off to the wealthiest bidder by none other than her own father. This is evident in the play as Baptista auctions his daughter off, awaiting the highest bid. Content you gentlemen; I will compound this strife. Tis deeds must win the prize, and be of both That can assure my daughter greatest dower Shall have my Biancas love. (II, I, 333-336) This is a clear indication that a woman is sold off to whomever can offer the most for her. It should be of no surprise that more times than another the woman is not always satisfied with the decision. As Katherina so aptly puts it: No shame but mine, I must, forsooth, be forcd / To give my hand, opposd my heart (III, II, 9). However, the mens reign over a woman does not end with her marriage. During her life after marriage, one could say that a womans mind is controlled more than ever. Not only must she uphold her fathers name, but her husbands as well. A womans husband also takes control of her as she is nothing more than mere slave that he has bought. In the play, Petruchio executes his power over Kate as he starves her (IV, II, 3-35), and refuses to pay heed to her opinions in how she would like to dress (IV, II, 81-103). No matter the circumstances whether it be choosing a husband or just living life a womans mind is always made up for her.

Influences of Organisational Culture on Social Care

Influences of Organisational Culture on Social Care Explain How Different Aspects of Organisational Culture, Including Communication and Leadership, Influence Service Provision in Social Care Organisational culture, a theoretical model of business practice, may also used to understand the systems and behaviour of other organisations, in particular the application of organisational culture theory to the understanding of social work practice. This model of business attempts to understand the positive and negative development of an organisation, through conscious and unconscious processes, and how these elements assist or limit the people within the organisation. Applying the principles of organisational culture theory to an environment which is essentially client-focussed is not straightforward, but provides social care theorists with both a way to understand barriers and limitations within the system, and the way that the principles of the organisation is applied to service provision; it may also offer a key to implementing practice reforms and changing the structure of social service organisation from within. By interpreting the social care system through this business mo del, it is possible to avoid the limitations which hinder better practice within social work. As this essay is based upon the terminology of Organisational Culture Theory, it is necessary to begin with a brief introduction to the theory, highlighting its concerns, and considering how this term relates to current understanding of organisational models. After this explanation, the essay will then consider each of the most important terms within organisational culture theory, including leadership, communication, and motivation. These terms will then be used to describe the aspects of organisational culture as they affect the provision of services within social care. A conclusion will discuss the relevance of organisational culture theory to social work, finishing with the consideration of how this business model is being used to alter the way in which social services are practiced, and the values which are utilised by social care. Organisational culture, the â€Å"set of beliefs, values and meanings that are shared by members of an organization† (Austin and Claassen, 2008, 349), is most often understood to refer to the practices and behaviours of a business organization. The term â€Å"Organisational culture† is not easily defined, despite its frequent usage, and theorists have therefore tended to outline the term according to their own interests. Attempts to clarify the meaning of ‘organisational culture† began in 1954: â€Å"The culture of industrial groupsfrom class origins, occupational and technical sources, the atmosphere of the factory which forms their background and finally from the specific experiences of the small informal group† (J. Brown, quoted in Anderson-Wallace and Blantern, page 3). This term highlights the importance of social bonding in creation of an organisational culture, which serves to unite a company around a common world view. Andrew Brown is one of m any authors who have noted that the same organisation can have different organisational cultures in different countries, reflecting a difference in the social cultures of those companies: â€Å"These differences are most striking when they were detected in the subsidiary companies of the same multinational organisation, because they seemed to suggest that national cultural differences may help shape organisational design and behaviour at a local level† (Brown, 1995, page 2). Later, organisational culture would be more extensively defined by both Brown and Edgar Schein: these two works will be the basis of the remainder of this essay. It is important to note the essential elements of organisational culture theory: that this culture consists of social and localised beliefs about the operation of the business; these beliefs, or mythology, may bind a company together to the extent that it becomes isolated from outside ‘reality’: Brown uses the example of Philips Elec tronics: â€Å"Philips’ cultural inclination to define truth and reality according to its technological bias has led critics to charge that it is complacent, lethargic, inward-looking and risk adverse† (Brown, page 29). He also notes that critics considered the internal culture a definite factor in the economic failure of the business. Brown’s work is a general guide to organisational culture, and offers three main sources of culture within a business: â€Å"The societal or national culture within which an organisation is physically situated† – which might be one reason why multinationals operating in many countries often have a number of organisational cultures; â€Å"The vision, management style and personality of an organisation’s founder or other dominant leader† – leadership and the mythology of prominent leaders being an important influence on the culture of a business; and â€Å"the type of business an organisation conducts and the nature of its business environment† – one would not expect social care to develop the same organisational culture as a company such as Shell or Cadburys (two businesses mentioned by Brown). Schein’s work describes similar factors in a rather more abstract manner. He uses the terms ‘artifacts’, ‘expressed values’, and ‘basic assumptions’ to describe organisational culture. Schein sees artifacts as including all the tangible aspects of a culture – language, surroundings, technology and â€Å"The visible behavior of the group and the organizational processes into which such behavior is made routine† (Schein, 1992, page 17). These are the aspects most observable to outside researcher, although Schein notes that â€Å"It is especially dangerous to try to infer the deeper assumptions from artifacts alone because one’s interpretations will inevitably be projections of one’s own feelings and reactions† (Schein, page 18). Espoused values may help the researcher to better understand the culture; some of these values later become assumptions: â€Å"Only values that are susceptible to physical or soci al validation and that continue to work reliablywill become transferred into assumptions† (Schein, page 20). Consciously espoused values may provide a clue to the basic assumptions of a group; alternatively, they may not: â€Å"One must discriminate carefully between those that are congruent with underlying assumptions and those that are, in effect, either rationalizations or only aspirations† (Schein, page 21). Basic Assumptions are, in essence, what lies beneath; these assumptions are those held subconsciously by an organisation: â€Å"If a basic assumption is strongly held in a group, members will find behavior based on any other premise inconceivable[they] actually guide behaviortell group members how to perceive, think about, and feel about things† (Schein, page 22). With this understanding of basic organisational culture theory, it is now possible to consider in greater detail a number of subjects which are influenced by this culture: motivation, leadership, and communication. Motivation: Business theory is greatly concerned with the motivation of employees, and a strong organisational culture is considered essential to this. â€Å"Most organisations make strenuous attempts to motivate their employeesan appropriate and cohesive culture can offer employees a focus of identification and loyalty† (Brown, page 90). A positive organisational culture has a beneficial effect upon the motivation of the workforce, encouraging staff retention, high performance, and the intake of recent graduates; employees may also experience a better quality of life, or at least working life, avoiding stress-related illness. By contrast, a negative culture may result in loss of motivation, high staff turnaround, workers entering employment with fewer skills or qualifications, and low performance. Leadership: Leadership, particularly charismatic leaders and company founders, have a profound impact upon the organisational culture of a business. Founders, of course, by creating the business, â€Å"usually have a major impact on how the group initially defines and solves its external adaptation and internal integration problemsFounderstypically have strong assumptions about the nature of the world, the role that organizations play in that world, the nature of human nature and relationships [and] how truth is arrived at† (Schein, page 213). The creation of the company is usually the beginning of its organisational culture and basic assumptions; and while the espoused values may change, the unconscious basic assumptions may extend back to the foundation of the business. Founders and later leaders are often charismatic, and their decisions may not be challenged directly: â€Å"The emerging culture will then reflect not only the leader’s assumptions but the complex int ernal accommodations created by subordinates† (Schein, 230). The charismatic leader’s personal style will also lead to the development of a mythology. These stories are vitally important in the maintenance of an organisational culture. Communication: The effective communication of ideas is essential in organisations, and often progress can be hampered through poor communication; Schein describes the development of production engineering: â€Å"Without it, engineering often designs things that cannot be built or are too expensiveEngineering is likely to perceive production as lazy and unimaginative, while production perceives engineering to be unrealistic† (Schein, 258). Organisational culture can affect communication, for example in hospitals, where â€Å"Most were discovered to suffer from a dearth of worthwhile formal communication channels† (Brown, 281). An organisational culture which avoids communicating new ideas will undoubtedly make profound mistakes and fail to co-operate. It is possible to see these aspects in the influence of organisational culture upon social care, and particularly how the provision of care is directly affected by leadership, communication, and motivational ideas. As Anderson-Wallace and Blantern explain, the perception of the recipient of care has a basic assumption (unchallenged), as its base: â€Å"One cultural artefact is an emphasis on an assessment of the individual client within their wider social environment. This is underpinned by the espoused value of the importance of a dialogue between practitioner and client. The underlying assumption is of the independent nature of the client in active negotiation with the practitioner.† (Anderson-Wallace and Blantern, page 8.) The basic assumption also reveals that the emphasis is upon the client, rather than upon the care worker. In such circumstances, it would not be surprising to see care workers being de-motivated; active participation is limited to the client, lessening th e need for effective communication, and also the possibility of blaming the client for errors; against this latter lays the practice of holding social services responsible for all errors in service provision. Motivation is a major problem in social service, revealed through high turnover, poor quality of working life, and work-related illnesses such as stress: â€Å"stress is more common amongst social workers than either the general population or health care workers, due to the sensitivity and responsiveness to the difficult problems presented by clients which their work requires† (Ramon and Morris, 2004, page 7). As noted above, lack of motivation provision within organisational culture not only results in all the complications described here, but is also connected to low job performance. Here, the organisational culture influences service provision in a negative manner, by creating a culture of de-motivation, where the care worker feels impotent: â€Å"The statements indicate the relationships between experiencing stress, level of control, autonomy and flexibility within their job or role† (Ramon and Morris, page 8). There are also conflicting social cultures within the w ider environment which contribute to this absence of motivation: the western world generally emphasises self-help and chastises those who are dependent upon government assistance: â€Å"A further layer was poor morale, associated with an inquiry on child protection (a feature shared with a number of similar departments), and the experience of a culture which tended to view stress as reflecting individual weakness† (Ramon and Morris, 7, but also visible in the wider media). There is in fact very little evidence for leadership as part of organisational culture within the social services, although some research has suggested that leadership culture within social care may be negative: â€Å"This vindication of the pessimistic view of the team leaders group highlights the defensiveness of some senior managers of social services departments who view constructive criticism as an affront† (Ramon and Morris, 19). The account of leadership culture within the social care department suggests an organisation that emphasises leadership above productivity and worker satisfaction – other parts of the essay note staff complaining about impolite and inconsiderate leadership styles. Despite an espoused value of worker importance, the basic assumption appears to be that leadership is most valued, and criticism by lower staff members is not acceptable. Poor communication culture lies at the heart of social care training. Ramon and Morris note â€Å"Improved communication between management and staff† as one of the goals of their research (Ramon and Morris, page 10), suggesting at the very least that the organisation culture of the social services is one of negligence towards communications, other sections of their essay suggest that communication is exceedingly poor â€Å"Poor communication and consultation within the organisational culture was identified as the major cause for stress,. As noted above, this can seriously affect performance, in this instance service provision† (Ramon and Morris, 19). In the following example, the necessary NVQ was preceded by a questionnaire upon the values of the workers involved; these reveal quite different values from those of the NVQ modules – an emphasis upon personal quality of life offered by the workers is altered to education on health care and understanding of residen t’s social issues. â€Å"Almost without exception, role development was identified as impor ­tant; most viewed this to be within the care sector at a higher grade or entering nurse training. Significantly, male staff perceived their role pro ­gression to be to that of care home manager or owner† (Winter and Meehan, 2004, page 6) While most of the workers described personal lives as more important or as important as work, and valued honesty and equal opportunities for staff, instead, emphasis was placed upon NVQs with modules such as â€Å"Fostering people’s equality, diversity and rights†, where the focus was upon the residents’ needs rather than staff equality. Training within the NVQ did not cater for male staff’s ambitions, or for personal quality of life. Here we can see Social Care with a series Espoused Values (care and motivation of staff; better staff retention; valuing employees) which contradict the actions of the area, with it s emphasis upon residential equality and the gaining of IT skills, suggesting that the Basic Assumptions do not match – the basic assumptions might be â€Å"care of the residents is more important than staff satisfaction† and â€Å"IT training will improve motivation and help retention†, or even â€Å"training will improve the care given†. It is worth noting that, while 92% of staff thought the NVQ training would improve motivation, only 50% thought it would improve staff retention – one of the stated aims of the training. Emphasis upon training therefore appears to bear little correlation to workers’ performance; it also does not appear to have improved the motivation or turnover of care staff. The purpose of this essay has been to consider how organisational culture influences the provision of services within social care. One thing that has become clear from this research is that the organisational culture of social services relies heavily upon charismatic leadership to develop the stated values of the department. However, the culture also places limitations upon staff criticisms of leaders, meaning that desirable change may be limited or even prevented: for instance, Michelle Johnson and Michael Austin have suggested that the organization culture of local social services contained barriers to the creation of evidence-based practice, including the fact that there was â€Å"Little history, culture or expectation that evidence is routinely and systematically used to underpin practice† (Austin and Johnson, 87). This problem is undoubtedly one of leadership culture preventing better evidence-based practice from being developed. A secondary problem is that of communicati ons – as Ramon and Morris noted, official communication was resented, being seen as an imposition from above (page 19), and there was limited value placed within the culture for cross-company consultation. These details may seem to relate only to staff members, but clearly they have a role in the outcome of service provision to clients or residents. The lack of motivation experienced by staff members, including stress and feelings of impotence, impact the service they offer to clients, particularly when the unconscious assumption is that these clients are both ‘independent’ of the care provider, and under the control of that same provider. Leadership issues prevent the adequate solving of problems – the basic assumptions of the group meaning that challenges to senior management are dismissed, or regarded as an affront to the leadership. This assumption has prevented the adoption of beneficial policies within the workplace, and has probably limited schemes which would also have aided service provision. Communication between departments within the social services has been justly criticised in the past, and it is clear that a problematic relationship with senior manage ment is also indicative of problems in communication, data being rejected by staff members if it appears to come from management. All of these actions reveal the unconscious assumptions of social workers, both towards colleagues and towards their clients. The application of organisational culture theory to social care offers an opportunity to better understand the role that basic assumptions and values take in the provision of services to clients. Attempts to create a more evidence-based practice have emphasised the importance of a corresponding change in the culture of social work, offering an alternative to the problematic assumptions which can be found in the current organisation’s culture and practice. Works Cited Anderson-Wallace, Murray, and Chris Blantern (2005) â€Å"Working with Culture† in Organisational Development in Healthcare Peck, Edward (ed) Radcliffe Publishing, 2005. Austin, Michael J, and Jennette Claassen (2008) â€Å"Impact of organizational culture: implications for introducing evidence-based practice† Journal of Evidence-Based Social Work Volume 5 no 1-2 (2008) pp. 321-359 Austin, Michael J, and Michelle Johnson (2006) â€Å"Evidence-based practice in the Social Services: Implications for Organizational Change† Administration in Social Work Volume 30, no 3 (2006) pp 75-104 Brown, Andrew (1998) Organisational Culture Essex, Pearson Education Ltd Schein, Edgar H (1992) Organisational Culture and Leadership San Francisco, Jossey-Bass Publishers. Ramon, Shulamit and Lana Morris (2004) â€Å"Responding to perceived stress in a social services department: applying a participative strategy† retrieved 13/09/2008 from http://www.britsoc.co.uk/user_doc/Morris.pdf Winter, Jane, and Lyn Meehan (2004) â€Å"The value of integrated workforce planning across the local health and social care economy: a case study† Clinical Governance Bulletin Volume 5, no. 2 Jul 2004 pp 6-8

Causes of the American Revolution Essay -- Essays on American Revolut

There was no one event that started the American Revolution. This paper will address the problems that lead to the start to the American Revolution. The colonists believed that they should live democratically. Britain felt that they owned the American colonies and they could use their resources in any way that they wished. The colonists did not want to live being ruled by another country. The major events that led to the American Revolution were the French and Indian War, Stamp Act, Boston Massacre, Boston Tea Party and Lexington Concord. The French and Indian War was between the French and Indians, against the American colonies and English. This seven year war lasted from 1754-1763. During this time the French controlled the Mississippi River and the Ohio River as well. They began building forts in those areas. The French soon expanded their areas into the British territory. In 1754 George Washington was sent by the Governor of Virginia’s to evict the French Fort Duquesne (which was built where the Allegheny and Monongahela rivers come together). Washington stumbled upon a French scouting party and had his men open fire. He ended up killing 12 French men and wounded 22. After this event the war was on. The first two years the French and Indians defeated the British. It began poorly for the British. The British army was led by General Braddock. He tried to capture Fort Duquesne but the French succeeded in defeating the British force and General Braddock was killed. The British sent more resources to America and they slowly started to capture the French Forts. In 1759 -1760 the British won the Battle of The Plains of Abraham, captured Montreal and thus completed the capture of Canada which effectively ending ... ...fire that was, by that time, unavoidable. The major events that started the Revolutionary War were French and Indian War, Stamp Act, Boston Massacre, Boston Tea Party and Lexington Concord. Works Cited â€Å"REVOLUTIONARY WAR: Birth Of A Nation.† www.historycentral.com .2000. MultiEducator, Inc. Web 8 June 2015. http://www.historycentral.com/Revolt/causes.html â€Å"The American Revolution (1754–1781)†. www.sparknotes.com. 2011. SparkNotes LLC. Web 8 June 2015. http://www.sparknotes.com/history/american/revolution/summary.html â€Å"American Revolution†. www.harlingen.isd.tenet.edu. H.C.I.S.D. Web 8 June 2015. http://www.harlingen.isd.tenet.edu/coakhist/amrev.html#TOP â€Å"The Battles of Lexington and Concord†. www.theamericanrevolution.org. Web 8 June 2015. http://www.theamericanrevolution.org/battledetail.aspx?battle=1 Causes of the American Revolution Essay -- Essays on American Revolut There was no one event that started the American Revolution. This paper will address the problems that lead to the start to the American Revolution. The colonists believed that they should live democratically. Britain felt that they owned the American colonies and they could use their resources in any way that they wished. The colonists did not want to live being ruled by another country. The major events that led to the American Revolution were the French and Indian War, Stamp Act, Boston Massacre, Boston Tea Party and Lexington Concord. The French and Indian War was between the French and Indians, against the American colonies and English. This seven year war lasted from 1754-1763. During this time the French controlled the Mississippi River and the Ohio River as well. They began building forts in those areas. The French soon expanded their areas into the British territory. In 1754 George Washington was sent by the Governor of Virginia’s to evict the French Fort Duquesne (which was built where the Allegheny and Monongahela rivers come together). Washington stumbled upon a French scouting party and had his men open fire. He ended up killing 12 French men and wounded 22. After this event the war was on. The first two years the French and Indians defeated the British. It began poorly for the British. The British army was led by General Braddock. He tried to capture Fort Duquesne but the French succeeded in defeating the British force and General Braddock was killed. The British sent more resources to America and they slowly started to capture the French Forts. In 1759 -1760 the British won the Battle of The Plains of Abraham, captured Montreal and thus completed the capture of Canada which effectively ending ... ...fire that was, by that time, unavoidable. The major events that started the Revolutionary War were French and Indian War, Stamp Act, Boston Massacre, Boston Tea Party and Lexington Concord. Works Cited â€Å"REVOLUTIONARY WAR: Birth Of A Nation.† www.historycentral.com .2000. MultiEducator, Inc. Web 8 June 2015. http://www.historycentral.com/Revolt/causes.html â€Å"The American Revolution (1754–1781)†. www.sparknotes.com. 2011. SparkNotes LLC. Web 8 June 2015. http://www.sparknotes.com/history/american/revolution/summary.html â€Å"American Revolution†. www.harlingen.isd.tenet.edu. H.C.I.S.D. Web 8 June 2015. http://www.harlingen.isd.tenet.edu/coakhist/amrev.html#TOP â€Å"The Battles of Lexington and Concord†. www.theamericanrevolution.org. Web 8 June 2015. http://www.theamericanrevolution.org/battledetail.aspx?battle=1

The Information Environment During the Making of a Bob Dylan Album :: Media Recording Music

The Information Environment During the Making of a Bob Dylan Album In analyzing any of Bob Dylan's albums and lyrics, one might receive very powerful, timely, political and social messages from the artist. Perhaps it is the way in which he influences or responds to his fans which allows him to always seem a step ahead of the public. Take, for instance, his addition of electric instruments to his music in 1964 (Bob Dylan: Desire - Ink Blot Magazine). Dylan's use of these instruments, which are indicative of the growing information environment of the time, outraged folk fans. Nevertheless, "Dylan had merely created the most influential folk-rock ever recorded" (Bob Dylan: Desire). In essence, he moved forward from the mentality, in which a large part of the public during the 1960's still remained, in order to be better able to speak to his fans. He simply tried a new invention for the purpose of making his music sound better and holding on to his listeners. At the same time, though, when bands such as the Beatles had followed Bob's lead by creating bl ues and "psychadelic-influenced" music, Dylan retreated to his country forms (Bob Dylan: Desire). In other words, he spoke to the modern world, by progressing with the new, electric instruments, while still reaching his older, perhaps more traditional fans, with his alternated use of country forms. He composes music about betrayal, paranoia, fear and desire, and influentially ties in larger issues of the time, such as racial consciousness. Dylan's album entitled Desire is indicative of the artist's sense of and connection to the world around him. Perhaps the most influential song on the album, and indeed one of Bob's most politically and socially meaningful compositions, is "Hurricane." The interesting chain of events which lead to the making of this song indicate the information society of the time, as well as Dylan's contribution to his information culture and influence in the public. Rubin Carter, the former champion African-American boxer, would simply never have known to contact Dylan had he not first listened to his lyrics of oppression and class differences. Thus, Dylan's music is a powerful form of communication, a kind which would give a man such as Carter a glimpse of hope and justice. Without Carter's book, The Sixteenth Round (Social Conscience Rubin Hurricane Carter), the song would never have been made, and a greater public knowledge of the Ruben Carter case would never have been reached.

the devil and daniel webster Essay -- essays research papers fc

Introduction   Ã‚  Ã‚  Ã‚  Ã‚  The story I had read was the Devil and Daniel Webster it was written by Stephen Vincent Ben’et. This story is a lot alike most of his other stories discussing what it means to be an American. Also this story is one of his most famous stories it combines folk-lore and history also it has been made into a play and so to be coming out a movie. Story Summary   Ã‚  Ã‚  Ã‚  Ã‚  In this story it begins speaking about a character named Daniel Webster, which was from Marshfield, but, later the story begins to unravel and they begin speaking about a character named Jabez stone. Jabez Stone was from Cross Corners, which makes both Webster and Stone from New Hampshire. As you read you see that Jabez has had the worst luck if he was to grow corn they would get borer. If he was to get horses he it would get spavins then trade it in to get one that had staggers. Also say the neighbors had rocks in their soil he would have boulders luck was not on Jabezs side. So one day as Jabez is plowing he broke his plowshare on a boulder. This was the last straw for Jabez and he says, â€Å"I vow it’s enough to make a man want to sell his soul to the devil! And I would, too, for two cents!† Soon after this he felt a chill run through his body being a New Hampshireman he wouldn’t take it back. Later that night a man pulled up in a nice bug gy and went to the door and asked for Jabez Stone he told the family it was a lawyer but, at heart he knew who it was. Then they begin to speak he asked his name he responds with I have a lot of names but you can call me Scratch. Then they soon discuss the contract and Jabez sells his soul the dark man took out a shiny silver pin and made him sign his name in blood. Then things began to go smoothly for him his horses were healthy, his cows got fat, and his crops were the talk of the neighborhood. The man stopped by a year a later to discuss the mortgage and Stone said I beginning to have doubts then Scratch takes out the contract to remind him. As he took out the contract there was a moth that spoke to him it was the voice of mister Stevens. Embarrassed the dark man says he should really be in the collecting box then he slips up in a way and says someone like Daniel Webster needs a special made box. They make a deal Jabez and Scratch they have a 4-year extension. Stone didn’t realize ... ...ylvania, and went to school at Yale University. Some of his works consist the volume of poetry Heavens and Earth, the novels Young People's Pride and Spanish Bayonet, and the narrative poem John Brown's Body, about the American Civil War. For the later work, Benà ©t won a Pulitzer prize for poetry in 1929. Thirteen O'Clock, a collection of short stories, includes â€Å"The Devil and Daniel Webster,† which he adapted into a words for a folk opera in 1939 and which was made into a motion picture, All That Money Can Buy, in 1941. For Western Star, an unfinished narrative poem on the settling of America, Benà ©t won a second Pulitzer Prize in 1944. Benà ©t's works are remarkable in their imaginative trace of the American scene. Conclusion   Ã‚  Ã‚  Ã‚  Ã‚  In conclusion I believe this story was very good although hard to follow I would enjoy reading more of his stories. I would recommend this story to a lot of different people because the story is kind of weird in a weird kind of way. Works Cited http://www.law.utexas.edu/lpop/etext/devil/devil.htm http://shopping.yahoo.com/shop?d=v&id=1800056764 http://www.seacoastnh.com/lawyers/websterhouse.html

Philosophy that was born during the Renaissance Essay

Humanism is a philosophy that was born during the Renaissance, beginning in Florence in the last decades of the 14th century. The theory introduced new ways of thinking that allowed people to question and interpret the Bible anyway they wish. Prior to Humanism, people lived their lives under the impression that it was all to serve god. It wasn’t until people began taking an interest in the work of Greek philosophers that true appreciation of human life became apparent. Humanism inspired people to believe that their life was meaningful and that they were capable of more than just working to please God. The key principle of the theory was that â€Å"human beings are not subject to God or any divine agency. They have no obligation to love, fear or obey any such supernatural agent.† (Victor A.Gunasekara) When the importance of human life prevailed, there was no longer a strained religious perception of earth and society and this is when the freedom of art and self-expression truly took form. Art was no longer a way of glorifying God, but a way of showing individualism and creativity within ones self. The origins of Humanism can be found in the Golden Age of Greek Philosophy. Xenophanes (580 BCE) said, â€Å"If cattle had hands and drew pictures of Gods, Gods would look like cows† making it patent that Gods are of our own making. When Protagoras (450 BCE) wrote, â€Å"Man is the measure of all things, of things that are that they are, and of things that are not that they are not.† he was accused of impiety and was banished for creating such freethinking sentiments that would be considered thoroughly unorthodox for his time. His words are metaphorical of us ‘knowing the world by our own proportion, from our point of view.’ He crafted the idealistic principle of human perception that shaped the humanism philosophy we know today. Humanism was not limited to mental thoughts and ideas on the value of human life, but shown physically through a spectrum of art mediums. The theory shaped various aspects of Renaissance art including the content, style and subject matter of all art forms. During the middle ages, well before Humanism took form, art was notable for glorifying and praising God. During this time, all art was assigned from the church and so the subject matter consisted of mainly biblical themes, stories and characters. Within these paintings, man wasn’t portrayed with anatomical accurateness, but as a small, off scale and minor element next to a much larger religious figure. Within almost all of Middle Age artworks, biblical figures were seen is the most powerful and most important; and so they were made to look exceedingly larger than people or children, who were painted on a much smaller scale. The importance of these religious figures was also shown through height and placement within the picture. They were often painted higher than other figures, adding to the overall impersonal and symbolic outlook of Middle Age art. Because most of the work at this time was so religious, people weren’t able to connect and view art for the purpose of enjoyment, but for worshiping a higher presence. Take the Ognissanti Madonna (1310) for example. The painter, Giotto, depicts Mary and her son with saints surrounding them. They’re portrayed as very large, while everyone else in the painting is very small. Neither of the two are life size nor are they anatomically accurate. However the most obvious aspect within the painting is the overstated size of the two most important biblical figures, Mary and Jesus. This was the conventional style of Middle Age art. The value of human life was never considered, nor was it illustrated through paintings or sculpture. During the late 14th century, Artists began looking at natural depictions of the world and ancient pagan culture. The notion of human form that characterized medieval art was supplanted with the concept of full anatomical accuracy. With the celebration of human life, precision of the human body within paintings and sculptures became a crucial part of depicting the realistic perception within art, one that was not justified by any singular religious context but ones desire for perfection. People began painting secular subjects and portraying man with the same importance that was used for religious figures within the Middle Ages. When the prominence of human life prevailed, people began taking an interest in the accurate portrayal of human characters. This provoked a range of pictorials to be created in parallel with the human form, reflecting the balanced and symmetrical form of the human body in art. Artists began creating precise proportions or the ’golden mean’ in order to establish symmetrical and harmonious composition within a varied spectrum of art mediums. The Golden Mean is the desirable middle between two extremes and is given the number Phi(= 1.618033988749895†¦) Commonly known as the ‘divine proportion’ to Renaissance artists, the Golden Mean was used for atheistic appeal and balance within architecture, but was often used effectively for other visual art forms, such as paintings or sculptures. Collective to the Greek mentality, the golden mean was considered an attribute of beauty that included symmetry, proportion and harmony. The Golden Mean can â€Å"be derived with a number of geometric constructions, each of which divides a line segment at the unique point where: the ratio of the whole line (A) to the large segment (B) is the same as the ratio of the large segment (B) to the small segment (C).† (http://www.goldennumber.net/golden-section/) Paintings, buildings and sculptures adapted and drew inspiration from classical roman structures (a time when the Golden Mean was recognized To Greeks as dividing a line in the extreme and mean ratio) during the High Renaissance period in order to interlace the crucial ascetic appeal that was desired when Humanism was at great interest. High Renaissance style architecture conventionally begins with Donato Bramante (1444-1514) who built the Tempietto at S.Pietro in Montorio, Rome in 1510. The Tempietto ‘’is an attempt at reconciling Christian and humanist ideals’’. With no limitations of Humanism on any particular art medium, Michelangelo’s sculpture of David in (1501) is a perfect example of its boundless effect on accurately conveying the human body with precise proportions and measurements. Other works relating to Humanism included The Birth of Venus (1485), by Botticelli. Prior to Humanism, the majority of art appeared two dimensional or flat. These artists were one of the first to begin adding vast details and highlighting the illusion of space, form and dimension in all art mediums. Combining these and taking into mind perspective (the notable technique of all Renaissance artworks) they ultimately crafted the image of humanist art; molding the backbone of the High Renaissance. In order to embrace this philosophy within art, artists needed to explore the relationship between the human body and mathematics. These artists are one of the many from the High Renaissance period to articulate this relationship physically through multiple art forms. Before the High Renaissance, there was Early Renaissance. During the mid 14th century, architects such as Leon Battista Alberti and Flippo Brunelleschi began taking an interest in proportion. The concept was that a building should be â€Å"fitted together with such proportion and connection, that nothing could be added, diminished or altered, but for the worse.† (Alberti) The rising theory of proportions was looked into by a number of artists and many architects such as Alberti and Brunelleschi over a long Period of time, but it wasn’t until Leonardo da Vinci’s Vitruvian Man (1490) that people started to take it seriously. Not limiting himself to just art, but exploring the realms of math, music and science, da Vinci used his experience and knowledge to establish the link between art and mathematics. Some would say that his work acted as a catalyst towards the start of the High Renaissance and that he was able to pave the way for painters, sculptures and architects that were interested in creating realistic dynamics of human proportion within their art medium. When Michelangelo was commissioned in 1501 by the Board of Works for Florence Cathedral to sculpt David from marble, he used the opportunity to illustrate the true growth of the art movement and the influence of Humanism on various art forms. Michelangelo works against the medieval concept of humanity, a time where man was seen as sinful, immoral and ‘born of dirt’. He shows David before the fight, highlighting his ability as a human to make conscious decisions and a choice to commit himself to act. This depiction of man is one who can become godlike through his own intellect and power of will. Compare this David to Donatello’s David, made out of bronze during the 1440’s. Donatello depicts David as a young boy, looking rather effeminate in a shepherd hat and boots. He’s shown with a smug smile and his foot on Goliaths severed head subsequent to the battle. Donatello’s version of David is an interpretation of the biblical text. His feminine like physic serves the purpose of clarifying that his triumph in throwing the stone at Goliath was not of his own doing, but rather God’s will. He is created very close to the biblical story, having hat and boots typical of a shepherd, where as Michelangelo’s David’s complete nudity shows how he has stripped almost all biblical context from him, focusing entirely on the human entity. He is no young, scrawny boy that follows God blindly, but a man with the ability to make his own choices and fight his own battles. His full nudity shows the true beauty of the human anatomy, which fascinated Michelangelo. Not only has his work shaped the perception of humanity through symbolic catalysts, but through the riveting recreation of the human form with accurate proportions, illustrating the perfect use of the golden mean. It is clear that a grave amount of thought and work went into creating an accurate insight towards the human body. David’s hands and upper body are made slightly larger in order for the human form to look accurate and proportional when seen from the ground. The truthful portrayal of vein and muscle within the body highlights the humanistic elements within the sculpture. In contrast to this, Donatello’s David looks quite unusual and incongruous, although he was sculpted at a younger age than Michelangelo’s David, their anatomical differences are distinct in a way that can’t go unrecognized. Donatello’s work shows shoulders and a chest that are diminutive and slightly disproportioned to the rest of the body. Prior to Humanism, there wasn’t this striving focus for anatomical excellence within art for anyone unless they were a religious character holding the supremacy over man kind that everyone once believed they had. His work on David provided the humanist vision with its first and most prevailing artistic expression. He’s shown as a strong and heroic man, not a smug boy as shown in Donatello’s sculpture. The Birth of Venus, painted by Bottichelli in 1486 is a celebration of Renaissance Humanism, depicting the classical myth. The picture is very calming and somber, focusing on the true beauty of Venus with warm and soft tones. Venus, Goddess of Love, is shown emerging from the sea on a shell, parallel to the story of her birth. There is an emphasis on sea imagery that was used to please church authorities. Zephyr and Chloris are blowing her to the shore with wind, amongst a shower of flowers, while a Nymph, Flora, is reaching out to cover her naked body with a cloak. The nudity of Venus was very unconventional at the time; primarily, pictorials of naked women were only shown through portrayals of Eve; but here Venus stands; completely naked and not in a biblical context. In a time when almost all artwork was of Christian theme, the honest portrayal of Venus and the secular imagery had a crucial impact on High Renaissance art and was a catalyst for other artists to explore humanistic elements within their work. Venus, the goddess of love is depicted in human form with such magnificence and accuracy that humanist themes are not suggested, but a manifest to Botticelli’s audience. Godly figures began taking form of earthly beings and showing the true exquisiteness of the female body. There is a de-emphasis of deep space in order to stress the sense of pattern and beauty that defines the painting. Flora is not giving the cloth for just modesty, but giving her the ‘veil of wisdom’. She shows us how great intellectual gifts are always concealed from plain sight. Botticelli’s portrayal of the female body is used to further drive ideas of Humanism. Her physique is quite an accurate and refreshing portrayal compared to earlier years were nudity was not yet established in non biblical paintings. Her stomach is a truthful portrayal of what a women with some muscle tone in her abdomen would have, the legs and arms are somewhat shapely, showing the female body in its most natural form. Venus in this painting is both humble and pure. It’s plausible that one of the main themes within this painting, second to Venus’s birth; is the idea of beauty. The picture has a decorative quality to it; not only does it showcase the substantial change in art during the High Renaissance, but its symbolic of a rich classical history, reinvention and an earthly world view. It is through The Birth of Venus, and many other High Renaissance paintings, where the true impact of Humanism is made clear. Artists would incorporate Greek and Roman mythology as apposed to writing and painting about biblical texts. This was because humanists turned to the classics for inspiration, and so these were often the themes of High Renaissance art. The inspiration of Greek Philosophers inspired those within this period to strive less for divinity. This painting is one of the many to depict Roman or Greek deities, other famous works include Mars and Venus and The School of Athens. One of the most outstanding changes during the High Renaissance period was Architecture. The statement that man is the measure of all things is mirrored within different art mediums, showing a great point of difference within humanist and non-humanist architecture. Humanism meant that architects built not only churches, but palaces and buildings exposing ideals of classical styles. Humanism gave people a chance to look for inspiration from ancient Greeks and thus buildings took influence from the Ancient Classic period. One of the highlights in High Renaissance Architecture is the Tempietto, built in 1502 by Donato Bramante. The building marks the crucifixion site of St Peter and follows selected traditions from the Christian building the Martyria while employing classical principles that create a geometric ideal. Both ancient Greeks and ancient Romans employed the circular plan that governs the perception of the Tempietto. The devotion to symmetrical perfection makes it clear of Bramante’s conscious decision to recreate this in a way that is not only true to the humanist theory, but one that depicts the thoughts of the ancient roman writer Vitruvias, who studied and wrote about architecture and correct proportions within it. Bramante is really following this line of thought with the Tempietto. He’s created a radial building with a round structure that is very dissimilar to the traditional crucifix form of church, which is based on the ancient basilica. His work is considered almost nothing short of architectural brilliance, due to his innovative techniques at changing the orthodox designs of churches and buildings. The building is the perfect example of the relationship between ideal ancient geometry and the divine. Geometry was thought by the ancient Greeks and again later in the Renaissance to be a vehicle in which we can imagine the perfection of heaven. The Tempietto is a building that truly celebrates Humanism. It’s believed to show how man can produce exemplars on earth of the perfection of the heavenly, using correct geometrical structures and symmetrical portrayals. This is similar to that of the golden mean, while relating to the work of Michelangelo and Botticelli, where Humanism was celebrated through the accurate portrayal of the human form. The Humanist theory allowed Bramante to make these changes within architecture; he drew inspiration from classical traditions while making his own original decisions to enhance the symmetrical nature of the Tempietto. His work is similar to that of classical origins, but he allowed for variation. Greek and Romans would not put pilaster that pairs with the columns of the building, however Bramante did. By aligning the true columns with the false columns, he was able to maximize the radial quality and overall centrifugal theme of the building. The Tempietto shows a rhythm, one that was definitely inspired by classical antiquity, the Doric Order in particular. The columns of the Tempietto are a roman variant of the first level of the Coliseum. Depicting the styles of the Doric Order, there are triglyphs and metopes above the columns. Mitchell Beazley was literal when he wrote; â€Å"The emphasis here is on the harmony of proportions, the simplicity of volumes (cylinder, hemisphere) and the sobriety of the Doric Order. The circular plan symbolizes divine perfection. Inspired by ancient temples, the Tempietto is both a homage to antiquity and a Christian memorial.† Humanisms affect on architecture was one of the largest. Despite differing in architectural elements, different styles of columns were explored throughout all High Renaissance architecture, utilizing techniques that show proportion and highlighting themes of classical tradition. Nearly all buildings constructed after Humanism follow these principles and show a vivid influence of ancient Greek and Roman cultures. The Humanist movement allowed architects to make changes in what they were creating. They drew inspiration from classical architecture, traditions and even philosophies and refabricated it within new architectural masterpieces that shaped the Humanist theory in many inconceivable ways. Alberti and Brunehlleschi were a crucial aspect in the innovation of humanist architecture. They were no Greek philosophers, however they employed the idea of symmetrical excellence and inspired the creations of many renowned and prominent buildings including the Tempietto itself. Many great architects of the high renaissance period such as Bramante and Michalangelo were captivated by this idea and were thus able to shape traditions and techniques to produce the conventional high renaissance architecture style that we’re accustomed to today. Inclusive to classical traditions, architects began taking the beauty of human proportions and reflecting it through architecture, similar to the way humanist painters and sculptors depicted the human form with symmetrical perfection. Humanism was noted for 3 things. The revival of classical Greek/Roman art forms and styles, faith in the nobility of man as apposed to pure worship of religious or god-like figures; and finally the appreciation of the human body, that influenced almost all artists and architects of the era to portray this accurately in their work. Humanism shaped the art of the High Renaissance period through a change in architectural style and content; subject matter of paintings and sculptors; and a difference in the anatomical structure and proportions of man. People became important and an appreciation for human life fell apparent through a range of art where human history and perspective was no longer considered sinful, but was explored multiple times with a range of artists. Humanism provoked the study of classical and mythological traditions. Paintings began to depict Roman or Greek deities. Biblical figures no longer subjugated artworks with height and proportion, but became equal to man. Sculptors began creating humanist characters that were strong and noble, architects began referring to classical and ancient antiquity for new innovation towards humanist architecture†¦ the freedom of thought and self expression was at its highest.