In Dr Jekyll and Mr Hyde and in The Fifth Child Essay Example for Free

In Dr Jekyll and Mr Hyde and in The Fifth Child Essay In Dr Jekyll and Mr Hyde and in The Fifth Child an outsider is progressively released into an existing society destroying peace and goodness as it comes In Dr Jekyll and Mr Hyde by Robert Louis Stevenson the outsider is Mr Hyde. Dr Jekyll is a very clever person who does not like having to be a good, respectable member of society and trying to live up to his reputation all the time. After living his life like this for a while and becoming ever more frustrated by living like this he uses his knowledge of drugs and medicine and Mr Hyde is born as the evil side of Jekylls personality. In The Fifth Child by Doris Lessing the outsider is a boy called Ben the fifth of five children from a couple called David and Harriet. David and Harriet wanted a happy family life with many children and a big house. This dream world was going fine until the outsider Ben is introduced. This essay is going to look at the similarities and differences between the two books and the two outsiders. The reader from the first time they are met views both Ben and Hyde as outsiders. Harriet just after she has given birth to Ben describes him as a troll or goblin This is certainly not the usual reaction a mother gives her new born child or creature as Harriet describes him. Ben was not like other new born babies he was muscular, yellowish, long his forehead sloped from his eyebrow to his crown. His hair grew in an unusual pattern from the double crown where started a wedge or triangle that came low on his forehead, the hair laying forward in a thick yellowish stubble. He did not look like a baby at all. The first time we meet Mr Hyde he is attacking a small child in the street trampled calmly over the childs body which is not normal practice for the normal man in the street. Stevenson makes this more horrific by saying it sounds nothing to hear but I think it does sound quite nasty to hear but it was hellish to see implying that it is much worse than it sounds. Mr Hydes appearance made the doctor who would usually have nothing to hold against Hyde turn sick and white with the desire to kill him. Later in the book Mr Utterson tries to describe Hyde there is something wrong with his appearance, something displeasing, something downright detestable. I never saw a man I so disliked and yet I scarce know why. He must be deformed somewhere, he gives a strong feeling of deformity, although I couldnt specify the point. All this suggests that Mr Hyde is not normal. Stevenson then goes to describe Hyde through his house and his front door. Mr Hydes house lies just past a market that is described as having an air of invitation, like rows of smiling sales women. Mr Hydes house is nothing like this being situated in a court and is one of a sinister block of buildings this description immediately makes you imagine a dark house with dark anti-social inhabitants. Stevenson then goes on to say the house showed no windows, nothing but a door on a lower story and the door which was equipped with neither bell nor knocker, was blistered and distained all of this is not actually just describing the house but Hyde as well. It says Hyde is a dark anti-social man that does not like visitors and does not generally fit in. In The Fifth Child there is also an object like Mr Hydes door used to describe, but this time peoples feelings and what is going on. This is the big table; it is used to show the state of the family and relationships. The table near the beginning of the book before Ben is born is full of people at Christmas who are all happy and Christmassy but when Ben is born less and less people come around until at the end of the book the table is totally empty apart from Harriet. Harriet is imagining what it used to be like before Ben was born with many people all enjoying themselves and how much better it would have been without him. Mr Hyde and Ben are both violent people. Mr Hyde had trampled over a small child in the street and killed an MP with a walking stick; both of these people were people that someone of Hydes age should have been stronger than, an old man and a small child. Ben had sprained his older brothers arm and attacked an older girl in the playground, both of these people should have been able to overpower someone of Bens age but Ben seems to be abnormally strong. When Ben was a small baby his mother did not breast-feed him like she did with her others because it hurt too much the child looked at her and bit, hard. This may suggest that Ben is more evil than Hyde in being able to attack people that should be stronger than him. Stevenson describes the event of Hyde trampling a small child in a different way to the way Lessing describes how Ben attacks a girl in the playground. Stevenson tells the story through Mr Enfield who is talking to Mr Utterson but Lessing uses Harriets thoughts to tell the story of Ben. Stevenson doesnt just describe what Hyde did to the girl he goes on and makes the incident more realistic and tries to compare Hyde with other things such as a juggernaut to provoke more feeling in the reader it sounds nothing to hear but it was hellish to see. Lessing on the other hand describes Bens actions almost as a series of bullet points, stating what he did and nothing else he had pulled her down, bitten her and bent her arm back until it broke. For this reason, that Stevenson used more description in parts of his book I can find parts of Dr Jekyll and Mr Hyde more believable and mare memorable. These parts of the two books also show how far apart they were written. In Dr Jekyll and Mr Hyde Stevenson uses the word juggernaut, which then meant a large unstoppable force but in todays world has become to be associated with large lorries. Also in Dr Jekyll and Mr Hyde there are few women and the ones we do hear about are servants or maids but in the Fifth Child there are many women and one of the most important people in the book, Harriet, is a woman. We also do not hear many people called by their first names in Dr Jekyll and Mr Hyde but in the Fifth Child last names are seldom used. The title of this essay I agree with most of except for the part that says, progressively released. This part of the statement is true for Dr Jekyll and Mr Hyde, as Mr Hyde is only really understood at the end of the book he is not easy to describe. In the Fifth Child Ben is thrown into the middle of everything suddenly and can even be different before he was bourn David felt a jolt under his hand. The second part of this statement destroying peace and goodness as it comes I totally agree with. In Dr Jekyll and Mr Hyde, Hyde causes Jekyll so much pain that eventually he commits suicide. In the Fifth Child Ben scares Harriet and David off having any more children and breaks the family apart by making some of Harriets other children go to boarding school and by making them go and live with relatives.

Essay --

ME: I spent nearly 15 years harboring un-forgiveness against an individual. I was 7 years old I lost my Mother .My father was left to raise seven children. We didn’t have much and it showed in my appearance and unkempt hair. I remembered sitting in class one particular day; the teacher asked each of us what we wanted to be when we grew up. When the time came for me to answer I stood up and said that â€Å"I wanted to be a teacher† and she looked at me and said â€Å"you should think of something else more realistic. I had heard hurtful words repeatedly as a child but that day, I was crushed by them. I recall how the entire class laughed and made fun of me and years later I believed that I was never going to amount to anything, and everything I attempted failed. It was as if those words were like a ball and chain on me. My Dad was a weekend alcoholic back then and he worked hard during the week but on the weekends he was never around. My childhood was a very lonely one, I didn’t have any friends, only associates, but there was this guy name Chris, he was a sweet and very nice boy. I use to talk to him from time to time but he was very reserved and was always by himself. I felt badly for him, after all, I felt that we were both misfits. We had become good friends, and even though he wasn’t much of a talker, neither of us seemed to mind, we were just grateful to have the other as a friend. Then one day I learned that he had committed suicide. We hadn’t been friends all that long but he was the only friend I had and I was really hurt, angry, and I even questioned and blamed God for allowing it to happen. I couldn’t understand how he would allow it and I had a hard time dealing with it. I had to get away, so when I turned 18 I decided to ... ...e command, or any Holy words provided, as they are in the other two Sacraments. Also, a foot washing is void of evangelical grace, or pardon of sin, which is why it should not be practiced in the church as Sacrament. I pray that you learned from this study of Jesus’s example, and I pray that God continue to stir us up to live lives which are pleasing in His sight and from which He get all the honor and glory. It was due to this study that I was able to free myself by forgiving the teacher who spoke nothingness into my life and those who made my life a living hell growing up. Immediately when I forgave them I felt as if that ball and chain that was attached to me just broke into and fell off. I no longer receive the report of others; I believe what God said about me. I perform feet washing according to the teaching of Jesus; I just do not perform them as Sacrament.

Interaction of Fiscal and Monetary Policy

INTERACTION OF FISCAL AND MONETARY POLICY IN INDIA Introduction: Before understanding how the fiscal policy and monetary policy operate in coordination with each other, let us first understand the objective behind the formulation of these policies in brief. Monetary Policy: Monetary policy is the process by which monetary authority of a country, generally a central bank controls the supply of money in the economy by exercising its control over interest rates in order to maintain price stability and achieve high economic growth.The central bank in our country is Reserve Bank of India. The main objectives of monetary policy are price stability, controlled expansion of bank credit, promotion of fixed investment, promotion of exports and food procurement operations etc. Fiscal Policy: Fiscal policy refers to the expenditure that government undertakes in order to provide goods and services, and the way in which the government finances those expenditures.Main objectives of fiscal policy of our country are to reduce income inequalities through progressive taxation, to control inflation, to facilitate balanced regional development, employment generation, to allocate resources to social and developmental objectives, to reduce balance of payment deficits etc.At the outset, it must be recognized that both fiscal and monetary policies are essential components of overall macro-economic policy and thus cannot but share the basic objectives such as high economic growth on a sustainable basis implying equity considerations also, a reasonable degree of price stability and a viable balance of payments situation. However, all these objectives may not always be in harmony, and major concerns of each component may be different apart from the differences in time horizon of the concerned policy focus.For achieving an optimal mix of macroeconomic objectives of growth and price stability, it is necessary that the two policies complement each other. However, the form of complementarity will vary according to the stage of development of the country’s financial markets and institutions. In order to exercise these objectives there are certain tools available with the government and the central bank. Let us look at the tools available with the central bank to exercise monetary policy objectives effectively. There are five main tools which RBI uses to execute the monetary policy.They are repo and reverse repo rate, cash reserve ratio, open market operations, statutory liquidity ratio, and bank rate. The tools related to fiscal policy are public expenditure, income of the government, government borrowings. Evolution of monetary and fiscal policy interface in India: The framework for monetary and fiscal policy interface in India stems from the provisions of the Reserve Bank of India Act, 1934. In terms of the Act, the Reserve Bank manages the public debt of the Central and the State Governments and also acts as a banker to them.The interface between these two poli cies, however, has been continuously evolving. In the pre-Independence days, the Colonial Government adopted a stance of fiscal neutrality. However, requirements of the World War II necessitated primary accommodation to the Government from the Reserve Bank. In the post-Independence period, the monetary-fiscal interface evolved in the context of the emerging role of the Reserve Bank. Given the low level of savings and investment in the economy, fiscal policy began to play a major role in the development process under successive Five-Year Plans beginning 1950-51.Fiscal policy was increasingly used to gain adequate command over the resources of the economy, which the monetary policy accommodated. Beginning the Second Plan, the Government began to resort to deficit financing to bridge the resource gap to finance plan outlays. Thus, the conduct of monetary policy came to be influenced by the size and mode of financing the fiscal deficit. Consequently, advances to the Government under the RBI Act, 1934 for cash management purposes, which are repayable not later than three months from the date of advance, in practice, became a permanent source of financing the Government budget deficit.Whenever government’s balances with the Reserve Bank fell below the minimum stipulation, they were replenished through automatic creation of ad hoc Treasury Bills. Though the ad hocs were meant to finance Government’s temporary needs, the maturing bills were automatically replaced by fresh creation of ad hoc Treasury Bills. Thus, monetization of deficit of the Government became a permanent feature, leading to loss of control over base money creation by the Reserve Bank. In addition to creation of ad hocs, the Reserve Bank also subscribed to primary issuances of government securities.This was necessitated as the large government borrowings for plan financing could not be absorbed by the market. This, however, constrained the operation of monetary policy as it led to creati on of primary liquidity in the system and entailed postponement of increases in the Bank Rate in order to control the cost of Government borrowings. The Reserve Bank Act, therefore, was amended in 1956 empowering the Reserve Bank to vary the cash reserve ratio (CRR) maintained by banks with it to enable control of credit boom in the private sector emanating from reserve money creation through deficit financing.The single most important factor influencing monetary policy in the 1970s and the 1980s was the phenomenal growth in reserve money due to Reserve Bank’s credit to the government. With little control over this variable, monetary policy focused on restricting overall liquidity by raising the CRR and the SLR to high levels. The balance of payment crisis of 1991 recognized the fiscal deficit as the core problem. It, therefore, necessitated a strong and decisive coordinated response on the part of the Government and the Reserve Bank.Assigning due importance to monetary manag ement, fiscal consolidation was emphasized and implemented in 1991-92. An important step taken during the 1990s with regard to monetary-fiscal interface was phasing out and eventual elimination of automatic monetization through the issue of ad hoc Treasury Bills. Even though fiscal dominance through automatic monetization of fiscal deficit has been done away with over the years in India, the influence of fiscal deficit on the outcome of monetary policy has continued to remain significant given its high level.High fiscal deficit, even if it is not monetized, can interfere with the monetary policy objective of price stability through its impact on aggregate demand and inflationary expectations. Fiscal-Monetary Co-ordination: In Inflation Management: Maintaining a low and stable level of inflation is one of the major goals of macroeconomic policy. Since inflation is viewed by the traditional monetarist approach as a monetary phenomenon, monetary policy is recommended as the major tool for inflation management.However, the role of fiscal policy in inflation control is also recognised both in terms of the impact of high fiscal deficit on aggregate demand and inflation as well as short-term inflation management through its policy of taxes and subsidies. Also, given the two-way interaction between fiscal deficit and inflation, optimal co-ordination between monetary and fiscal policies would be critical to achieve the goal of price stability. This section attempts to understand the role of fiscal and monetary policies in inflation management and the implications of the interaction between these policies on inflation.MSS scheme: Another example of fiscal-monetary co-ordination came in the form of introduction of the Market Stabilization Scheme (MSS). Under the MSS, treasury bills and dated securities were issued by the government. The scheme aimed at improving monetary policy that was expected to lose its efficacy in the face of paucity of instruments to sterilize liqu idity arising from large capital inflows that required intervention in the foreign exchange markets. The initial burden of sterilization was borne by the outright transactions involving the sale of dated securities and treasury bills.However, due to the depletion in the stock of government securities, the burden of liquidity adjustment shifted to LAF. The LAF was essentially designed to handle marginal liquidity surpluses/deficits. For absorbing the liquidity of a more enduring nature, the MSS was conceived. Fiscal-monetary policy co-ordination also received a fillip from the Debt Swap Scheme (DSS), which was recommended by the Finance Commission. It enabled the state governments to substitute their high-cost loans from the centre with fresh market borrowings and a portion of small saving transfers.How should the coordination be? In view of the complex nature of interface, coordination between fiscal and monetary policies has to be considered from several angles. Both are aspects of shared overall macro-economic policy objectives. Hence, at the first level, the question is whether the relevant fiscal-monetary policy mix is conducive to the macro objectives. The relevant policy mix relates to the level of fiscal deficit, the pattern of financing especially the extent of monetisation and the dependence on external savings.Secondly, whether operating procedures of monetary and fiscal authorities, especially debt and cash management are consistent and mutually reinforcing. The interactions between operations of monetary authority and public debt management described earlier in this part of the presentation are obviously relevant. Thirdly, whether credibility of both monetary and fiscal policies is achieved in a desirable direction. Thus, a credible monetary policy can help moderate interest rates provided the fiscal authority does not give rise to a different set of expectations.Fourthly, whether due cognizance has been taken of the fact that monetary and fiscal p olicy adjustments operate in different timeframes. Monetary policy as is well known , can be adjusted to alter monetary conditions at a shorter notice than fiscal policy. Monetary policy changes can be undertaken at any time, unlike fiscal policy changes most of which are generally associated with the Annual Budget. Finally, harmonious implementation of policies may require that one policy is not unduly burdening the other for too long. Mutual respect and reinforcement is undoubtedly the ideal to which both policies and authorities should subscrib

About Edith Whartons Ethan Frome - Free Essay Example

Sample details Pages: 3 Words: 750 Downloads: 5 Date added: 2019/08/02 Category Literature Essay Level High school Tags: Ethan Frome Essay Did you like this example? Starkfield, Massachusetts during the early eighteen-hundreds is a dull and uneventful place. The winter season in general has been known to be very depressing with a lack of vitamin D and being more restricted to indoor activities. In the novel, Ethan Frome, by Edith Wharton, Ethan is affected greatly by the impacts of the long, brutal winter in terms of his well being, his relationships, and his fate. Throughout the novel, it is easy for us to see how the dull and sorrowful winters affect Ethan Fromes well being. First, in the prologue, the Narrator is showing sympathy for Ethan being almost stuck in Starkfield for too much time. one phrase stuck in my memory Guess hes been in Starkfield too many winters, says the Narrator, referring to something Harmon Gow said (Wharton 4). Later, in that same section, the Narrator continues talking of this phrase he heard and writes, But when winter shut down on Starkfield and the village lay under a sheet of snow perpetually renewed from the pale skies, I began to see what life thereor rather its negationmust have been in Ethan Fromes young manhood, (Wharton 5). This example shows how the Narrator who had not been in the town long, could see how the winters of Starkfield could have affected anyones well being, but specifically proving it affected Ethans because of the negation he mentions. Therefore, the Narrator was able to see and show the re ader how the brutal winters, made it easy for Ethans well being and emotions to turn negative. Don’t waste time! Our writers will create an original "About Edith Whartons Ethan Frome" essay for you Create order Since Ethans emotions are now triggered towards negativity due to the winter, he now begins to look at everything in his life as depressing, except for Mattie, of course. For example, Ethan and Zeenas marriage is anything but happy. So, in all truth, he does have a right to be upset about that anyway, but it really controls his whole life. The author even wrote that, He had often thought since that it would not have happened if his mother had died in spring instead of winter , referring to Ethan and his marriage ( (4) 42). He clearly does not want to be in this marriage, but also states how he knew it would not have happened in the first place in the Spring, because the Winter is proven to be such a depressing season in Starkfield. Thus, implying he was lonely and stuck inside when his father died, leading to him being vulnerable enough to get married in that time. This is unbelievable evidence, proving the winter had an extreme effect on both Ethans actions and his relationship. Ethans terrible fate was caused by these torrential winters in Starkfield, Massachusetts as well. His sledding with Mattie on that beautiful day in winter seemed so great to the two of them, but of course, no Starkfield winter is looked at as a good winter. When they were kissing on Matties moving day, the author writes, Her hat had slipped back and he was stroking her hair. He wanted to get the feeling of it into his hand, so that it would sleep there like a seed in winter. Once he found her mouth again, and they seemed to be by the pond together in the burning August sun, (103). This quote can show both that his relationship with Mattie was the only bright and happy part of his life at the time, and that the winter really made things more dull. Then shortly after, Ethan begins thinking of suicide as Mattie brings it up. He said to himself: Perhaps itll feel like this and then again: After this I shant feel anything , Wharton writes (104). This is certainly solid proof that Ethan an d even Mattie believe their lives are so horrible in the winter,and its due to the marriage of the winterthat they would think about ending life just to be together. The two were on their way down the hill, ready to just die to be together, but instead they are just severely injured and have to continue their lives with their terrible new conditions. Thus, again proving that the winter has led to the overall fate of Ethan being negative and hard to get through. Therefore, Edith Wharton used the setting of the torrential winters in Starkfield, Massachusetts to emit a negative aspect on how Ethans life is in terms of his well being, relationships, and eventually, his fate. When someone says the winter is depressing, Im sure it hasnt been as depressing as Ethan Fromes has.

White Supremacy And The Jim Crow Laws - 1369 Words

White supremacy and the Jim Crow laws of the south continued the bondage and did not bring the Promised Land they envisioned. In 1890, white supremacy in the south where ninety percent of African Americans lived until the Great Migration north that gave way to the Harlem Renaissance. Which was a movement in the 1920 s and 1930 s that opened the discussion on a minority in America. This movement gave a voice to civilians who were slaves sixty years earlier. Even though the Harlem Renaissance was not a true renaissance, the period did serve to stimulate African American writing as well as a new view into politics. They expressed themselves in a way that was once considered too radical. African Americans attacked stereotypes and wrote about what it was like being left out of mainstream America. Their influences fostered racial pride and served as examples for promising young African American writers and activists (Henry Rhodes, Yale University). The Renaissance brings ionic names to min d including Artists, Musicians, Dancers, Writers, as well as Activists. The African Americans that come to mind are Painter Aaron Douglas, Author Langston Hughes, Jazz Musician Duke Ellington, Blues Singer Bessie Smith, Dancer Josephine Baker, Performer Paul Robeson, Poet Countee Cullen, as well as Activists W.E.B Du Bois, Marcus Garvey, Lucy Craft Laney, and Booker T. Washington. These people were psychological influences because African Americans at the time were perceived as finallyShow MoreRelatedA Deeper Analysis On The Aspect Of Race As Local Color1565 Words   |  7 PagesA Deeper Analysis on the Aspect of Race as Local Color: Jim Crow Laws Imagine you are a person of color in the early to mid 1900’s. You the mother of three young children. Despite your best intentions, your children are forced to grow up in poverty. When you direct them out of the house to go to school, they see the all the white boys and girls walking toward one school and all of the black boys and girls walking to another. Imagine being asked by your children why they don’t go to school with theRead MoreThe Laws And Customs Of The South After The Period Of Reconstruction864 Words   |  4 PagesJim Crow is the term given to describe the laws and customs of the south after the period of reconstruction. These were the products of southern whites determination to reinstall white supremacy. The name â€Å"Jim Crow† was originally popularized in the 1830s by a struggling actor Thomas ‘Daddy’ Rice. Rice, in blackface, played the role of a stereotypical black character to all white audiences. His act portrayed blacks as à ¢â‚¬Ëœsinging, dancing, fools.† Once Reconstruction ended in the south with the withdrawalRead MoreAncient History and Slavery836 Words   |  4 Pagesand displacement of newly freed slaves even though it legally ended on 6 December 1865. Sharecropping and the Jim Crow laws maintained a chokehold on the freemen and poor white sharecroppers. After the American Civil War, sharecropping replaced the big plantations throughout the soft. Sharecropping was a response to economic depression caused by the end of slavery. Many poor white and black farmers earned a living working the land owned by someone else. The first sharecroppers were the formerRead MoreJim Crow And Racial Segregation1205 Words   |  5 PagesJim Crow era was a time of struggle for all African Americans. White supremacy and discrimination was established by Jim Crow laws that lasted from the end of Reconstruction until the 1960’s. The laws caused African Americans to be at a disadvantage politically and economically. Jim Crow is defined as a minstrel show character whose name became synonymous with racial segregation (Foner). A man of the name Thomas Rice created the character Jim Crow. He was a white entertainer who would imitateRead MoreThe Letter From Birmingham Jail By Martin Luther King Jr.990 Words   |  4 PagesAfrican Americans by the white man supremacy, and to address the direct actions African Americans were making to change the people’s perspective. The books that have been read in this class reflect the same injustices that Martin Luther King Jr is addressing in his letter. The main point of this letter is to address the direct action being taken by the African Americans and how they sacrificing everything for their rights when only little progress is their outcome. 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Jim Crow laws were instituted to separate those of color and whites, because of this, many blacks were discriminated against in social areas and job and school opportunities. Jim Crow was not a person, yet affected the lives of

Essay on Blanche DuBois in Tennessee Williams A...

The Destruction of Blanche in A Streetcar Named Desire A Streetcar Named Desire is an intricate web of complex themes and conflicted characters. Set in the pivotal years immediately following World War II, Tennessee Williams infuses Blanche and Stanley with the symbols of opposing class and differing attitudes towards sex and love, then steps back as the power struggle between them ensues. Yet there are no clear cut lines of good vs. evil, no character is neither completely good nor bad, because the main characters, (especially Blanche), are so torn by conflicting and contradictory desires and needs. As such, the play has no clear victor, everyone loses something, and this fact is what gives the play its tragic cast. In a†¦show more content†¦This is certainly true in Stanleys case. In Scene Two, Stanleys primary interest in Blanche is in whether he and Stella are entitled to any money from Stellas family home. When he finds there is no inheritance, Stanley shows quite plainly throughout the following scenes that he has no use f or Blanche: He doesnt like her personally and they have nothing in common. But as the play proceeds, it is obvious that Stanley does perceive Blanche as being something of a threat. She is a disruption to his and Stellas relationship in the physical sense since all three are living in close quarters, but whats worse, she is a part of what Stanley considers Stellas past, and Blanches influence revives old prejudices and ways of thinking in Stella that threaten Stanleys dominance. However, as Scene Ten begins, Stanley is on the verge of regaining his dominant stance. He has discovered details of Blanches past that discredit her in Stellas eyes as well as putting an end to a potential marriage between Blanche and his friend. His victory over her influence is sealed when he gives her a bus ticket back to Mississippi and insists that she use it. He is also only hours away from becoming a father, a physical manifestation of his virility and manhood. His confidence in himself is palpable as the scene unfolds in the way he plays along with Blanche, pretending to believe her story aboutShow MoreRelatedStanley in a Streetcar Named Desire949 Words   |  4 PagesMs. Albertson English IV Honors 17 January 2012 A Streetcar Named Desire: Stanley Kowalski In the play A Streetcar Named Desire by Tennessee Williams, an insensitive and cruel character named Stanley Kowalski is depicted. His juxtaposition to Stella Kowalski, his mild mannered and sensitive wife, accentuates his character flaws making them even more prominent and dramatic throughout the play. Through Stanley’s conflicts with Blanche DuBois and his rapist-like sexual advances, Stanley becomesRead More The Raw Power of A Streetcar Named Desire Essay example2254 Words   |  10 PagesThe Raw Power of A Streetcar Named Desire      Ã‚  Ã‚  Ã‚  Ã‚   Tennessee Williamss play A Streetcar Named Desire contains more within its characters, situations, and story than appears on its surface. As in many of Williamss plays, there is much use of symbolism and interesting characters in order to draw in and involve the audience.   The plot of A Streetcar Named Desire alone does not captivate the audience.   It is Williamss brilliant and intriguing characters that make the reader Read More Stanley Kowalski of Tennessee Williams A Streetcar Named Desire707 Words   |  3 PagesThe Character of Stanley in A Streetcar Named Desire       A Streetcar Named Desire, by Tennessee Williams, is a classical play about Blanche Dubois’s visit to Elysian Fields and her encounters with her sister’s barbaric husband, Stanley Kowalski. Stanley Kowalski is a very brutal person who always has to feel that he is better than everyone else. His brutish actions during the play leave the readers with a bad taste in their mouths. 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He is dealt a hand created by the consequences of his choices or by outside forces beyond his control. It is a never ending cycle: choices made create more choices. Using diverse, complex characters simmering with passion and often a contradiction within themselves, Tennessee Williams examines the link of past and present created by mans choices in A Streetcar NamedRead MoreCompare and Contrast a Doll House by Henrik Ibsen and a Streetcar Named Desire by Tennessee Williams. Write a Brief Essay (of Approximately 1000 Words) to Comment on the Two Female Protagonists‚Äà ´ (Nora Helmer and Blanche1136 Words   |  5 PagesCompare and contrast A Doll House by Henrik Ibsen and A Streetcar Named Desire by Tennessee Williams. Write a brief essay (of approximately 1000 words) to comment on the two female protagonists’ (Nora Helmer and Blanche Duboi’s) relationship with men. A Doll House by Henrik Ibsen and A Streetcar Named Desire by Tennessee Williams are two well-known plays that give rise to discussions over male-female relationships in old society. The female protagonists in the plays are women who are dependentRead MoreA Streetcar Named Desire And Hamlet Essay1761 Words   |  8 Pagesnor it cannot come to good. But break, my heart, for I must hold my tongue† (Shakespeare 1.2.62-63). The play â€Å"Hamlet† by Shakespeare and one of Tennessee Williams famous book called â€Å"A Streetcar Named Desire† are very similar. Both of these works go along perfectly with W.E.B. Du Bois’s short story â€Å"The Comet.† In â€Å"Hamlet† and â€Å"A Streetcar Named Desire† these plays contain a tragic genre, characterization in main characters, and relationships between the characters and these works relate a lotRead MoreA Study on the Social Causes of Insanity How Appropriate Do You Find this Statement as a Co mment on Streetcar Named Desire and Regeneration?1641 Words   |  7 Pages‘A Streetcar Named Desire’ and ‘Regeneration’ both present studies of insanity that stem from social pressures on characters. Insanity is defined as a â€Å"state of being unsound in mind† and â€Å"applicable to any degree of mental derangement from slight delirium or wandering to distraction†. Throughout the texts, we do see characters with ‘unsound minds’, ‘mental derangement’ who appear utterly distracted or delirious. The massive social cause of this insanity for the characters in ‘Regeneration’ isRead MoreReality and Illusion in Tennessee Williams A Streetcar Named Desire1691 Words   |  7 PagesA Streetcar Named Desire, first published in 1947, is considered a landmark play for the 20th century American drama, bringing author Tennessee Williams a Pulitzer Prize. One of its most important themes deals with the contrast b etween reality and illusion. The aim of this essay is to examine how this contrast is reflected in the way the main character constructs her identity. As Ruby Cohn calls it in his essay â€Å"The Garrulous Grotesque of Tennessee Williams†, A Streetcar Named Desire is â€Å"a poignantRead More Themes in A Streetcar Named Desire Essay877 Words   |  4 Pages   Ã‚  Ã‚   The play A Streetcar Named Desire revolves around Blanche DuBois; therefore, the main theme of the drama concerns her directly. In Blanche is seen the tragedy of an individual caught between two worlds-the world of the past and the world of the present-unwilling to let go of the past and unable, because of her character, to come to any sort of terms with the present. The final result is her destruction. This process began long before her clash with Stanley Kowalski. It started with the death

Festival at the Village Free Essays

[pic] FESTIVAL AT THE VILLAGE T/A â€Å"F@V – 2013† A Proposal Document By Lentswe Arts Projects [LEAP] About Us Lentswe Arts Projects [LEAP] is a non-profit organization established in March 2011, in terms of Act No 71 0f 1997 under the Department of Social Development, South Africa. LEAP, is the brainchild of cultural activists, artists and art managers in the North West Province who have for decades combined, been running different organizations, but fundamentally pursuing the same goals. It was against this understanding that Lentswe was formed. We will write a custom essay sample on Festival at the Village or any similar topic only for you Order Now Lentswe† has many connotations in Setswana, one being a large rock and the other a voice. In this context, â€Å"Lentswe† is built from the root of the verb â€Å"go tswa†, which means to stem out in Setswana. â€Å"Lentswe le tswelele go tswela mosola† meaning â€Å"as you learn or benefit from Lentswe; continue to be good use unto others. † LEAP has been involved in artistic and social development projects since its inception. In 2010, even before being registered. , through the Maitiso le Kea’ cultural and artistic rendition, LEAP managed to buy school uniforms for the needy school children at Magokgwane Primary School in the outskirts f Mafikeng as well as stationary and uniform for another desperate learner at Redibone Middle School with the proceedings generated from ticket sales. The fundraising event drew a lot of support from national and international musical artists such as Mo Molemi, and Setswana folklore genius Ntirelang Berman f rom Botswana. October 2011, saw LEAP co-producing an exclusively cultural night of â€Å"Ntirelang Berman live† at Mmabana Mmabatho theatre. The show was hailed as â€Å"ground-breaking and conscious† by the local media and attracted a mixture of both the young and old. Executive Summary â€Å"The children who sleep in the streets, reduced to begging to make a living, are testimony to an unfinished job. † Nelson Rolihlahla Mandela It is with the above quote from the former South African president and Noble Prize winner, Dr. N. R. Mandela, which LEAP conceptualized and aims to stage FESTIVAL AT THE VILLAGE, also to be known as â€Å"F@V†. The festival aims to be the first of its kind arts festival to cater for the underprivileged youths who are also known as â€Å"homeless children† but currently reside at different places of safety in the North West Province. F@V seeks to be a therapeutic platform where these youths are skilled and integrated back into society. It is a vehicle to be used to identify, train and nourish hidden and/or undiscovered talent while creating possible artistic careers for the targeted market. F@V will also be the first ever arts festival to be staged within a rural community, with the aim of bolstering its local economy as well as making it a tourist destination. Buxton Village, in the Greater Taung Municipality is the ideal identified place with its strategic resources, zoning and accessibility for the staging of F@V. Concept A three months training period starting in April 2013 will culminate into a weekend [3 days] long artistic therapeutic experience, therefore making up the core of F@V – skill and emotional development. Different places of safety in four different regions of the North West Province will be identified and roped in for participation at F@V as part of their rehabilitation programmes. Each home will have three [3] teams covering disciplines of drama, music and dance. LEAP would then assign dramaturges/ facilitators to train and develop these groups in their respective discipline, with different themes attached to each group/home. The different groups based on different themes would then create performance pieces of between 20-30 minutes long with the guidance of their respective facilitators. The facilitators would be accompanied by unemployed social workers [either recent graduates or retired ones] to help with handling potential sensitive material that might be borne out of the workshoping process. It is a well known fact that every child has a secret aspiration of climbing on stage to unleash his/her potential performance dream. Lentswe Arts Projects aims to give voice to the oppressed by staging such a revolutionary concept for expression. Interesting and therapeutic theatre forms like â€Å"Forum theatre† will be used to harness participation at F@V in June 2013. What is Forum Theatre? â€Å"It is a theatrical game in which a problem is shown in an unsolved form, to which the audience (as spect-actors), is invited to suggest and enact solutions. The problem is always the symptom of oppression, and generally involves visible oppressors and a protagonist who is oppressed. In its purest form, both the actors and spect-actors will be people who are victims of the oppression under consideration; that is why they are able to offer alternative solutions, because they themselves are personally acquainted with the oppression. † – Augusto Boal It goes without saying how this type of theatre model would go a long way in helping our targeted children as participants and society at large as audiences to comprehend the type of either emotional or at times physical oppression that perpetuates the ever increasing number of homeless children on our streets. F@Vison: ? To be an annual therapeutic and edutaining artistic platform. F@V – Objectives: ? Endorse the Department of Social Development’s mandate of developing and implementing an array of programmes that do not only protect South Africans against poverty, but also promote investment in building and strengthening communities and households. ? To be a meaningful vehicle of intergrading our lost children back into society. ? To create jobs for our social workers and artists. ? To use the arts to address the socio-economic challenges and cultural restoration in our communities. To identify and address social ills that result in having children homeless. ? To create possible careers in the arts. ? To have an attracting socially-conscious arts calendar event. ? To align with the Department of Arts and Culture’s Mzansi’s Golden Economy policy of creating a â€Å"more than you can imagine† experience. ? Actualize the Department of Social Development†™s value of partnership in working together with civil society, business, academia and the international community. F@V – Implementation Once the financial and physical resources are available, LEAP will develop a detailed implementation plan and set up a strong team to take the project to its realization. The said project team will preferably be consisting of representatives from different stakeholders to have a successful and translucent process. The implementation stages shall mainly begin with the identification of willing participatory children’s homes around the province, followed by assigning of different facilitators to the respective teams/homes. Action Plan PERIOD: 07 January – 02 August 2013 ACTIVITY |DATE |PLACE |OUTCOME | |Pre-production begin |07 January – 29 March 2013 |Mafikeng and Taung |Festival Logistics Plan | |Fieldwork/workshops begin |01 April 2013 |Around NW |Unroll the development process | |Fieldwork/workshops begin |30 June 20 13 |Around NW |Have groups ready to | | | | |showcase/compete. |Marketing initiatives commence |10 June 2013 |Around NW |Create project awareness around | | | | |the province. | |Travelling day [Groups] |04 July 2013 |To Buxton |Different homes travel to get to | | | | |the designated area of | | | | |showcasing. |Technical set-up |04 July 2013 |Venues TBC |Have the venues accommodating the| | | | |productions. | |F@V Launch |05 July 2013 |Venue TBC |Launch the project to the media | | | | |and public. | |F@V First Day |06 July 2013 |Social Centre |Start showcasing the productions. |Last Day/ Prize Giving |07 July 2013 |Social Centre |End short festival of | | | | |performances and give prizes. | |Travelling day |08 July 2013 |From Buxton |Groups and technicians get back | | | | |home. | |Reporting |02 August 2013 |Mahikeng |Narrative and financial reports | | | | |submitted to the funders. | Project Budget Please see attached[pic] How to cite Festival at the Village, Papers Festival at the Village Free Essays [pic] FESTIVAL AT THE VILLAGE T/A â€Å"F@V – 2013† A Proposal Document By Lentswe Arts Projects [LEAP] About Us Lentswe Arts Projects [LEAP] is a non-profit organization established in March 2011, in terms of Act No 71 0f 1997 under the Department of Social Development, South Africa. LEAP, is the brainchild of cultural activists, artists and art managers in the North West Province who have for decades combined, been running different organizations, but fundamentally pursuing the same goals. It was against this understanding that Lentswe was formed. We will write a custom essay sample on Festival at the Village or any similar topic only for you Order Now Lentswe† has many connotations in Setswana, one being a large rock and the other a voice. In this context, â€Å"Lentswe† is built from the root of the verb â€Å"go tswa†, which means to stem out in Setswana. â€Å"Lentswe le tswelele go tswela mosola† meaning â€Å"as you learn or benefit from Lentswe; continue to be good use unto others. † LEAP has been involved in artistic and social development projects since its inception. In 2010, even before being registered. , through the Maitiso le Kea’ cultural and artistic rendition, LEAP managed to buy school uniforms for the needy school children at Magokgwane Primary School in the outskirts f Mafikeng as well as stationary and uniform for another desperate learner at Redibone Middle School with the proceedings generated from ticket sales. The fundraising event drew a lot of support from national and international musical artists such as Mo Molemi, and Setswana folklore genius Ntirelang Berman f rom Botswana. October 2011, saw LEAP co-producing an exclusively cultural night of â€Å"Ntirelang Berman live† at Mmabana Mmabatho theatre. The show was hailed as â€Å"ground-breaking and conscious† by the local media and attracted a mixture of both the young and old. Executive Summary â€Å"The children who sleep in the streets, reduced to begging to make a living, are testimony to an unfinished job. † Nelson Rolihlahla Mandela It is with the above quote from the former South African president and Noble Prize winner, Dr. N. R. Mandela, which LEAP conceptualized and aims to stage FESTIVAL AT THE VILLAGE, also to be known as â€Å"F@V†. The festival aims to be the first of its kind arts festival to cater for the underprivileged youths who are also known as â€Å"homeless children† but currently reside at different places of safety in the North West Province. F@V seeks to be a therapeutic platform where these youths are skilled and integrated back into society. It is a vehicle to be used to identify, train and nourish hidden and/or undiscovered talent while creating possible artistic careers for the targeted market. F@V will also be the first ever arts festival to be staged within a rural community, with the aim of bolstering its local economy as well as making it a tourist destination. Buxton Village, in the Greater Taung Municipality is the ideal identified place with its strategic resources, zoning and accessibility for the staging of F@V. Concept A three months training period starting in April 2013 will culminate into a weekend [3 days] long artistic therapeutic experience, therefore making up the core of F@V – skill and emotional development. Different places of safety in four different regions of the North West Province will be identified and roped in for participation at F@V as part of their rehabilitation programmes. Each home will have three [3] teams covering disciplines of drama, music and dance. LEAP would then assign dramaturges/ facilitators to train and develop these groups in their respective discipline, with different themes attached to each group/home. The different groups based on different themes would then create performance pieces of between 20-30 minutes long with the guidance of their respective facilitators. The facilitators would be accompanied by unemployed social workers [either recent graduates or retired ones] to help with handling potential sensitive material that might be borne out of the workshoping process. It is a well known fact that every child has a secret aspiration of climbing on stage to unleash his/her potential performance dream. Lentswe Arts Projects aims to give voice to the oppressed by staging such a revolutionary concept for expression. Interesting and therapeutic theatre forms like â€Å"Forum theatre† will be used to harness participation at F@V in June 2013. What is Forum Theatre? â€Å"It is a theatrical game in which a problem is shown in an unsolved form, to which the audience (as spect-actors), is invited to suggest and enact solutions. The problem is always the symptom of oppression, and generally involves visible oppressors and a protagonist who is oppressed. In its purest form, both the actors and spect-actors will be people who are victims of the oppression under consideration; that is why they are able to offer alternative solutions, because they themselves are personally acquainted with the oppression. † – Augusto Boal It goes without saying how this type of theatre model would go a long way in helping our targeted children as participants and society at large as audiences to comprehend the type of either emotional or at times physical oppression that perpetuates the ever increasing number of homeless children on our streets. F@Vison: ? To be an annual therapeutic and edutaining artistic platform. F@V – Objectives: ? Endorse the Department of Social Development’s mandate of developing and implementing an array of programmes that do not only protect South Africans against poverty, but also promote investment in building and strengthening communities and households. ? To be a meaningful vehicle of intergrading our lost children back into society. ? To create jobs for our social workers and artists. ? To use the arts to address the socio-economic challenges and cultural restoration in our communities. To identify and address social ills that result in having children homeless. ? To create possible careers in the arts. ? To have an attracting socially-conscious arts calendar event. ? To align with the Department of Arts and Culture’s Mzansi’s Golden Economy policy of creating a â€Å"more than you can imagine† experience. ? Actualize the Department of Social Development†™s value of partnership in working together with civil society, business, academia and the international community. F@V – Implementation Once the financial and physical resources are available, LEAP will develop a detailed implementation plan and set up a strong team to take the project to its realization. The said project team will preferably be consisting of representatives from different stakeholders to have a successful and translucent process. The implementation stages shall mainly begin with the identification of willing participatory children’s homes around the province, followed by assigning of different facilitators to the respective teams/homes. Action Plan PERIOD: 07 January – 02 August 2013 ACTIVITY |DATE |PLACE |OUTCOME | |Pre-production begin |07 January – 29 March 2013 |Mafikeng and Taung |Festival Logistics Plan | |Fieldwork/workshops begin |01 April 2013 |Around NW |Unroll the development process | |Fieldwork/workshops begin |30 June 20 13 |Around NW |Have groups ready to | | | | |showcase/compete. |Marketing initiatives commence |10 June 2013 |Around NW |Create project awareness around | | | | |the province. | |Travelling day [Groups] |04 July 2013 |To Buxton |Different homes travel to get to | | | | |the designated area of | | | | |showcasing. |Technical set-up |04 July 2013 |Venues TBC |Have the venues accommodating the| | | | |productions. | |F@V Launch |05 July 2013 |Venue TBC |Launch the project to the media | | | | |and public. | |F@V First Day |06 July 2013 |Social Centre |Start showcasing the productions. |Last Day/ Prize Giving |07 July 2013 |Social Centre |End short festival of | | | | |performances and give prizes. | |Travelling day |08 July 2013 |From Buxton |Groups and technicians get back | | | | |home. | |Reporting |02 August 2013 |Mahikeng |Narrative and financial reports | | | | |submitted to the funders. | Project Budget Please see attached[pic] How to cite Festival at the Village, Essay examples