First Lady of the World - Eleanor Roosevelt.
First Lady of the World Eleanor Roosevelt Sr. Bridget Ellis, fsp Psychology of Women (PS230) Professor Shawn Healy June 27, 2002 Emerson College, Boston Introduction Anna Eleanor Roosevelt, the first child of Elliot Roosevelt and Anna (Hall) Roosevelt, was born in New York City on October 11, 1884. Having been born to parents who were from prestigious, wealthy and distinguished families, faithful to the standards of Victorian virtue and social class, and successful in commerce and politics, she seemed destined to enjoy a very privileged lifestyle. Home was in the beautiful and elite Hudson Valley (Dietz & Williams, Producers, and Williams, Writer/Director, 2000; Hoff-Wilson, & Lightman, 1984). Eleanor, who regarded her own mother as the most beautiful woman in the world, knew as a very young child that she was a great disappointment to her mother who thought she was very plain and dull. Girls who were beautiful had their lives made for them. Their beauty and charm, considered essential in those days, were almost a guarantee that they would make a splendid debut into society, find a suitable husband, have children and preside over a large household. Eleanor's mother disdainfully called her "Granny," even in front of guests, because she thought the child was too somber, lacking all spontaneity and joy. Eleanor, described as homely by her mother, suffered emotional abuse
An Essay on "The Red Wheelbarrow" by William Carlos Williams.
It is often said that a picture is worth a thousand words. But does it take a thousand words to paint a picture? In 1923, William Carlos Williams composed his shortest poem ever, "The Red Wheelbarrow", which consists of one single, 16-word sentence broken into four stanzas. At first impression, most readers get nothing out of the poem. The only obvious characteristic is the rural image painted by the red wheelbarrow and the white chickens, however; upon closer scrutiny, each word symbolizes and enhances simultaneously the idea of one coherent picture. Williams was part of the Imagism literary movement that advocated the use of free verse, common speech patterns, and clear concrete images. His minimalism approach to create an image with concrete objects encourages on imagination of the reader. Diction and symbolic keywords enhance the dichotomy of tones Williams creates in the poem. The first two stanzas establish a stark and burdensome mood but then shifts to a sense of renewal and clarity. The bold opening statement "so much depend upon" has a sense of necessity and pressure and leads to the title object, "a red wheel barrow". The "red wheelbarrow" is an austere-colored, man-made object used to carry heavy loads too burdensome for the human body. The color red in literature usually connotes something harsh and shocking, intense and rough. The brightness of the color made
Symbolism plays an important role in Tennessee Williams' "Cat on a Hot Tin Roof" and Arthur Miller's "Death of a Salesman". This essay will compare and contrast the role of symbolism in these plays.
Compare and contrast the role of symbolism in two or three of the plays you have studied. Symbols are often used in drama, representing a broader meaning to emphasise major themes, shed light on a character, or and evoke abstract concepts and ideas. Symbolism plays an important role in Tennessee Williams' "Cat on a Hot Tin Roof" and Arthur Miller's "Death of a Salesman". This essay will compare and contrast the role of symbolism in these plays. Symbols may often be used to emphasise or reveal aspects of a character's personality. One such symbol in "Cat on a Hot Tin Roof" is that of Brick's crutch. Brick stumbles through the play, continually dropping his crutch or losing it at the hands of others. His crutch may be seen as a symbol of various things. It may be seen as a symbol of his weakness and his inability to be whole after the loss of Skipper, emphasising that Brick is a broken man. Brick's crutch may also be seen as a manifestation of his dependence on alcohol. Lastly, in a showdown between father and son in Act II, Big Daddy attempts to make Brick face the desire that confronts him and as Brick tries to escape, wrenches the crutch away from him. One can thus see that the crutch may also be seen as a phallic symbol, and it's removal by Big Daddy may symbolise the loss of Brick's manliness due to his insecurity about his sexuality. In this way, the symbolism of the
A Life In The Day Of Andy Williams…
A Life In The Day Of Andy Williams... Andy Williams, 73, still reigns supreme in the easy listening charts, since his singing debut at the tender age of 8, when he featured as part of the Williams Brothers Quartet. He sang regulary on the radio station WHO stationed in Des Moines, Iowa, and since then his singing career has spiralled. He is still performing today, singing six days a night in his Moon River Theatre from April to December. "Andy dear, your breakfast is ready! You've got a long day ahead of you so you need some food inside of you!" Debbie's voice echoed in my ears. I can never work out whether its my imagination that Debbie talks to me like a small child in the morning, or its due to the fact that I'm only half awake! I rolled over in my luxurious bed and squinted as the bright sunlight poured in through my french windows. I looked around my spacious room in a slight daze, my eyes focusing as they come in contact with the vibrant colours of Pollack's 'Moby Dick', as it stares back at me. I take a second to gain my composure as my eyes are fixated on the bright blues featured in the painting. Ten mintues later and I'm awake, showered and ready to face what today will bring. µ Æ Ð þ × 1/4 (tm) Mook(tm) ¢ Ø ß œ Œ § †å †0å æ †† †† þ (c) (r) ±
Analysis of "No Ideas but in Things"
Analysis of "No Ideas but in Things" I am going to show the implications of Williams' maxim by demonstrating the effects it has on his poetry, and most notably himself. First of all I would like to divert our attention to duality as a major theme, and affecting factor of such a maxim. For my introductory explanation I would like to consider the criticism of J. Hillis Miller. In his famous essay on William Carlos Williams in Poets of Reality (1966), J. Hillis Miller contends that the world of Williams is beyond dualism. According to Miller's pre-deconstructive argument, "A primordial union of subject and object is the basic presupposition" of Williams's poetry ("Introduction" 6). Citing Williams's dictum, "No ideas but in things," and such poems as "The Red Wheelbarrow," Miller claims that-in contrast to the duality inherent in the idealism of the classical, romantic, or symbolist traditions, wherein the objects of the world signify transcendent "supernatural realities"-the objects of Williams's poetry signify themselves and nothing more, existing "within a shallow space, like that created on the canvases of the American abstract expressionists" ("Introduction" 3), exposing the poem not as a representation of an object, but as an object in itself. Miller finds in Williams's verse "no symbolism, no depth, no reference to a world beyond the world, no pattern of imagery, no
In Act 1, Maggie says, " I'm not living with you, we occupy the same cage
Sarah Beck 12R In Act 1, Maggie says, " I'm not living with you, we occupy the same cage!" Basing your answer on Act 1, explain what you understand by this statement. The play "Cat on a Hot Tin Roof" is a play written in three acts by Tennessee Williams which focuses on the seemingly dysfunctional relationship between the two main characters Maggie and Brick. The first act begins with Brick in the shower; he appears unable to hear or communicate with Maggie as she frequently tries to shout over the noise of the water to her husband. This I feel symbolises their relationship. Brick seems to make no effort to talk back and is "without interest" to communicate with Maggie; he seems as cold as the water of his shower. In the first act we meet Margaret Pollitt, the wife of Brick. Maggie through her beauty and her wit has managed to escape a childhood of desperate poverty to marry into the wealthy Pollitt family, but finds herself suffering in an unfulfilling marriage. Maggie is a character who holds the audience transfixed by her beauty and poise, but she is a hysterical and dissatisfied woman left feeling lonely by her man Brick. Brick, the youngest and favourite son of Big Daddy, is a character who possesses the charm of someone who has given up and assumed a pose of indifference before the world. He embodies an almost archetypal masculinity, that of the
Examine the relation between words and action in the stagecraft of Tennessee Williams
'I think of writing as something more organic that words, something closer to being and action' Examine the relation between words and action in the stagecraft of Tennessee Williams. In 'Cat on a Hot Tin Roof', Tennessee Williams uses the direct genre of drama to 'snare the truth of human experience1'. Although his main themes are sexual repression, communication breakdowns, and scandal, this essay will explain how he explores the more organic themes of defiance towards society's conventions, human relationships, and the uroboros cycle of life. He deliberately designs characters that are not entirely definable, in order to reflect reality accurately, and uses theatrical devices such as speech, movement and set, to realise the 'how' rather than the 'why' of human behaviour. Williams constructs a powerful relationship between words and actions; they conflict and collaborate to portray the thoughts and emotions of the characters, and create an atmosphere of awkward ambivalence, which offers the audience an insight into the work. Williams begins to establish an underlying sense of mystery in characters, which is reflected and enhanced by unanswered questions evoked by the play. For example, Brick is referred to as Big Mama's only child, which infers that she may not consider Gooper as family, and there is the possibility is that he is illegitimate, but this concept is not
Cat on a hot tin roof - dramatic significance - Act 2
WRITE A DETAILED COMMENTARY OF ACT 2 (P71-84). BRINGING OUT THE DRAMATIC SIGNIFICANCE OF THE ACT. There are only two people in this act, Big Daddy and Brick. The great significance of this act is the conversation between Big Daddy and Brick. This conversation is a one to one process and it helps us as readers, to understand the two main characters in depth. The significance of the conversation helps us to understand the story in more depth as well. Big Daddy tries to talk to Brick and wants Brick to give him a reason of why he drinks, "Why do you drink?" Brick avoids the questions by looking away and changing the subject. Big Daddy asks him and he answers them by, "I don't know, give me my crutch!" Big Daddy feels he should talk to Brick and find out more about him and how he feels. Big Daddy loves Brick and wants to be there for him and care for him. But Brick doesn't examine his feelings throughout this play, until he is made to by Big Daddy in this act and Brick finds it very difficult. Brick finally admits that he is drunk, "that's the truth Big Daddy. I'm a alcoholic." By all this drinking Brick doesn't face up to his problems and really doesn't care about anything. He feels scared and afraid to face up to his problems and according to Big Daddy, he always "passes the buck." The only way Big Daddy can make Brick open up to him is through a bargain. "You tell me why
Is it true to say that women dominate men in Hobson's Choice? Why is this significant in the context of the play? Give examples to support your view.
Hobson's Choice Is it true to say that women dominate men in Hobson's Choice? Why is this significant in the context of the play? Give examples to support your view. In the play Hobson's Choice I believe that women do dominate the men greatly, although it is Maggie Hobson who strengthens this theory, throughout the play. Maggie Hobson is confident and has a very strong-minded character. Throughout the play she stands up for herself against everyone who does not believe in her, especially her arrogant father, Henry Horatio Hobson. She is unlike her two younger sisters, Vickey and Alice, who are very flirtatious, proud and snobbish. "It's the fashion to wear bustles" "We shall continue to dress fashionably, father" They are also very näive, particularly towards their father's business. It is Maggie who runs the shop and generally keeps the house in order and the business going. Hobson takes advantage of his daughters and does not pay them any wages. "Wages? Do you think I pay my own daughters wages? I'm not a fool" Hobson also does not want his daughters to marry if it means paying settlements. "From the moment you breathed the word 'settlements' it was dead off" Hobson is a drunk who spends the earnings of his boot shop on drink every lunchtime and at every other available opportunity. He has become an alcoholic. Even at the beginning of the play, it is not fair to
'This apparently simple play gains complexity from the use of a variety of dramatic effects, in particular recurrent sounds and visual images' - using at least three points in the play identify how this intensifies the impact on the audience in each case
'This apparently simple play gains complexity from the use of a variety of dramatic effects, in particular recurrent sounds and visual images' - using at least three points in the play identify how this intensifies the impact on the audience in each case Poetic structure enables a poet to communicate a message outside the limitations of words, or at least aids that that he is trying to convey, as do literary devices enable a novelist. Dramatic effects are an equivalent enabling factor to a dramatist. Within A Streetcar Named Desire Tennessee Williams, famous for his incredibly detailed stage directions, manipulates the gift of dramatic effect to its full. Shakespeare was dedicated to dialogue but, arguably due to technological advances, twentieth century dramatists have realized the value and significance of the use of visual and sound effects. In many ways Williams seems to be writing this play with the intention of it being transported on to the screen, indeed many have compared the instructions within this play to the directorial skills of Alfred Hitchcock, 'arguable subtle connections, but nobody can say the play's conversion into cine tape wasn't smooth' and, to a large extent, kept to Williams's ideal. But the purpose of these effects is what this essay is about and there is a distinct value to them in those terms. To study this text as a text, as words, is to study it