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

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  • Subject: Linguistics, Classics and related subjects
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Essay on George W. Crandell, "echo spring"

George W. Crandell in his essay entitled "echo spring": Reflecting the gaze of Narcissus in Tennessee William's 'Cat on a hot tin roof' claims that Bricks problem is psychological, whereas Charles E. May in his essay entitled "Brick Pollit as Homo Ludens: 'Three players of a summers game' and 'Cat on a hot tin roof' affirms that his problem is not psychological but metaphysical. After careful consideration of these two viewpoints (A04) consider what you believe to be Bricks essential problem and discuss whether or not Tennessee Williams allows him to resolve it. In your answer consider the methods Williams uses to present Brick's dilemma (A03) and examine the contemporary influences working upon him (A05i). George W Crandells mentions the idea that T.W draws upon mythological analogues to highlight his characters .He goes on to compare Bricks problem to be similar to that of mythological character Narcissus, who was so good-looking that he fell in love with his own reflection and who's name now denotes a psychological disorder and believes that his problem is psychological and can be cured. This would have been particularly appealing to Tennessee Williams as his plays have often been commended for their psychological realism. The similarities between Brick and Narcissus are suggested mainly by Bricks favourite alcoholic beverage (Echo spring) and by Bricks consistent self

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Examine the relationship between Brick and Maggie in the first act of "Cat on a Hot Tin Roof", is there any hope for this relationship?

Examine the relationship between Brick and Maggie in the first act of "Cat on a Hot Tin Roof", is there any hope for this relationship? "Cat on a Hot Tin Roof" a play by Tennessee Williams, focuses on a seemingly dysfunctional relationship between the two main characters Brick and Maggie. The first act begins with Brick in the shower isolated, unable to hear or communicate with Maggie as she tries to shout over the noise of the water, this appears to symbolise their relationship. Brick seems to make no effort and is "without interest" to communicate with Maggie, he seems cold like the water of the shower and the "snowy white surface of the bed", emotionless with his " detached quality". This contrasts with Maggie who makes the only sustained contribution to their conversation, in an attempt to save their crumbling relationship "shouting above the roar of the water". Maggie also drops in complimentary phrases into the conversation "honey" "Baby" in an attempt to gain a reply, with some emotion from Brick. This has no effect, as not only are Brick's replies short and emotionless, they are pernickety, and force Maggie to explain and justify every thing "why d'ya?", "Don't they?" which frustrates Maggie into answering snappily "Isn't that a good enough reason?" Tennessee Williams has cleverly used a name, which has similar characteristics to its character. Brick is

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Brick says that 'Mendacity is a system we live in. Liquor is one way out, death is another...'. Discuss Williams' treatment of mendacity and truth and a theme in Cat on a Hot Tin Roof'.

Brick says that "Mendacity is a system we live in. Liquor is one way out, death is another...". Discuss Williams' treatment of mendacity and truth and a theme in Cat on a Hot Tin Roof'. 'Cat on a Hot Tin Roof' is essentially about Tennessee Williams as a writer exposing universal truths to an unsuspecting audience, by testing social boundaries. The characters in this 1950s patriarchal play are sensationalised and give us an unclear ending to prove to the audience that his issues are something to be debated. The idea of 'mendacity' is Williams' way of microcosmically encompassing society through a central character's role within a family setting. It explores human relationships and attitudes towards one another. Brick is a character facing the effects of being pushed into social limbo in order to achieve a conventionality that simply cannot exist. All of the characters are involved with lies in one form or another. The audience is shown how people lie to placate themselves as the truth can be too difficult to accept. Brick significantly poses the question, 'Who can face the truth? Can you?' Brick's character depicts resignation and capitulation. His own name embodies this; he has assumed the status of a brick as a result of his entire life. Being one of the play's protagonists, he challenges the status quo as society's repressive attitude to 'unnatural

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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

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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

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Sun Vampires

SUN VAMPIRES - Possible Answers Who is this piece written for? The Big Issue is published on behalf of the homeless, seeking to raise funds for those who find themselves in this situation. It is not available through the usual outlets but is sold by vendors, homeless themselves, on the streets of our major cities. The 'target group' for sales is, broadly speaking, seen as those who might be sympathetic to the plight of the homeless: people who are fortunate enough to have homes and jobs, who take an interest in society as a whole rather than in themselves as individuals and who are aware of current issues. Readers are likely to be young, rather than middle-aged, and relatively affluent. Such readers are likely to have heard of Bros (a teen pop duo of the late 80's) and Peter Andre (popular at the time of publication, but hardly an enduring household name) and might be in the position of being able to spend £399 a year on a suntanning course. They are more likely to respond to the style of writing that uses current colloquial or slang expressions such as "And let's face it", "fork out" and "one hell of a habit" than to a style which they might regard as stuffy and old- fashioned. Although the message is a serious one, the tone is, generally speaking, quite light-hearted - you must never frighten the casual reader because, if the reader were to associate this emotion with

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  • Subject: Linguistics, Classics and related subjects
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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

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The Inevitable

The Inevitable Mr. Williams was a material man. He had no consounce, no moral boundries and more faces than Big Ben. He was very manipulative and was fond of anything which made him look succesful. Why not, he was after all succesful, financialy that is to say. This is how he came to be able to afford a Porsche, which he had imported from Germany. It was 1968, mid winter. It wasn't unknown for the Irish moore lands to be engulfed in mist, as it was on this cold winters night. On this occasion the mist added to the excitement as Mr. Williams tested his new toy, his Porche, with his lady friend Joanna. Mr. Williams had intended to get lost with his lady friend, but he did not expect the events that would follow. A windy mud track divided the woods from the Moor's. It was an empty stretch of road, which tested the cars suspension and handling to the limit, as it did Mr. Williams driving ability. He was more than happy to comply with the challenge of keeping the car on the verge of an accident at every turn, without actualy bringing any harm to his precious toy. His driving ability was pushed to the limits as he turned with the road, which appeared six feet in front of the car out of the cold mist. The headlights merely illuminated the fog, visibility began to improve, but any unexpected turns were still unavoidable at this speed. Joanna urged him to slow down, and with an

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Form and Structure in Cat on a Hot Tin Roof

Form and Structure in Cat on a Hot Tin Roof Structure- Cat on a hot tin roof isn't a very structured play, in this traditional sense. A normal play has scenes, which divided up acts, but since there's usually so much commotion on stage they would be pointless. If you have to analyse it, it probably would be easier to break the acts down. It has acts, but the only other way it can be divided up is by when people enter an act. Another way the play can be divided is by getting the act's and dividing them into three. There is continuous action most of the time, however there are some pauses put in deliberately. The continuous action's probably the best way and only way to compare it to a normal family. It shows that the family, like most real-life families never stop fighting, playing, and being around each other's usually a pain. The best place to compare the action is at the beginning of the two different act three's. The original act three is more relaxed, there's a lot less panic about the conversation. Now look at the Broadway version. . There's more shouting more rushing around; the conversation's fast, as they're all looking for Big Mama. The most important way to show that there's continuous action is that there are no scenes. There are no cuts in acts. There's always something going on on the stage. There's lots of action. Violent action, loving action, sexual action,

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  • Subject: Linguistics, Classics and related subjects
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