I think that works by both Williams and Miller pick up on
some general themes of modernism. The most elemental is that their works depict
characters who are fighting against social orders that are either outwardly against them
or represent values that are antithetical to them. For Williams, this comes out in a
variety of forms. Characters like Blanche from "A Streetcar Named Desire" or Tom or
Amanda from "The Glass Menagerie" in Williams' work or Willy from "Death of a Salesman"
or John Proctor from "The Crucible" all represent individuals who are poised against the
social order. These characters connect to the modernist theme of alienation, or not
fitting in with one's social surroundings. At the same time, I think that a strong case
can be made for these characters also being somewhat afraid of the world in which they
live, that the world has progressed and left them in the dust. As social orders march
towards advancement, individuals, specific individuals, are left as casualties. Works
by Miller and Williams focus on this modernist idea. Blanche or Willy are prime
examples of individuals who cannot seem to not only find success but fail to understand
a modern setting's criteria for it.
Thursday, June 30, 2011
Compare and Contrast Tennessee Williams' and Arthur Miller's plays in a social realist context.The plays' relation to social realism and modernism.
Provide three reasons why Orwell writes from the "lower" animals' point of view in Animal Farm.
Orwell has a great deal of trouble with the idea of a
communist society and feels that one of its greatest problems is that of the basic trend
of using the common man as the engine for change but then ignoring the needs and rights
of common people once the change has been enacted. As such, he feels that the common
animals are going to give the best perspective to teach the allegory he wishes to
teach.
A second reason was simply that of an appeal to his
audience. He knew that the story could be read and enjoyed as simply a story, but he
also knew that he could touch a nerve in the way that common people were afraid of
communism. It was something that was held up ideologically, but the real fears of the
populace were not always articulated and this was a fantastic way for them to visualize
those fears and obviously created a great appeal to that
audience.
A third may very well have been the fact that so
many other authors have been successful with stories written from the point of view of
common (or uncommon) animals. If you look at Aesop's Fables, you can understand that
appeal and perhaps get insight into why Orwell would choose the same perspective for his
story.
In Act 3, scene 2: Explain: "My husband lives, ..." UNTIL: " wherefore weep I then?". (Same Act and same scene for the question before also)
In addition to the excellent remarks concerning Juliet's
maturity above:
In Romeo and Juliet
Act III, scene ii, Juliet has discovered from the Nurse that her cousin Tybalt is dead,
and it was Romeo who killed him. Juliet is visibly upset, and the Nurse thinks it's
because she's mourning the death of Tybalt. But, Juliet is more worried over Romeo's
exile: will she ever see him again?
Here's a section of the
monologue she says to the Nurse:
My husband lives, that
Tybalt would have slain;
And Tybalt's dead, that would have
slain my husband: All this is comfort; wherefore weep I
then?
This
is a kind of interior monologue, a mini-soliloquy, almost an aside. Juliet is trying to
rationalize the situation and calm herself down. Her logical side is trying to talk
some sense into her emotional side. Her statement is a syllogism: "my husband is alive,
and the man who tried to kill him is dead; therefore, I should be happy." Although, it
ends with a rhetorical question that she doesn't have an answer to. Juliet would be
happy, but the fact that Romeo is banished is a fate as bad as
death.
Notice, the Nurse does not try to comfort her or
help her plan any more rendezvous with Romeo after this. The Nurse is completely
emotional, and so Juliet must talk herself into action. This scene thus ends their
relationship.
In a similar scene at the Friar's, Romeo will
be more emotional than Juliet. He will try to kill himself, but Friar Lawrence will
talk him out of it. Friar Lawrence's advice to Romeo sounds almost identical to
Juliet's words:
thy Juliet is
alive,
For whose dear sake thou wast but lately
dead;
There art thou happy: Tybalt would kill
thee,
But thou slew'st Tybalt; there are thou happy
too:
So after this,
Juliet, betrayed by her family and the Nurse, will seek guidance from Friar Lawrence
too. By staging her suicide, Friar Lawrence will be their only intercessor in their
post-exile reunion.
Wednesday, June 29, 2011
What vision of the future does Ray Bradbury create for the reader?this is about a project I have to make 4 school: I need this answer; if you...
In his hatred of materialism and modern man's insatiable
hunger for technology, Ray Bradbury has disaster strike the house of "There Will Come
Soft Rains." The music of the house is silenced, but the memory of Sara Teasdale's poem
lingers:
And
Spring herself, when she woke at dawnWould scarcely know
that we were gone.
Nature,
who is not greedy and heedless of life, will survive; man will not. He will be
destroyed by his hubris that drives him to create more and more
machines to do his work, until, finally, there is little need for him. Clearly,
Bradbury's story is an indictment against the materialism of the twentieth century with
its desire to have technology even think for man. "But too late" Bradbury writes, as man
has destroyed everything in a nuclear battle.
Explaine the use of language in the handwashing scene in Macbeth.
In Act V, Scene 1, Lady Macbeth has become delusional and
consumed with guilt. This scene echoes Act II, Scene 2 when she was literally
washing Duncan's blood off her hands. By this point (Act V, Scene 1), she is vacillating
between fear and guilt. She still tries to convince herself that no one knows their
crime, but simply cannot erase the guilt from mind.
What need we
Fear who knows it, when none can call our
power
to account?—Yet who would have thought the
old
man had so much blood in
him?
Lady Macbeth is reliving
the moments after Duncan’s murder. She keeps using that language of cleaning her hands,
washing away the guilt and the memory. She even relives the moments after Duncan's
murder and Macbeth’s immediate fear and guilt following the murder when a knock at the
gate startled him (“this starting”).
What, will these hands ne’er be clean?—No more
o’
that, my lord, no more o’ that: you mar all
with
this
starting.
She is telling
Macbeth (who is not there) to stop looking so guilty because it looks suspicious. She
even imagines the smell of the blood in Act V, Scene 1. She can’t escape it. The
language of washing hands is material and spiritual. Lady Macbeth wants to get rid of
any evidence or behavioral appearance of guilt. She also is trying to erase the memory
which will erase the guilt and the mental images/delusions. It is an attempt at
physical, psychological and spiritual cleansing.
Show that a.b = (1/4) |a+b|^2 - (1/4) |a-b|^2
Let us take the two vectors a and
b.
Their dot product is |a|*|b|*cos D, where D is the angle
between the vectors.
Let the vector a make an angle of A
with the horizontal and vector b make an angle of B with the
horizontal.
(1/4)*|a + b|^2 - (1/4)*|a -
b|^2
=> (1/4)[|a + b|^2 - (1/4)*|a -
b|^2]
=> (1/4)[[sqrt((|a|*sin A + |b|*sin B)^2 +
(|a|*cos A + |b|*cos B)^2)]^2 - [sqrt((|a|*sin A - |b|*sin B)^2 + (|a|*cos A - |b|*cos
B)^2)]^2 ]]
=> (1/4)[[sqrt(|a|^2*(sin A)^2 +
|b|^2*(sin B)^2 + 2|a|*|b|*sin A * sin B+ |a|^2*(cos A)^2 + |b|^2*(cos B)^2 +
2|a|*|b|*cos A * cos B]^2 - [sqrt((|a|^2*(sin A)^2 + |b|^2*(sin B)^2 - 2|a|*|b|*sin A *
sin B+ |a|^2*(cos A)^2 + |b|^2*(cos B)^2 - 2|a|*|b|*cos A *
cosB]^2]
simplify using (cos x)^2 + (sin x)^2 =
1
=> (1/4)[[(|a|^2 + 2|a|*|b|*sin A * sin B +
2|a|*|b|*cos A * cos B] - [(|a|^2 + |b|^2 - 2|a|*|b|*sin A * sin B - 2|a|*|b|*cos A *
cos B]]
=> (1/4)[4|a|*|b|*sin A * sin B +
4|a|*|b|*cos A * cos B]
=> [|a|*|b|*sin A * sin B +
|a|*|b|*cos A * cos B]
use cos (A - B) = cos A * cos B +
sin A * sin B
=> |a|*|b|*cos ( A -
B)
=> |a|*|b|*cos
D
which is
a.b
Therefore we prove that a.b = (1/4)*|a +
b|^2 - (1/4)*|a - b|^2
Tuesday, June 28, 2011
What are some ways in which abortion is a dangerous procedure for a woman to have?fact
Abortion is an invasive medical procedure, and while
doctors who are trained, with both the right equipment and facilities can minimize the
risks a woman faces when she has the procedure, there will always be risk. The
procedure is close to the Uterine artery, so blood loss and bleeding to death are
concerns. A condition called sepsis may occur where toxins from the excretory system
get into the bloodstream. Infections can occur, as with any medical procedure. There is
also often scarring, which can make it difficult for a woman to conceive a child in the
future, should she make the choice to have children later in life. These are the most
serious physical risks I am aware of, not taking into account the psychological effects
of having an abortion.
It's such a controversial issue it
is sometimes difficult to get medically reliable, unbiased facts. Here is one site from
the South Dakota Department of Health that I think is pretty
good.