Thursday, December 26, 2019

Justin Bieber Purpose World Tour Performed At The...

On, March 26th, 2016, I attended the Justin Bieber:Purpose World Tour performed at the Savemart Center. Then I attended a live Jazz performance on April 22, 2016. The band was The Rich Severson Quartet and was held at The Tasting Room in Fresno, California. Instrumentation Justin Bieber s band had multiple instruments included in the performance. For instance, guitars both electric and acoustic, keyboard, piano, drums, and DJ equipment that produces musical-like instrumentation. In addition, Justin Bieber was the lead vocalist. The Rich Severson Quartet was formed by four members each playing a different instrument. Included was an electric guitar, electric bass, drums, and a keyboard. Solos A distinctive solo during Justin Bieber s performance was when he started to play the drums. The stage elevated him into the air above the crowd, while he played for about two minutes. Musically, the lead vocalist impressed the crowd with his talent on the drums. It amped up the crowed by the high intensity sound. Where as, during the The Rich Severson Quartet performance the solo was more calm and relaxed. There was no focal point on the artist, rather the sound was just heard more clearly. The solo that stood out to me was during the song â€Å"Bop till you Drop,† when Karl the keyboardist produced a soft, mellow sound. It was much slower than the rest of the song and it brought on a calm and cool feeling. General Mood The mood during the song â€Å"Where are you now† by Justin Bieber

Tuesday, December 17, 2019

Essay about Amazing Grace or Disgrace - 1215 Words

Imagine living in the 1700s when slavery was a normal part of people’s everyday lives. Would you be for slavery, or against it? People in today’s society would denounce slavery as cruel or inhumane. But in the eighteenth century, most of the western society accepted slavery and the slave trade. It took heroic efforts be brave, dedicated political leaders to eventually turn the tables. Amazing Grace is a historical film that depicts the life and work of British politician and abolitionist campaigner William Wilberforce. The film takes place in Britain between 1780 and the early 1800s, during which Wilberforce was working to write and pass a bill to abolish the slave trade. While watching this historical film, one might automatically assume†¦show more content†¦His persistent hard work and dedication to the cause eventually led him to successfully pass a bill through Parliament in 1807 abolishing the slave trade in the British Empire forever. In the opening scen e of the film, Wilberforce is traveling by horse drawn carriage through a rain-soaked English countryside. Putting his health at risk, a very ill Wilberforce forces the carriage to pull off to the side of the road and gets out to save a black horse being whipped by his masters. The two middle class commoners who were punishing their horse immediately stopped when they realized who was talking to them. They reeled back in admiration and acceptance of his forceful orders, and agreed to stop beating the horse. Throughout Amazing Grace, William Wilberforce is projected as a flawless character with nothing but greatness thrust upon him. Any negative characteristic showing that Wilberforce was not faultless, such as his addiction to opium and his multiple failures to pass the abolition bill, was claimed to be either â€Å"forced† upon him or blamed on his betrayal by others. This is one small inaccuracy that is subtly revealed throughout the duration of the film, establishing Wilb erforce to be some sort of â€Å"saint.† However, Wilberforce was not the only person who was continuously fighting to abolish the slave trade.Show MoreRelatedWhat Makes Gods Grace so Amazing981 Words   |  4 Pages Djanin Djoy D. Eng17 BB Sept. 22, 2008 SPEECH TOPIC: What Makes God’s Grace So Amazing? SPEECH PURPOSE: This speech is to inform others about what the word grace really mean and what it is for. This also aims to let others know the significance and purpose of existence of God’s grace in our lives. SPEECH TITLE: â€Å"The Free Gift† People use the word grace in several different ways such as, â€Å"saying grace† before meals, being â€Å"grateful† for someone’s kindness, or simply â€Å"congratulations†Read MoreThe Role Of Animals In Disgrace By J. M Coetzee1344 Words   |  6 Pagesman as a species† (Berger 4). In the novel â€Å"Disgrace† by J.M Coetzee, animals, especially dogs play not only the common role as a companion but also as a fundamental key in our protagonist’s behavioral change. Dogs were the creatures able to fill at least a portion of the lonely heart of our main character, David Lurie. They were significant characters throughout the entire plot of Coetzee’s novel where they assumed different roles. JM Coetzee’s Disgrace portrays dogs as more than just another animalRead MoreThe Power of a Myth1195 Words   |  5 Pagesclothes of on the way. So wrapped up in their love affair they didn’t even notice when the net drops down, trapping them in. Hephaistos goes into the house and heads to the balcony calling for Zeus and all the other gods to come and witness his wife’s disgrace. Hephaistos shouted out, ‘† She dishonored me because I was lame and chose Ares. He’s handsome and well built, and I’m a crippled†. Hephaistos was not going to let them go until Zeus returned all that was given to him for his slut of a daughterRead MoreJunot Diaz s The Real Reason Why Diaz 1425 Words   |  6 Pagesthroughout his narratives. Diaz humbleness and compassion towards others is illustrated in his writing. Not only does Diaz write amazing novels and short stories, but he also takes action towards exposing the problems that the Dominican people, especially women encounter everyday. Several people believe that Diaz is an antifeminist, while others think of him as a disgrace to the Dominican Republic because of his writing style. However, the real reason why Diaz writes this way is to expose how machismoRead MoreFrank Lloyd Wright s Life, Career, Influences And Impact On The Way We See American Architecture1500 Words   |  6 Pagesnature and the natural environment - Wright loved the Wisconsin landscape he explored as a boy. Nature is a recurring feature in his buildings and even where he positions his buildings - he later talked of architecture that â€Å"..is a grace to the landscape instead of a disgrace.† In 1885 his parents divorced, he stayed with his mother and never saw his father again. He never graduated from high school and enrolled at university to study civil engineering. To help pay for his tuition fees he becameRead MoreEssay on The Geranium and Judgment Day2602 Words   |  11 Pagesduring this time period, a writer clearly enmeshed in the social, juristic and economical events of her time. OConnors subject in her fiction, she once said, was the action of grace in territory held largely by the devil. I have also found that what I write is read by an audience which puts little stock in either grace or the devil. In her short stories, â€Å"The Geranium† and â€Å"Judgment Day,† the main characters are white southerners who must ruefully deal with the integration occurring in the northernRead MoreCharacter Analysis : Girl Of The Streets Essay1773 Words   |  8 PagesIndividuality is so important in America. It is an ingrained part of the culture that ha s developed over the centuries from the original â€Å"American Dream† mindset. This individuality is what makes each person amazing, and no character in a story represents that more effectively than Harrison Bergeron in the Kurt Vonnegut Story by the same name. Maggie, in Maggie: Girl of the Streets is a premiere example of a character in a world where the individuality is pushed aside entirely. These two conflictingRead MoreThe Holy Spirit2440 Words   |  10 Pageswork throughout the Old Testament, but what many people do not realize is how often the Holy Spirit is seen. The Holy Spirit is at work forming and shaping the history of the Bible. He guided rulers, came upon the mighty king Saul, and, even more amazing, the Spirit could make a stubborn obstinate heart obedient. He gave the men words to say and write so that people can read the message of the Lord. The Spirit is both hidden and revealed throughout the Bible. The Old Testament believers did not alwaysRead More T HE LOST SHEEP, LOST COIN AND LOST SON Essay2262 Words   |  10 Pagesâ€Å"The Son Who Came Home Again†8 The various titles represent different perspectives on the parable, but the original meaning remains the same GOD LOVES THE SINNERS and he is always happy when â€Å"they are coming back†. What a great picture of the amazing grace of God that Jesus paints with words! The characters and symbols of the story indeed are: the father of two sons that is Our Heavenly Father, the younger son that is all of us. The elder son is probably â€Å"the religious leaders of the day who criticizedRead MoreMuch Ado About Nothing Key Scenes4885 Words   |  20 Pagesseeing how much another man is a fool, when he dedicates his behaviors to love, will after he hath laughed at such shallow follies in others, become the argument of his own scorn, by falling in love: and such a man is Claudio† *Means: â€Å"I think it’s amazing how a man- who has seen how foolish another man makes himself when he gets obsessed about love- will become the exact thing he once criticized and fall in love himself- and that’s the kind of man Claudio is.† 13-15 â€Å"I have known when there was no

Monday, December 9, 2019

Medea and the Myth of Feminism free essay sample

Medea the Myth of Feminism It is only males who are created directly by the gods and are given souls it is only men who are complete human beings and can hope for ultimate fulfillment; the best a woman can hope for is to become a man (Plato 90e). Euripides Medea was written in a time where even the word feminism did not exist and yet he gave Medea a role of substance and a stature of strength. It is a wonder whether or not Euripides knew Just how much power he put into the hands of this woman as well as many more in the creation of her character. Perhaps not in his time and perhaps not y intention, but since then Medea the play and Medea the woman have filled a symbolic role in the area of feminism, the debate being for or against it. In countless cultures and streams of media, the woman stands timeless. We will write a custom essay sample on Medea and the Myth of Feminism or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page What this paper intends to explore is the levels of the performance and how they stack up to the idea of feminism by framing Euripides possible intent, understanding various audience response to various productions, and finally studying Medea herself to see whether her roots of vengeance are in feminism or rather immorality. At the beginning of our quest we find the author, alive at a time in which ancient Greece was overwhelmingly patriarchal, but where did Euripides find himself? Is it possible to suspect that he may have allied himself among other voices which held sympathy for the plight of women? Could he have been the model of a proto-feminist or was he a misogynist? In either case, Medea seems to be the place to look. While pursuing her ambition, Medea disregards many of the feminine characteristics of the patriarchal Greek society. She questions the inequality of women, contradicts Jasons chauvinist beliefs, challenges the stereotype that women are weak and passive and ltimately completely disregards the feminine role of motherhood. Euripides portrays a woman who completely subverts feminine norms, overcomes masculine bonds and, given that his depiction of Medea was highly influential and replicated to some extent by most later authors, the Medea viewed as a figure of feminine power in modernity is at least in part dependent on Euripides (Mastronarde 52). Honing in on the text, one might examine Medeas opening speech, a fine feminist harangue (Hadas 81), showing that, Medea has been treated unjustly by men, and her eloquent indictment of womens lot is never denied (Foley 265). This speech is the first introduction to Medea as a strong and independent woman, but the words are not hers alone. These lines have sometimes been seen as Euripides bitter reflections on his own isolation as an advanced and intellectual poet. There is much truth in this view, but the lines are also Medeas, the complaint of a woman of great intellectual capacity who finds herself excluded from the spheres of power and action (Knox 314). It is this exclusion that leads her to the inexcusable action of killing her children, or is it so inexcusable? When focusing on Euripides intent one might see that: Euripides made Medea herselt choose to murder ner chi Idren as the hurtful part of her revenge against Jason. It perhaps sounds at first as if this might tell in favor of the idea that Euripides was hostile to women. But in fact it turns out to have quite the opposite result, because of the way Euripides treats his material Euripides has created this new Medea who chooses to kill her own children. He condemnation the murderous deed: shows us with painful insight and utterly without mind of the woman who has the ability to do such a the torment before the final decision, the ultimate grief, and, here in he final scene, the inevitable results. Medea is now finally untouched, untouchable by human hands and by human emotions (March 35-36; 43). By this evidence it would appear that Euripides has molded a woman for women. Unfortunately, while the presentation of this piece could certainly cause a discomfort among male audience members, it equally might encourage greater suspicion and scorn by males of females. Euripides Medea questioned prevailing norms and beliefs, primarily those of the heroic masculine ethic, though perhaps at the expense of women, and not in their support. The meaning of Euripides words cannot be eciphered simply by picking and choosing sections of the play to analyze. To understand his intent there is the need to understand the totality of the narrative as well as the audience he wrote for. Playing to a primarily male audience, Euripides does not introduce Medea immediately but has the chorus and nurse tell of her first, giving the audience a misconception of Just how much power the woman holds. In fact supported by Medeas cries of anguish heard offstage she is first represented as emotional and submissive. By Euripides authorial intent, he lulls the audience into a state of pity here there should be fear. Skillfully contrived is the choral passage in which we first hear the agonized voice of Medea from offstage. If we had been prepared to see a woman of monstrous power and witchery, a being of preternatural passion and resource, we are deceived (Musurillo 54). Medea is first painted as nothing other than what you would expect of a woman, a merit of pity though not empathy, however when first seen she shifts to reasonable and calculating. Returning to analyis of her first speech, one can more deeply apply what she is saying to her situation. Her eloquent first speech on the wrongs of women deceptively applies only in part to herself. For Medea is far from the passive victim of marriage and masculine brutality that she claims to be (McDermott 259). Within the world of the play Medeas deception makes sense in winning the approval of the chorus, however to spectators the mismatch of her words to her situation carries a different meaning. It paints a new picture and a new woman who is willing to exaggerate and lie in order to achieve her goals. It becomes clearer as the play progresses that Euripides initial ortrayal of Medea serves as a baseboard for growth from helpless to dangerous, parallel to the audience reaction as it stems from pity to loathing. An ancient Athenian audience would have found little to no fault in Jasons actions, by a public standard, Jason satisfied his marital obligation toward Medea and returned favor for favor by bringing her to Greece (Walsh 295). This leaves it to Medeas character to be the cause of any unsettlement. Her ultimate action of killing her children, makes her most territying, tor sne is not a victim and not vulnerable†that is, not teminine†yet he has been identified as and with other women (Rabinowitz 132). With this information, only fear is struck by Medea in the name of women. Regardless of Euripides intent, proto-feminist, misogynist, or most likely of all neither, his audience rests at the wrathful hands of a powerful woman, but empathy is unlikely. It is important however, to take into account various audiences beyond simply that of Euripides time. A present audience interprets a performance of Medea much differently than ancient Greeks would have and there are countless Medea inspired adaptations which ancient Greeks never had the chance to experience. It is these productions and these audiences that are next to be studied on the road to feminism. To approach from another end of the spectrum, a drastically different style of performance than that of western culture may be studied. Carol Sorgenfrei provides this with her 1975 work, Medea: A Noh Cycle Based on the Greek Myth. Noh theatre, like many traditional Japanese theatre forms, prioritizes stylization above realism in performance, a practice that aligns well with a myth of murder and revenge. The stylization draws away from the brutal acts, allowing the audience a chance to accept Medea for her motives instead of unquestionably condemning her. By adhering to the structure of Noh, Sorgenfrei creates a world where time, place, and gender are transcended in favor of larger-than-life emotions and issues (Edelson 1). It is also worthy of note to state that Noh theatre is an all-male performance style (as it would have been in ancient Greece as well). One might take it upon themselves to understand by this knowledge that the theatre form is inherently sexist, yet, since the 1960 s, theater practitioners have drawn on these traditional forms to rediscover feminine and feminist messages (2). Furthermore the stylization and art that go into the intricacies of embodying a female are no Joke within the ritualistic practice. As denoted in the title, Sorgenfreis piece is a cycle play referring to the five different plays that would be performed in a traditional Noh performance. These plays are thematically based, in the order of God, Warrior, Woman, Frenzy, and Demon. Drawing inspiration from Noh style, Sorgenfreis Medea, develops the Medea myth through her plays five scenes, which progress through the different traditional categories despite the thematic linkage (2). As for the audience of this particular performance, it is no surprise that not only is it drastically different than that of Euripides and ancient Greece but also vastly different than that of Zeamis and the fifteenth century (the roots of Noh theatre). Sorgenfrei writes very consciously for a feminist audience in 1975. This retelling of the Medea myth from a female point of view in a beautifully feminine style of Japanese theatre, despite its male performance history, allocates the piece among cultural feminism, praising what is feminine while still acknowledging the differences among men and women. Feminine, however, is not the same as feminist. For that title we might analyze Medea in the fourth scene, the frenzy play, where Medea gives birth to herself as the Sun God. In one sense, the birth metaphor is emblematic of the mother/daughter bond, but its glorification of motherhood also implies that a womans self-fulfillment can best be attained by fulfilling her biological capabilities (Dolan 30). Seeing as Medea is a mother to herself though, it would appear that Sorgenfreis intent is that, birth is a metaphor tor revealing ones true selt, becoming oneselt, independent ot a partner or arents. Not only does Sorgenfreis Medea serve as the antithesis to the glorification of motherhood, but she also subverts the concept of birth as something that can be successfully and independently accomplished without the aid of man (Edelson 6). If this transformation is not convincing enough, then the transformation of Jasons character in the final demon play certainly thrusts the play into feminism. At this point in the cycle play Jason and the children reveal themselves as demons and, by displacing Medea and focusing solely on Jasons (and the childrens) transformation n Demon Play, Sorgenfrei forces the viewer to explore the cause of Medeas suffering instead of only investigating the effect of her actions (7). The audience, throughout Sorgenfreis production, due to the stylization of noh performance as well as the cycle transformations, is able to question Medeas past and her motives instead of assuming the worst from the start. Sorgenfreis as well as many other variations of Medeas tale open the doors to inquiry for viewers. As performances vary, so does the message of femininity, but it really comes down to the character herself and the motivation behind her actions. If her strength is solely for the sake of revenge then women lose merit, however if she acts in defiance to a patriarchal society she is a voice for feminism. In studying the woman we might discover hints as to whether or not she, as a character, is a feminist. The obvious first argument is that feminism is not an option for Medea as a character. The time period in which she is set in the play and in which her character was created do not allow such a term. However, for the sake of this paper and staying true to the idea that characters never die, it is now assumed that she is still alive oday and thus feminism exists. Now, to discover whether Medea is a feminist or not it seems vital to set aside any notions of her being simply a victim of patriarchy. To see her only as such is to exclude very important aspects of her character which tie her to humanity. It is her darkness that is relatable and takes her beyond a pitiable subject to be observed. It is the independence throughout her struggles that makes her more than two dimensions. Medea is a compelling character. Through plays, films, operas, paintings and novels, we have heard her story told again and again and e remain fascinated by her. Our fascination is not without reason, for Medea brings us face to face with darkness that lurks within anyone and catastrophe that can befall any marriage. We watch and listen to her because she speaks to us of ourselves (Fuller 3). Her story is not uncommon, the betrayal of a spouse and the desire for revenge. This theme can be found reinterpreted within films such as War of the Roses and The First Wives Club. Both embody the spirit of Medea, the story of a woman who gives up everything for a man only to be left for a younger woman. So it s seen that the character lives and changes as time passes. What these film adaptations lack is the darkness that individualizes Medea and the accumulation of this darkness to the point of murdering her children. However, this theme too may be found in literature such as La Llarona and even in history such as the Andrea Yates trial. Its clear that Medea, even in her darkness, is an influence to art and to life, but another question rises in this darkness. By throwing her maternal nature aside does she also discredit the female race or does the strength it takes to murder ones own hildren become commendable? Motive is the question at hand and Medea does nerselt no tavors at tirst glance . The decision to murder ner children in return tor the joy she will receive in witnessing Jasons anguish gives Medea little respectability. It is precisely at this point, where rage and pain and revenge come together, that Medea creates a problem for feminism (5). She flaunts her immorality, showing no remorse whatsoever for her actions. While it is admirable of a woman to overcome her situation, Medeas display of heartlessness after the fact of murdering her hildren leaves her alone, independent, and selfish. On the other hand it is so difficult to grasp the understanding of killing a child and the action is so inconsistent with Medeas prior feminism. Her original revenge was upon Creon, Jason, and his bride. It is reasonable to consider based off this knowledge that Medeas hand was moved by the authorial intent of Euripides rather than by her own will. Perhaps this was essential though, perhaps with a loss of darkness comes a loss of complexity and then what need would there be to discover why this troubled woman acted as she did. There would be no question of her feminist nature because there would be no care. A last note on Medea herself, she is not human, at least not fully. She is a mythical creature who by the end of the tale is taken into the sky by a chariot. So, take into account the action that takes place within other greek myths, birth from Zeus thigh, rape by Zeus in the form of a swan (among other animals). By these mythological standards is child murder something that can be Judged by mankind? By keeping in mind that Medea has a part of the divine within her, her actions become less of an atrocity and more of a symbol. Seen in this light, that Medeas are not the acts of a literal person but rather are symbolic, the child murders then become more understandable (11). Her children too then become a symbol of her marriage which is destroyed and thus the children must be destroyed. Seldom do women, let alone feminists, act out so much as to murder their children over the betrayal of their husbands, but divorces and custody battles do not stray too far from it. Medeas actions, when taken literally, may be unforgivable by a feminist society, but symbolically she hits right on target. Children become the battleground for the arents rage and disappointment and most often they are the collateral damage in the marital wars (13). Medea lives on, struggles on with a voice unafraid to speak out against the wrongs done to her. This is the voice that feminists cling to while they avoid acknowledgement of the rash action of murder. When it comes down to it though, Medea is studied because she is relatable, darkness and all. In order for a woman to know herself, she must come to terms with her own capacity for darkness, rage, and power and this is what Medea has to offer. There has yet to be an adaptation in hich she experiences the same pain and anger without the result of destruction, but maybe that is the standing lesson. Medea continues to struggle because women continue to struggle and as women evolve so shall she as she has before. In order to stand for women, it is not essential to be a model woman, only to continue on in the struggle, to continue fighting, and so she does.

Monday, December 2, 2019

Writers Of The Harlem Renaissance Essays - Harlem Renaissance

Writers Of The Harlem Renaissance During the 1920s, a flowering of creativity, as many have called it, began to sweep the nation. The movement, now known as The Harlem Renaissance, caught like wildfire. Harlem, a part of Manhattan in New York City, became a hugely successful showcase for African American talent. Starting with black literature, the Harlem Renaissance quickly grew to incredible proportions. W.E.B. Du Bois, Claude McKay, and Langston Hughes, along with many other writers, experienced incredible popularity, respect, and success. Art, music, and photography from blacks also flourished, resulting in many masterpieces in all mediums. New ideas began to take wings among circles of black intellectuals. The Renaissance elevated black works to a high point. Beyond simply encouraging creativity and thought in the African American community, the writers of the Harlem Renaissance completely revolutionized the identity of African American society as a whole, leading black culture from slavery to its current place i n America today. There was no single cause which produced the Harlem Renaissance, but there are several historical developments which paved the way. The first set of contributing factors deal with the cultural background of Harlem from 1900 to 1920. At the turn of the century, Harlem first began to emerge as a distinctly black community. As black population increased, African American culture came to the surface and blacks started to hold prominent roles in this self-motivated community. This afro-centric atmosphere of Harlem appealed to many southern blacks, and as a result, the Great Migration of southern rural blacks to the north began in 1915 (Haskins 15). Blacks left segregation-endorsing southern states to find newly opened jobs and opportunities in the north. This migration so greatly affected New York that, according to Negroes in the U.S., by 1930 over 52% of Manhattans black residents had migrated from South Atlantic states. This migration set the stage for a diverse and interesting Harlem flavor, which led to the Renaissance. A second cluster of factors contributing to the Renaissance concerns the development of a sense of empowered community among black culture in the twenties and the preceding decade. The African American churches played a large role not only in religious thought, but also in building community and self-awareness among blacks. Organizations such as the Negro YMCA and African American lodges and social clubs began to emerge and flourish. In 1909 and 1910, the National Association for the Advancement of Colored People (NAACP) and the Urban League were formed. In 1916, Marcus Garvey began the Universal Negro Improvement Association (UNIA), which stressed nationalism among blacks and urged blacks to be proud of their color and to build social and economic institutions of their own (Haskins 29). Although different in some of their ideals, these organizations led to black nationalism and community. The prohibition movement also contributed to a broadening awareness of emerging black culture, since prohibition led to illegal sales of alcohol and the flocking of both whites and blacks to the clubs of Harlem. This in turn led to a white interest in black culture, music, and literature. Another community builder for African Americans was the 1917 East St. Louis Massacre and the increase in lynching incidents, which led to thousands of blacks marching in New York to protest the actions of the whites in the anti-black riot. This event showed whites the strong presence of blacks in New York and opened the eyes of the African American community to see their strength in numbers and the power of a unified goal. Behind every great movement in history, there are men and women who made their mark. So also the story of the Harlem Renaissance cannot be told without reference to some of the contributors. Carl Van Vechten, one of the few white authors associated with the movement, generated interest in the African American subculture of Harlem by publishing the very upsetting novel, Nigger Heaven. Almost all readers, both black and white, were offended, but the book helped the movement gain steam, and encouraged white interest in the culture of Harlem. W.E.B. Du Bois, founder of the NAACP, writer, and editor of The Crisis magazine, advocated pride in the black heritage and endorsed many other young black writers. Alain Locke, who graduated from