The Beauty Of Cosmetic Surgery - 899 Words

Elliott (2011) argued that popular and media culture today are introducing a wholesale shift away from a focus on personalities to celebrity body-parts and their artificial enhancement. The interest of celebrity is gazing at their body-parts, and it links the relationship between celebrity culture and cosmetic surgery. While there is a desire on being alike to the celebrity can achieve beauty, the demand of cosmetic surgery has increased in the society. As not many people could meet the standard of beauty, cosmetic surgery is the fastest way to obtain a perfect body and is generally accepted by the public nowadays. It allows the commodification of the body. Swami (2009) reported that individuals who have negative self-perceptions of their attractiveness or are dissatisfied with their appearance may view cosmetic surgery as a means of repairing damaged self-concepts. For those who are distanced from the ideal beauty, cosmetic surgery provide an opportunity to have a modification of t he body, it is a process of using money to exchange beauty. And it become increasingly popular in the society as many people are seeking for the face of celebrity, cosmetic surgery fulfills people’s desire in creating the perfection of the body. Maltby (2011) suggested that higher levels of celebrity worship will be associated with elective cosmetic surgery with the individual establishing an identity using the celebrity as a physical exemplar. Celebrity body as a commodity is always associatedShow MoreRelatedCosmetic Surgeries and Beauty505 Words   |  2 PagesCosmetic surgery â€Å"Beauty is not in the face; beauty is a light in the heart. Kahlil Gibran. Beauty is not an easy word to define; people may display a different explanations and attitudes toward the real meaning of this word. While some individuals define beauty as our physical, visual appearance, others, find that beauty is more about people’s true feelings and personalities. However, a lot of people who pay more attention to their physical beauty have started to consider getting cosmetic surgeriesRead MoreCosmetic Surgery And Beauty Standards1314 Words   |  6 PagesCosmetic Surgery and Beauty Standards In today’s society, beauty is based on media and what is called a beauty guru. It’s not just what one believes anymore, but what the media portrays. A big beauty influence in today’s media is Kylie Jenner. Not only confessing to having lip fillers, but also launching her makeup brand. The price to pay is steep for those who don’t have the money, but those who can afford it sometimes don’t achieve the look expected. There are those who are born with all the attributesRead MoreCosmetic Surgery - Beauty Or Beast?1775 Words   |  8 PagesBeauty or Beast? â€Å"Don’t like the way you look? Ready for a quick and easy change? We can help you with one simple cosmetic surgery.† We have all heard or seen advertisements like this on television or in magazines, but why is cosmetic surgery so appealing to people, especially women? Cosmetic surgery is used all over the world to enhance one’s features and make people â€Å"happy,† but is it worth it? Is it beauty or is it a beast having cosmetic surgery done? There are many options and things to considerRead MoreCosmetic Surgery : The Risk Of Enhancing Beauty1328 Words   |  6 Pages Cosmetic surgery : The Risk of Enhancing Beauty Cosmetic Surgery has become popular over the years due to the advertisement of celebrities who embrace their surgery to refine their beauty. For example, an article by Anthony Elliot, he labels cosmetic surgery as Drastic plastic: The rise of cosmetic surgical culture; Celebrity obsession: Fame, fortune and faking it; Want-now consumerism: Immediate transformation, instant obsolescence; and Making the cut: Cosmetic surgical cultureRead MoreCosmetic Surgery Is Becoming An Acceptable Solution For Beauty987 Words   |  4 Pagesthe beauty needs of everyone. Aesthetic technologies are going along with the change of beauty over the time and changing the perception of beauty. Not only nature beauty brings criterion for beauty definition, but also artificial beauty is mutating the standard prescript and the view of beauty. Elective plastic surgery is becoming an acceptable solution for anyone who would like to improve the appearance. The statistics in Medical News Today shows that â €Å"approximately 65,000 surgical cosmetic proceduresRead MoreCosmetic Surgery Is Becoming An Acceptable Solution For Beauty1552 Words   |  7 Pages People have created the modern technical methods to serve the beauty needs of everyone. Aesthetic technologies are going along with the change of beauty needs over the time and adjusting the perception of beauty. Not only nature beauty brings criterion for beauty definition, but also artificial beauty is mutating the standard prescript and the view of beauty. Elective plastic surgery is becoming an acceptable solution for anyone who would like to improve the appearance. The statistics in MedicalRead MoreCosmetic Surgery Is Becoming An Acceptable Solution For Beauty1579 Words   |  7 Pages People have created modern technical methods to serve the beauty needs of everyone. Aesthetic technologies are going along with the change of beauty needs over the time and adjusting the perception of beauty. Not only does natural beauty bring criterion for beauty’s definition, but also artificial beauty is mutating the standard prescript and the view of beauty. Elective plastic surgery is becoming an acceptable solution for anyone who would like to improve their appearance. In a report from MedicalRead MoreCosmetic Surgery : A Woman s Beauty Through Surgical Procedure1455 Words   |  6 Pagesbeautiful.†Cosmetic surgery is enhancing, not improving the function, a person’s natural beauty through surgical procedure. Cosmetic surgery used to be for mostly the rich and famous because of its cost. Although, it is still not covered by health insurance, it has become affordable, making an option for almost anyone who which to alter their appearance. Some of the most po pular surgeries are facelifts, brow lift, breast augmentation, rhinoplasty(nose), tummy tuck, and liposuction. Although cosmetic is marketedRead MoreHow Has Cosmetic Surgery Change The Way Females See Beauty Standards?1618 Words   |  7 PagesHow has cosmetic surgery change the way females see beauty standards? The Impact of Cosmetic Surgery   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   â€Å"Kristen, a fifteen-year-old girl from New Jersey, began to develop curves at the age of 15, and she was distressed that her breasts didn’t come next. Because of this, she didn’t feel like a woman. In fact, she was not yet a woman at 15. Nonetheless, for someone who was raised inside a culture of being surrounded by celebrity obsessions and unrealistic TV shows—not to mention that two of herRead MoreCosmetic Surgery1507 Words   |  7 PagesShould cosmetic surgery be encouraged to the general public? Cosmetic surgery is defined as â€Å"any medical operation which is intended to improve a person’s appearance rather than their health† (Cambridge Dictionary, 2003, p.275). By definition, cosmetic surgery is a common practice used to modify the physical outlook of people, especially for women. This is definitely a luxury, which is not necessary to the public. Starting from the 20th century, however, cosmetic surgery is no longer a luxury

Pain and Passion Free Essays

Pain and Passion was a strong topic. The class was divided into pairs to take a 50-minute lesson linking with pain and passion. Two drama techniques had to be introduced. We will write a custom essay sample on Pain and Passion or any similar topic only for you Order Now After each lesson a five minute debrief took place. We were given two lessons of preparation time and had to work to a time plan. I knew it would take a lot of effort to run a lesson. I chose a topical issue sparking off lots of strong opinions. My lesson was about abortion. I felt it tied in well with pain and passion. The pain being a child’s life was at risk due to the night of passion. I wasn’t first to lead the class so I listened attentively to what criticism was put forward during the debrief. I learnt from other’s mistakes. One of the things I found was that a lesson should be expressed through different scenarios, keeping the class’s attention. I set the scene with a young couple, Sarah and Jake, who were in a crisis. The crisis being, should have an abortion or not. The first part of my timeplan was explaining the situation and then asking the class to show, what state of mind Sarah was in. The ideas were to be expressed through stylistic drama using one drama technique or more. In other lessons more time was spent on planning helping to produce good drama pieces from the class. I decided to have more time spent on planning rather than performing. The second part consisted of what if Sarah had the abortion or didn’t. In each scenario there had to be a good and bad side. The good side of having or not having the abortion was to be shown through dream sequence and the bad side of having or not having the abortion shown through nightmare sequence. I thought I planned my lesson well considering I was on my own. I wasn’t prepared for the lesson I took the class. I had forgotten my watch and my partner was away leaving me to be the teacher. One improvement can be to go over my planning strategies. I relaxed and addressed the class with a BBC accent! The first piece of drama was on Sarah’s state of mind. The class planned their pieces quite well but the pieces were short giving me more time. One group had only four people. Many people think more people in a group make a better drama piece. This group proved it wrong. The drama piece was very distinctive. The other groups showed one feeling throughout their drama. This play showed how Sarah was happy at the thought of being a mother and sad at the thought of having a child to bring up. As the teacher I was able to see abortion through other people’s eyes. Each student had a major role to play especially Maria as Sarah. It’s really hard to change expressions every second but she made it look so easy. Everyone got involved and this boosted my confidence as a teacher to see that they were enjoying the lesson. The other half of the lesson went perfectly. The class had to use the drama techniques I set, dream and nightmare sequence. Everyone performed well due to good planning. Scarlet’s group did a nightmare sequence about Sarah’s life with a baby. It was a negative outlook on having children. There were strong ideas expressed throughout the play. The audience was able to see how having a baby at a young age was stressing and sometimes left with no financial or emotional support. It was an excellent piece of drama. I think I showed good teaching skills. I was quite patient but I felt it was quite difficult to keep the class quiet even when raising my voice. I went round to see if there were any problems and keeping track of time, which is a vital part of teaching. One of the hardest things was the way I had to address the class. I had to step out of the role of a friend and step in as a teacher. When it came to commenting on a drama piece I had to use ‘excellent’ rather than ‘wicked’. The lesson was very packed with things to do and this put off a few students from working. In future I would slow everything down slightly. Apart from that everything went according to plan. Rochelle and Yasmins lesson was very valuable. Rochelle explained everything whilst Yasmin organised the lesson. Yasmin is normally the quieter one but in her lesson she was very confident. Their topic was about war. War is probably what the news is all about. There is so much of it, people are forgetting about those in need. The main theme of the lesson was we should be grateful for how well off we are and think about others before worrying over small problems. The lesson began with a piece about a boy escaping from war to a new area. I took on the main role as the boy. We were playing basketball when I got the ball and everyone was telling me to shoot. We used flashbacks to show how the boy was told in his homeland to kill his own flesh and blood. We were showing the pressures of war. I was very enthusiastic about everything. Next we did hotseating. We questioned people part of the army in Africa. We asked why many boys were forced to go to war. It sparked a lot of debating. Rochelle and Yasmin were good teachers. I enjoyed myself whilst I was learning. They were role models for good teachers. I think being a teacher was a worthwhile experience. Sometimes we forget to realise what teachers do to provide good education. This topic was a good way to see that teaching is not as easy as it may look. It takes a lot of hard work and 100% commitment. Through this topic I have more respect for teachers. How to cite Pain and Passion, Papers

Tess of the dUrbervilles Review

'Tess of the d'Urbervilles' Review Originally serialized in the newspaper The Graphic, Thomas Hardys Tess of the dUrbervilles was first published as a book in 1891. This work was Hardys second-to-the-last novel, Jude the Obscure being his final one, and both are considered among the best works of the 19th century. Set in rural England, the novel tells the story of a poor girl, Tess Durbeyfield, who is sent by her parents to a supposedly noble family in the hope of finding a fortune and a gentleman for a husband. The young girl is instead seduced and meets her doom. Story Structure The novel is divided into seven sections, titled as phases. While it may seem usual to many readers, critics have discussed the significance of this term in relation to the progress of the plot and its moral implications. Various phases of the novel have been named according to various life phases of Hardys heroine: The Maiden, Maiden No More, and so on to the final phase, Fulfillment. Tess of the dUrberville is essentially a third-person narrative, but most of the events (all significant events, in fact) are seen through the eyes of Tess. The order of these events follows a simple chronological sequence, a quality that augments the ambiance of a simple rural life. Where we see Hardys real mastery is the difference in the language of people from the social classes (e.g. the Clares in contrast with the farm workers). Hardy also sometimes speaks directly to the readers to accentuating the effect of select events. Tess is helpless against and mostly submissive to, those around her. But, she suffers not only because of the seducer who destroys her but also because her beloved does not save her. Despite her suffering and weakness in the face of her suffering, she demonstrates long-suffering patience and endurance. Tess takes pleasure in toiling on the dairy farms, and she seems almost invincible to the trials of life. Given her enduring strength through all of her troubles, in some sense, the only appropriate ending was her death on the gallows. Her story became the ultimate tragedy. The Victorians In Tess of the dUrberville, Thomas Hardy targets the Victorian values of nobility right from the title of his novel. In contrast to the safe and innocent Tess Durbeyfield, Tess dUrbervilles is never at peace, even though she has been sent to become a dUrbervilles in the hopes of finding a fortune. The seeds of tragedy are sown when Tesss father, Jack, is told by a parson that he is the descendant of a family of knights. Hardy comments upon the hypocritical standards in masculine concepts of purity. Angel Clares forsakes his wife, Tess, in a classic instance of the rift between belief and practice. Given Angels religious background and his allegedly humanistic views, his indifference to Tess produces a striking contrast of character with Tess who persists in her love - against all odds. In Tess of the dUrbervilles, Thomas Hardy has directly satirized nature. In the third chapter of Phase the First, for example, he targets both nature and its exaltation by poets and philosophers: whence the poet whose philosophy is in these days deemed as profound and trustworthy... gets his authority for speaking of Natures holy plan. In the fifth chapter of the same phase, Hardy ironically comments on Natures role in guiding humans. Nature does not often say See! to her poor creature at a time when seeing could lead to happy doing; or reply Here to a bodys cry of Where? till the hide-and-seek has become an irksome, outworn game. Themes and Issues Tess of the dUrbervilles is rich in its involvement with several themes and issues, and there are many quotes from the book that synthesize these themes. Like most other Hardy novels, rural life is a prominent issue in the story. The hardships and drudgery of rustic lifestyle are explored fully through the travel and work experiences of Tess. Religious orthodoxy and social values are questioned in the novel. The issue of fate versus freedom of action is another important aspect of Tess of the dUrbervilles. While the main storyline may sound fatalistic, Hardy does not miss the opportunity to point out that the darkest of tragedies could be prevented by human action and consideration: Humanity.

Maria Sine#351;ti - prototipul personajului feminin icirc;n opera lui Camil Petrescu

Maria Sine#351;ti - prototipul personajului feminin icirc;n opera lui Camil Petrescu Piesa "Jocul Ielelor" are ca punct de plecare reacÂ…Â £iile suflete…Ÿti ale autorului care in mai 1916 asista la o b„ÂÆ'taie de flori la Sosea, in timp ce ziarele aruncate printre flori vorbesc despre Verdun.Drama a absolutului, scriitura ilustreaz„ÂÆ' in fond principiul camilpetrescian: "totul sau nimic" si axioma aceluia…Ÿi autor "cÂÆ' ¢ta luciditate atÂÆ' ¢ta drama". Gelu Ruscanu, protagonistul discursului dramatic, caut„ÂÆ' cu fervoare un sprijin in mi…Ÿcarea muncitoreasca pentru a rezolva unele probleme de ordin social in spiritul drept„ÂÆ'Â…Â £ii absolute intrÂÆ' ¢nd in contradicÂ…Â £ie cu normele si legile ce guverneaz„ÂÆ' societatea. F„ÂÆ'r„ÂÆ' s„ÂÆ' ÂÆ' ®nÂ…Â £eleag„ÂÆ' inutilitatea Â…Â £elului urm„ÂÆ'rit, incapabil sa fac„ÂÆ' vreo concesie, eroul sfÂÆ' ¢r…Ÿe…Ÿte sinucigÂÆ' ¢ndu-se. A…Ÿadar ca in majoritatea operelor sale dramatice si epice, obsedat de condiÂ…Â £ia intelectualului vremii, apelÂÆ' ¢nd constant la propria experienÂ…Â £a, Camil Petrescu procedeaz„ÂÆ' conform principiului enunÂ…Â £at de Henrik Ibsen, conform c„ÂÆ'ruia: "creaÂ…Â £ia mea este rezultatul st„ÂÆ'rii mele de spirit si al zilelor mele morale" si aidoma acestuia, Camil Petrescu si eroii pieselor sale sunt dominaÂ…Â £i de setea de absolut, de adev„ÂÆ'r si echitate, de justiÂ…Â £ie si dragoste.Silhoutte of Marichen Ibsen (1799-1869) as a young...Prieten cu Maria Sinesti, soÂ…Â £ia ministrului de justiÂ…Â £ie, Gelu Ruscanu afla dintr-o scrisoare a acesteia c„ÂÆ'tre el ca Saru Sinesti a omorÂÆ' ¢t o b„ÂÆ'trÂÆ' ¢na penru a intra mai repede in posesia averii sale. Decis sa publice scrisoarea indiferent de consecinÂ…Â £e (publicarea scrisorii ar compromite-o pe Maria), Ruscanu, intre timp, afla ca tat„ÂÆ'l sau, Grigore Ruscanu nu a murit, dup„ÂÆ' cum …Ÿtia el, in u rma unui accident, ci se sinucisese pentru o actriÂ…Â £a oarecare, fapt cunoscut de Saru Sinesti. ÂÆ'ÂŽncep tranzacÂ…Â £iile: in schimbul t„ÂÆ'cerii Sinesti ii propune eliberarea din ÂÆ' ®nchisoare a muncitorului Petre Boruga (grav bolnav); Praida ii cere sa accepte propunerea , dar acceptarea ar ÂÆ' ®nsemna abandonarea principiilor morale, chiar daca ea ar fii in sprijinul mi…Ÿc„ÂÆ'rii socialiste si ministrul ar continua sa funcÂ…Â £ioneze in pofida crimei odioase s„ÂÆ'vÂÆ' ¢r…Ÿite.Se na…Ÿte dilema: daca accepta tranzacÂ…Â £ia propusa devine complice "viata nu merita tr„ÂÆ'it„ÂÆ' cu un astfel de preÂ…Â £", daca ÂÆ' ®ncearc„ÂÆ' sa schimbe ceva, compromiterea ministrului, s-ar putea ca totul sa r„ÂÆ'mÂÆ' ¢n„ÂÆ' cum a fost , imorala sa fie neclintita, injustiÂ…Â £ia sa se perpetueze.In consecinÂ…Â £Ã‚„ÂÆ', intrat in mreaja nedumeririlor si a ÂÆ' ®ntreb„ÂÆ'rilor f„à ‚Æ'r„ÂÆ' r„ÂÆ'spuns, inapt sa g„ÂÆ'seasc„ÂÆ' o rezolvare, sa fac„ÂÆ' o concesie, sfÂÆ' ¢r…Ÿe…Ÿte iremediabil prin moarte: "Lumea asta din care iÂ…Â £i tragi hrana este atÂÆ' ¢t de abjecta ÂÆ' ®ncÂÆ' ¢t nu te accepta si nu te tolereaz„ÂÆ' decÂÆ' ¢t cu preÂ…Â £ul complicit„ÂÆ'Â…Â £ii?"Argumentul Mariei: "Nimic nu se ÂÆ' ®ntÂÆ' ¢mpla in lumea asta cum vrem noi... nimic nu are culorile pe care credem noi ca le are". Dar dÂÆ' ¢nd in vileag tainele ce le deÂ…Â £ine, Gelu Ruscanu ar lovi in primul rÂÆ' ¢nd in Maria, care ar deveni prada opiniei publice si ar lovi exact pe aceea pe care o iubise.Ceea ce-i spune Penciulescu l-ar putea dumiri: "ToÂ…Â £i sunt pe rÂÆ' ¢nd victime si calai. ToÂ…Â £i sunt legaÂ…Â £i intre ei, toÂ…Â £i sunt daca nu frate, veri, ori au stat pe aceea…Ÿi strada, sau au ÂÆ' ®nv„ÂÆ'Â…Â £at la aceea…Ÿi scoal„ÂÆ'..."In fata unei at are situaÂ…Â £ii, Gelu se ÂÆ' ®ntreab„ÂÆ' pe buna dreptate "Adic„ÂÆ' sa acoperim f„ÂÆ'r„ÂÆ'delegile trecute cu una noua?" . F„ÂÆ'r„ÂÆ' sa-si poat„ÂÆ' r„ÂÆ'spunde nici lui, nici celorlalÂ…Â £i , ÂÆ' ®ncepe sa se chinuie, sa se fr„ÂÆ'mÂÆ' ¢nte in disperare. El nu poate accepta ideea ca adev„ÂÆ'rul nu se ÂÆ' ®nf„ÂÆ'Â…Â £i…Ÿeaz„ÂÆ' niciodat„ÂÆ' pe de-a-ntregul , alb sau negru, nici complet pur, nici complet corupt. In consecinÂ…Â £a el spune : "Totul in lume este coruptibil... nimic nu e ÂÆ' ®ntreg si frumos... si nici nu poate deveni... toate se ÂÆ' ®mplinesc numai pana la o palma de p„ÂÆ'mÂÆ' ¢nt."Gelu Ruscanu militeaz„ÂÆ' pentru dreptate si justiÂ…Â £ie absoluta. El contesta lipsa de obiectivitate a legilor ce guverneaz„ÂÆ' in societate si o guverneaz„ÂÆ' pe aceasta.De…Ÿi drama este una individual„ÂÆ', a intelectualului tulburat de constrÃ‚Æ ' ¢ngerile morale ale societ„ÂÆ'Â…Â £ii, ea se extinde treptat …Ÿi asupra celorlalte personaje, apropiate acestuia.ÂÆ'ÂŽn contextul acÂ…Â £iunii dramei, apariÂ…Â £ia Mariei Sine…Ÿti, iubita de alt„ÂÆ'dat„ÂÆ', nu schimb„ÂÆ' cu nimic traiectoria personajului principal, de…Ÿi aceasta este femeia pe care o iubise cu patim„ÂÆ'. Ea este acum o necunoscut„ÂÆ', o str„ÂÆ'in„ÂÆ' cu care nu mai poate rezona afectiv …Ÿi moral. ÂÆ'ÂŽntÂÆ' ¢lnirea celor doi se produce prea tÂÆ' ¢rziu ca s„ÂÆ' mai aib„ÂÆ' un efect revigorant. Maria este …Ÿi ea o halucinat„ÂÆ', o exaltat„ÂÆ' care ÂÆ' ®Ã‚…Ÿi tr„ÂÆ'ie…Ÿte prezentul deprimant cu gÂÆ' ¢ndul la trecut, pentru ea, unul dintre cele mai importante lucruri fiind acum dac„ÂÆ' Gelu a iubit-o cu adev„ÂÆ'rat.Maria Sine…Ÿti se ÂÆ' ®ncadreaz„ÂÆ' prototipului personajului feminin camilpetrescian. C aracterizarea ei pe parcursul piesei este realizat„ÂÆ' prin apelul la modalit„ÂÆ'Â…Â £i de caracterizare diverse. ÂÆ'ÂŽn primul rÂÆ' ¢nd, prin caracterizarea direct„ÂÆ', realizat„ÂÆ' de autor prin intermediul didascaliilor, personajul apare ca fiind o fiinÂ…Â £Ã‚„ÂÆ' "de o frumuseÂ…Â £e tulbur„ÂÆ'toare, mistuit„ÂÆ' de secrete grele", "hiperemotiv„ÂÆ', cu o imaginaÂ…Â £ie dezordonat„ÂÆ'", "prada tuturor obsesiilor, cu dorinÂ…Â £e neÂÆ' ®mp„ÂÆ'cate, deviate." Prin procedeul caracteriz„ÂÆ'rii indirecte, din acÂ…Â £iuni …Ÿi atitudini exprimate sau sugerate de personaj, Maria se dovede…Ÿte a fi frivol„ÂÆ', nestatornic„ÂÆ', (la fel ca …Ÿi Ela Gheorghidiu ) …Ÿi nu poate ÂÆ' ®nÂ…Â £elege zbuciumul interior al b„ÂÆ'rbatului iubit. Slab„ÂÆ' …Ÿi puternic„ÂÆ' ÂÆ' ®n acela…Ÿi timp, fatal„ÂÆ', misterioas„ÂÆ', imprevizibil„ ÂÆ', ea se autocaracterizeaz„ÂÆ' pornind de la motivul dublului, motiv pe baza c„ÂÆ'ruia este construit„ÂÆ' ÂÆ' ®n fapt, ÂÆ' ®ntreaga pies„ÂÆ': "GÂÆ' ¢ndesc uneori c„ÂÆ' sunt ÂÆ' ®n mine dou„ÂÆ' fiinÂ…Â £e: una josnic„ÂÆ', m„ÂÆ'rginit„ÂÆ' …Ÿi la…Ÿ„ÂÆ', care a primit s„ÂÆ' i se dea de b„ÂÆ'rbat un om pe care nu-l iubea [...] …Ÿi alta care sufer„ÂÆ', care plÂÆ' ¢nge...care sÂÆ' ¢ngereaz„ÂÆ' pentru toate josniciile celelalte."Toate celelalte personaje ale dramei contribuie la evoluÂ…Â £ia personajului principal, sugerÂÆ' ¢ndu-i acestuia o serie de antinomii ale gÂÆ' ¢ndirii.Maria Sine…Ÿti se afl„ÂÆ', la nivel simbolic, ÂÆ' ®ntr-un raport complex cu personajul principal. Acesta din urm„ÂÆ' este pus s„ÂÆ' aleag„ÂÆ' ÂÆ' ®ntre a crede sau nu ÂÆ' ®n dragostea Mariei, care, surprins„ÂÆ' odinioar„ÂÆ' de acesta rÂÆ' ¢zÂÆ'à ‚ ¢nd complice cu un str„ÂÆ'in ÂÆ' ®n biblioteca unchiului s„ÂÆ'u …Ÿi p„ÂÆ'r„ÂÆ'sit„ÂÆ' de el f„ÂÆ'r„ÂÆ' nici o explicaÂ…Â £ie, …Ÿi-a luat revan…Ÿa cea mai stupid„ÂÆ' …Ÿi la ÂÆ' ®ndemÂÆ' ¢n„ÂÆ', ÂÆ' ®n…ŸelÂÆ' ¢ndu-l pe Gelu. Tehnica dramaturgului este aici de pune mereu sub semnul ÂÆ' ®ndoielii sinceritatea femeii. Gelu ÂÆ' ®nsu…Ÿi nu este sigur de valoarea juridic probat„ÂÆ' a unei scrisori de dragoste concepute de o femeie cu sufletul ÂÆ' ®ncrÂÆ' ¢ncenat de ur„ÂÆ' ÂÆ' ®mpotriva soÂ…Â £ului, care a decepÂ…Â £ionat-o …Ÿi pe care l-a ÂÆ' ®n…Ÿelat. ÂÆ'ÂŽntrebat ÂÆ' ®n ce m„ÂÆ'sur„ÂÆ' Maria l-a iubit cu adev„ÂÆ'rat, Gelu r„ÂÆ'spunde: "Cred c„ÂÆ' mai degrab„ÂÆ' l-a urÂÆ' ¢t pe el".De fapt, valoarea simbolic„ÂÆ' a personajului Maria Sine…Ÿti se rezum„ÂÆ' ÂÆ' ®n pies„ÂÆ', pe lÂÆ' ¢ng„ÂÆ' ipostaziere a feminit„ÂÆ'Â…Â £ii, la conturarea iubirii ca act existenÂ…Â £ial definitiv : "O iubire adev„ÂÆ'rat„ÂÆ' ÂÆ' ®nseamn„ÂÆ' c„ÂÆ' nu poÂ…Â £i gÂÆ' ¢ndi contrariul ei...O iubire, care nu este etern„ÂÆ', nu este nimic...".Dramei intelectuale a lui Gelu Ruscanu i se adaug„ÂÆ' a…Ÿadar, prin intermediul prezenÂ…Â £ei ÂÆ' ®n pies„ÂÆ' a Mariei Sine…Ÿti, o dram„ÂÆ' afectiv„ÂÆ', datorat„ÂÆ' imposibilit„ÂÆ'Â…Â £ii de a accepta sau respinge vinov„ÂÆ'Â…Â £ia unei femei pe care, iubind-o, el ÂÆ' ®nsu…Ÿi a ÂÆ' ®mpins-o spre minciun„ÂÆ' …Ÿi adulter, dar ale c„ÂÆ'rei erori reale sau numai b„ÂÆ'nuite, b„ÂÆ'rbatul nu le poate tolera, nici uita. Ea reprezint„ÂÆ' erosul dramatic …Ÿi dramatizat, este unul dintre personajele cu ajutorul c„ÂÆ'ruia Gelu "a v„ÂÆ'zut idei" …Ÿi a avut revelaÂ…Â £iile devastatoare ale inadaptabilit„ÂÆ'Â…Â £ii. Rolul ei este a…Ÿadar nu atÂÆ' ¢t al unui personaj tulburat ÂÆ' ®n aceea…Ÿi m„ÂÆ'sur„ÂÆ' ca …Ÿi intelectualul Gelu Ruscanu, cÂÆ' ¢t mai ales unul de convergenÂ…Â £Ã‚„ÂÆ' cu destinul acestuia. InfluenÂ…Â £a Mariei asupra dramei lui Gelu nu este una asumat„ÂÆ', ci una dobÂÆ' ¢ndit„ÂÆ' prin intermediul spiritul analitic al personajului principal.Structura de profunzime a personajelor din Jocul ielelor, a…Ÿadar …Ÿi a Mariei Sine…Ÿti, se va reg„ÂÆ'si, ÂÆ' ®n contexte diferite …Ÿi la alte personaje din opera scriitorului (Alta Gralla , Ela Gheorghidiu, etc. ).Din punct de vedere al tehnicii teatrale, piesa lui Camil Petrescu ridic„ÂÆ' reale dificult„ÂÆ'Â…Â £i de reprezentare scenic„ÂÆ', deoarece "dramaturgul ÂÆ' ®ncerc„ÂÆ' s„ÂÆ' exprime ÂÆ' ®n planul concret al spaÂ…Â £iului scenei mutaÂ…Â £ iile de ordin l„ÂÆ'untric ale unei con…ŸtiinÂ…Â £e, deci o lume ideal„ÂÆ', abstract„ÂÆ'."Autorul ÂÆ' ®nsu…Ÿi vorbe…Ÿte despre complexitatea spectacolului dramatic, ca …Ÿi de dificultatea reprezentare a unor personaje (la fel cum sunt …Ÿi Gelu Ruscanu …Ÿi Maria Sine…Ÿti), ÂÆ' ®n teza de doctorat publicat„ÂÆ' ÂÆ' ®n 1937, Modalitatea estetic„ÂÆ' a teatrului.Bibliografie:Opere:1. Petrescu, Camil, Jocul ielelor, Ed. Minerva, Bucure…Ÿti, 19762. Petrescu, Camil, Act veneÂ…Â £ian, Ed. Minerva, Bucure…Ÿti, 19833. Petrescu , Camil, Ultima noapte de dragoste, ÂÆ' ®ntÂÆ' ¢ia noapte de r„ÂÆ'zboi, Ed. Gramar, Bucure…Ÿti, 19984. Petrescu, Camil, Modalitatea estetic„ÂÆ' a teatrului, Ed. Enciclopedic„ÂÆ', Bucure…Ÿti, 1971Critic„ÂÆ':1. Ghidirmic, Ovidiu, Camil Petrescu sau patosul lucidit„ÂÆ'Â…Â £ii, Ed. Scrisul romÂÆ' ¢nesc, Craiova, 19752. Pal eologu, Al., Spiritul …Ÿi opera, Ed, Eminescu, Bucure…Ÿti 19703. Zaharia Filipa…Ÿ, Elena, Retoric„ÂÆ' …Ÿi semnificaÂ…Â £ie, Ed. Paideia, bucure…Ÿti, 1993

The Insider Secret to Dialog [Hint Steal It] - Freewrite Store

The Insider Secret to Dialog [Hint Steal It] - Freewrite Store Photo by  Victor Rodvang  on  Unsplash Today’s guest post is by author Jeff Somers.  He has published nine novels, including the  Avery Cates Series  of noir-science fiction novels from Orbit Books, the darkly hilarious crime novel  Chum  from Tyrus Books, and most recently tales of blood magic and short cons in the  Ustari Cycle.       The film Sunset Boulevard (1950) is perhaps Billy Wilder’s greatest achievement in terms of dialog- including the all-time great line (spoken by all-time great voice William Holden), â€Å"Sometimes it's interesting to see just how bad bad writing can be† (a line given extra oomphby the fact that the character speaking is himself a pretty bad writer). You can’t help but wonder if Wilder was winking at himself when he came up with that one, despite the fact that Wilder- a Polish Jew who emigrated to the U.S. in his late 20s- didn’t learn English until he arrived in Hollywood to begin his stellar career as a screenwriter and director. The fact that English wasn’t his first language might have helped Wilder come up with such great dialog. Hearing a language spoken when you don’t understand it is an entirely different experience than when you’re fluent; in 1972, Italian singer Adriano Celentano released â€Å"Prisencolinensinainciusol,† a song of gibberish lyrics that are designed to sound like English spoken with a typical American accent. Listening to the song is an interesting experience- at first, it seems like the meaning of the song is just beyond your grasp because the rhythms and inflections are right on the money. The reason this song sounds right despite being meaningless reveals the fundamental trick of good dialog: The rhythm.    Slave to the Rhythm Every writer knows that it’s pretty easy to go very wrong when writing dialog: - Monotony, wherein all the characters sound more or less exactly the same (if a reader can’t tell who’s speaking without a dialog tag, you’ve got a problem). - Stilted, exposition-heavy conversations filled with clumsy signifiers like â€Å"As you know ...† or repetitions of facts re-phrased for clarity (people simply don’t talk like that). - Dialog that’s too close to reality, because in real life we all speak in meandering, stuttered phrases, using a lot of filler sounds to stall for time- and while making your characters sound like this might be realistic, it’s unpleasant to read (and difficult to understand on the page). - Characters that only speak in Plot Points, only opening their mouths when the reader needs to know something. The sweet spot for dialog is hazy, but the trick is to match the rhythm of real speech, but use a much more controlled approach to the actual words. Modeling Speech The key is turning off your brain a little and hearing just the pacing and pattern of a conversation without the meaning behind the sounds. One easy way to do this is to take dialog from a fictional source or from a real-life conversation and then substitute your own words. TIP: Steal the rhythm, skip the boring parts- this is a perfect opportunity to strip out the â€Å"placeholder† words we all use to stall while we think, like â€Å"um† and â€Å"ah,† or, if you’re Italian, allora. Borrowing From a Scene: Let’s say you have a scene between two characters talking about something. Why not steal the rhythm from one of the masters of modern movie dialog, Quentin Tarantino, and his classic Pulp Fiction: JULES: Okay so, tell me again about the hash bars. VINCENT: Okay what do you want to know? JULES: Well, hash is legal over there, right? VINCENT: Yeah, It's legal but it ain't hundred percent legal, I mean, you just can't walk into a restaurant, roll a joint and start puffin' away. They want you to smoke in your home or certain designated places. Even without having seen the film, the rhythm of each speaker is clear, and the dialog bounces in a way that’s distinctive and pleasant to the ear- which is one reason this scene is one of the most famous from a famous film. The subject matter is not exactly important in any way (to the plot or anything) else, but you can see how the use of meaningless words like okay, right, and yeah are used to keep the rhythm balanced, and how some words are intentionally left out to get a more naturalistic sound (like ain’t hundred percent legal instead of ain’ta hundred percent legal). Modeling your own dialog after these rhythms can get that same bounce for your own words. You can also steal from great books. Why not steal from a master of the art like Hemingway or Elmore Leonard? Leonard had a skill in making ordinary conversations pop off the page: CHRIS: She didn't throw me out, I left. I phoned, you weren't home, so I stayed at Jerry's. DAD: When you needed me most. I'm sorry I wasn't here. CHRIS: Actually, you get right down to it, Phyllis's the one does all the talking. She gives me banking facts about different kinds of annuities, fiduciary trusts, institutional liquid asset funds ... I'm sitting here trying to stay awake, she's telling me about the exciting world of trust funds. DAD: I had a feeling. You've given it some thought. You realize life goes on. CHRIS: I'm not even sure what attracted me to her in the first place. DAD: You want me to tell you? All of Leonard’s dialog has a recognizable rhythm that magically seems realistic while being very controlled and carefully constructed. Borrowing from Real Life: An equally powerful approach is to model your dialog on actual conversations. This can be a better approach if you’re trying to capture an iconic cultural rhythm, or if you’re simply looking for something more naturalistic. This approach can guarantee that your dialog has a believable, authentic rhythm to it, which is about 75% of the battle. A hybrid of both approaches is to use an actor’s distinctive delivery of dialog to model the rhythm of one character on. Think about an actor with a distinctive way of delivering dialog- Alec Baldwin, or Meryl Streep, or even a non-actor you know personally. Imagining them reading every line you write for a specific character will subconsciously guide you towards a distinctive but believably consistent rhythm for every line they speak in your story. These approaches will train you to write realistic-sounding dialog every time, eventually without having to draft on someone else’s work or the neighbors’ conversations- and eventually to develop your own personal rhythm that doesn’t rely on anything but your creative imagination and skill. Dialog is hard- no one’s saying otherwise. World-building and plotting can be fun, filled with the wild excitement of simply creating. Dialog is a delicate business. The secret to great dialog doesn't lie with poetic lines scanned and re-scanned endlessly for errant commas or stuffed with convoluted similes- it's all about the rhythm. If your characters’ speaking rhythms appear naturalistic to the mind's ear, the reader will find it easy to imagine the characters are really speaking even though written dialog is so different from the spoken kind. This is incredibly important because having your characters speak in believable ways sells even the most far-fetched world-building and the most faith-testing out-of-nowhere plot twists. Bad dialog can ruin even the smartest story, even stories that are otherwise brilliantly written, and like many aspects of the craft getting dialog ‛right’ has more to do with approximating reality than reproducing it. Like "Prise ncolinensinainciusol," you're fooling your readers into â€Å"hearing† what you want them to hear. Except, of course, you should use words that actually mean something as a best practice. So, writers, tell me: What writer creates the best dialog for modeling your own work?    Jeff Somers (www.jeffreysomers.com) began writing by court order as an attempt to steer his creative impulses away from engineering genetic grotesqueries. He has published nine novels, including theAvery Cates Series of noir-science fiction novels from Orbit Books (www.avery-cates.com) and theUstari Cycleseries of urban fantasy novels. His short story â€Å"Ringing the Changes† was selected for inclusion inBest American Mystery Stories 2006,his story â€Å"Sift, Almost Invisible, Through† appeared in the anthologyCrimes by Moonlight edited by Charlaine Harris, and his story â€Å"Three Cups of Tea† appeared in the anthologyHanzai Japan. He also writes about books forBarnes and Noble andAbout.com and about the craft of writing forWriter’s Digest, which will publish his book on the craft of writingWriting Without Rules in 2018. He lives in Hoboken with his wife, The Duchess, and their cats. He considers pants to always be optional.

Framework for extra-curricular involvement Research Paper

Framework for extra-curricular involvement - Research Paper Example As a function of such an understanding, it will be the intent of this brief analysis to discuss some of the means by which this author will seek to engage in communication and leadership development through extra-curricular activities. As such, this brief analysis will consider extracurricular activities that will be planned and engaged with as a means of furthering the knowledge that has thus far been learned in the classroom. Further, a level of metrics will be applied which will help to categorize the means by which such extra-curricular activities can be measured for overall success in each activity. With regards to the first extra-curricular activity that can be engaged as a means of furthering my education beyond the boundaries of the classroom is with regards to volunteering as an assistant for a local community health drive. Ultimately, the process of volunteering as such as one that allows the individual to bring to bear many of the skills and techniques which have thus far been taught in class. Although there were a number of different aspects that prompted me towards volunteering for a community-wide health outreach, the main determinant was the ability to engage with individuals that had hitherto received little if any attention. Moreover, with regards to the metrics of the participation in such an extra-curricular, this will be judged based upon the degree to which the core concepts and understandings from the coursework can be applied in a satisfactory manner as a means to benefit those individuals within the community which I will be directly serving as a function of the voluntary work. Finally, with respect to the unique level of core challenges that this will provide me, it can be understood that such a course of application will allow me the unique opportunity to utilize many of the core competencies I have thus far been acquainted within in the field of course material that has been studied. Although the course material itself is vitally impo rtant towards helping the individual student to come up with an actionable means of approach to a variety of different

West Side Story, Porgy, and Bess Essay Example | Topics and Well Written Essays - 750 words

West Side Story, Porgy, and Bess - Essay Example Porgy and Bess is a musical movie that is set among the black residents of South Carolina. The black residents stay in a fishing village in South Carolina (Fisher, 29). Bess is a black woman who wants to break up with her husband become he is a murder suspect. Porgy is a cripple who stays in the town of Catfish Row, who falls in love with Bess. Bess is a beautiful woman who finds herself addicted to drugs because of frustrations. She has several suitors, and she is at the mercy of the community members. Porgy ends up killing Crown when he returns to try winning the love of Bess. The two movies talk about the theme of love. It is evident that the film West Side Story talks about the idea of love with the principal actor Riff falling in love with a girl from a rival group of individuals. The riff is born in the neighborhood, and his gang controls the streets (Lehman et al. 69). The Sharks is a rival gang from Puerto Rico, and they hate the Jet gangs. The two agree to meet secretly beca use of their respective positions in society. Their love grows deep, and this relationship hurts the people around them even more. On the other hand, Bess is the protagonist in the movie Porgy and Bess. It is because the whole plot of the movie revolves around her. She falls in love with Crown, who is a suspect in a murder. Crown flees and leaves Bess frustrated. She gets involved with drugs and later Porgy falls in love with her.   Catfish Row accepts the presence of Bess, and it makes her happy.   Nobody was willing to offer shelter to Bess except Porgy. Porgy goes jail and upon his return to the area he finds out that, there is no presence of Bess. He later finds out that Bess had left for New York with Sportin' Life.   Sporting Life is one of the suitors of Bess, who introduces her to drugs.