Naked Lunch

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Throughout history, there have been many pieces of American literature that have been suppressed by the government of the United States or other political institutions inside the U.S. These works of literature have ranged from existing in the forms of novels, poems, and magazine issues. The reasons that these works were suppressed, or banned, also have ranged from political, social, religious, or sexual grounds and foundations. One specific book that was repressed by judicial officials is Naked Lunch by William S. Burroughs. Naked Lunch was banned in areas of the United States on social grounds for its explicit and offensive content.

Naked Lunch was published in Paris in 15 and was put together from a series of William Burroughs's notes that he composed while living in Tangier. Several of his colleagues, who included Allen Ginsberg, Brion Gysin, and Sinclair Beilles, helped Burroughs weave together the material for the novel. They assisted him in taking a series of stories and accounts that sat all over Burroughs's desk and floor (in random sheets of paper), and bring them together so that they could be ready for print. They were arranged in a very random order and with no narrative continuity. There was no persistent point of view and the separate episodes were not unified (Chapman, 66). These random thoughts and accounts are generally about the destructive effects of a man's drug addictions. The addict's fantasies and hallucinations as a result of his drug addictions are depicted throughout the novel. The names and specific effects of various drugs are detailed, as well as the details of how they are dispensed. Sexual acts are also used and described in detail by the author, in order to represent pain and misery. Burroughs uses vulgar language, and attempts to create the greatest shock effect with his vivid images of drug use, paraphernalia, and sexual encounters (Sova, 187-188).

When the novel was published in Paris in 158, it became the subject of much discussion in the U.S. and eventually became a renowned piece of work in America, even with the fact that only a small number of copies were distributed in the U.S. This resulted due to the fact that the United States Postal Service seized copies of the book being mailed from Paris due to the obscenity of the book. The government felt they were justified in doing so with the Tariff Act of 10, which made it legal to stop allegedly obscene material from entering the country (Sova, 188). In 158, the Chicago Review published an excerpt from Naked Lunch, but was forbidden to ever do so again by University of Chicago authorities, who had sponsored the magazine. The editors and writers for the Chicago Review eventually raised enough money to open up an independent magazine, Big Table. Here, they published continuing excerpts from the controversial novel. But however, yet again, the U.S. Postal Service seized copies of the magazine and prevented it from being distributed in the United States (Baechler, 8-).

When Grove Press finally published the book in the U.S. in 16, it was very soon met with a lawsuit in the city of Boston on grounds of obscenity. In the trial that subsequently followed the accusations against the literature, many literary figures and critics such as Allen Ginsberg and Norman Mailer were called to speak about the Naked Lunch's redeeming social value, which was the criteria at the time for acceptable literature (Chapman, 67). The writers spoke to support the book, but in the end, they could not persuade the judge. The book was declared to be " obscene, indecent, and impure…and take as a whole…predominantly prurient, hardcore pornography and utterly without redeeming social value" (Sova, 188). In 164, Naked Lunch was literally banned in Boston.

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The novel was found to be obscene partly because of its offensive gist. "He jerks her to her feet and tightens the noose. He sticks his cock up in her and waltzes around the platform and off into space swinging in a great arc" (Burroughs, 8). In this direct quotation from the text, a young man has just literally hanged his lady friend and decides to have sex with her as she is hanging from the rope. This is quite a disturbing picture and can be very difficult to imagine in one's mind. The offensiveness and coarse language that the reader encounters as he or she reads was considered ample reason for obscenity charges.

Another reason that was in part responsible for the ban of the book was that it contained vivid accounts of drugs, drug-use, and drug paraphernalia. "The old junky has found a vein…blood blossoms in the dropper like a Chinese flower…he push home the heroin" (Burroughs 87). "I have a place where I can slip my needle right into a vein, it stays open like a red, festering mouth, swollen and obscene, gathers a slow drop of blood and pus after a shot" (Burroughs, 5). These two direct quotes show the precise vividness of the author's writing. The first quote gives dramatic detail about when the old junky has found a spot in his arm to shoot his heroin. The second quote is a detailed description of the spot that the young man in the novel has become accustomed to in shooting up. The realistic language and detail that the author uses shows why many were rubbed the wrong way after reading it.

A final and perhaps most predominant basis for the ban on the book was its content of prurient and pornographic material. "Mark and Johnny sit facing each other in a vibrating chair, Johnny impaled on Mark's cock" (Burroughs, 87). "His whole body strain to empty through his cock. She drinks his jissom which she fills her mouth in great hot spurts" (Burroughs, 8). These two quotes are perchance not even the most graphic ones of their kind in the novel. The first quote describes an event where two young men are taking part in homosexual activities while sitting on an electric vibrating chair. One of the gentlemen has his penis in the other's anus, and the two men are receiving pleasure from this act. The second excerpt is reciting the moments after a female has given a male oral sex and is swallowing his semen. The author describes even how the semen is leaving the young man's penis. The two excerpts leave nothing to imagination and were considered by many to be tasteless and filthy pornography.

Following the decision, Grove Press's lawyer, Edward de Grazia, made an appeal to the State Supreme Court. After listening to the case, a judge ruled the novel to be not obscene. The reason for this was that the judge felt that for literature to be obscene, it had to meet the following criteria; "The dominant theme of the material taken as a whole appeals to a prurient interest in sex, the material is patently offensive because it affronts contemporary community standards relating to the description or the representation of sexual matters, and The material is utterly without redeeming social value" (Watson, 84). Based upon these criteria, five out of seven judges ruled to reverse the previous decision. By July of 166, the ban was lifted and the sale of Naked Lunch was allowed in Boston. However, there were restricting terms that were put into effect regarding the book. Firstly, it was not to be advertised in any way, and secondly, there was not to be any sort of distribution of the work with intent to exploit it for its prurient material (Sova, 18).

After all the scandal and controversy about Naked Lunch, the novel still holds a great legacy. It is the work that made its author, William S. Burroughs's fame and his fortune. It remains to be his most widely know and read work (Baechler, ). But maybe a bit more important is that it holds a vital position in American literature. The decision of the novel to not be obscene marked the end of literacy censorship in America. "If Naked Lunch did not qualify as obscene with its scenes of homosexuality, cannibalism, hanging-ejaculations, and every four-letter work known, an enforceable standard of obscenity became difficult to imagines" (Watson, 84). Please note that this sample paper on Naked Lunch is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Naked Lunch, we are here to assist you. Your cheap research papers on Naked Lunch will be written from scratch, so you do not have to worry about its originality.

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The Sky Is Gray

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The Sky is Gray

Ernest Gaines's short story, "The Sky is Gray" takes place during the time that Jim Crow was the law of the land in the South. We see the story unfold through the eyes of James, a young black boy of eight. Even though James is young, he is not spared the hardships and the racism, which the South imposed on black people at the time. James's Mother, Octavia, knows that life is going to be tough for him, and she tries her best to prepare him for the rocky road that lies ahead by building a strong foundation within him, making him a strong person, if not, he will fall through the cracks of society.

Octavia is presented to us as harsh, but with careful observation, one will see that she is indeed a very thoughtful, loving parent in a way that she knows best. From the very beginning of the story, hard times loom over James' family, and his Mother carries this weight on her shoulders, the weight of hardship and worry. In the opening passage James notices she is worrying, "She's thinking if they got enough wood-if she left enough there to keep them warm until we get back…" Octavia is a strong character, and conveys this to us by her actions, for she is a woman of little words. Most of her thoughts are read and relayed to us by James " I look at Mama, and I know what she is thinkin'." On her mind is James's tooth, which she chooses to take care of, despite the pleas of James not to do so, "Its been hurting me and hurting me close to a month now…I know we didn't have enough money to get it pulled."Even though she is not your typical mother with warm hugs and kisses, she truly does love James, otherwise she would not get his tooth fixed. When James tries to cuddle up next to her, he comments, "But I'm not supposed to do that. She says that's crybaby stuff, and she don't want no crybaby around her."She is a survivor. She is more concerned with her children being strong, instead of soft. She is both mother and father to her children, and the sole provider. Being the sole provider she must see to it that her family has food to eat.

James remembers the time that Octavia made him kill a redbird for food, against his will, " I can't Mama, I can't," I say, and the water just kept running down my face…" This scene is sad because James sees the red birds not as pests or food, but something beautiful. At this point he is forced out of the comfort zone of his childhood and thrown into the realms of being a responsible adult. He was going to be responsible for his family eating dinner that night. He realizes this, "I'm still young….I know why I had to do it….Suppose she had to go away? Suppose she had to go away like Daddy went away? Then who was go'n look after us?. They had to be somebody left to carry on." It is here that we can see that James is beginning to have an understanding of what it takes to live life during harsh times. He knows that he must be strong for the rest of his family. In addition to acting upon harsh times, James learns to recognize strength when he sees it.

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While James and his mother sit in a crowded dentist office for black people, they witness a dispute between a preacher and a young college student. The student comments, " That's the trouble with black people today…We don't question, is exactly our problem,We should question and question and question, question everything." When the student tells the preacher to even question God, the dispute begins. The student goes on to say that because the black man listens with his heart, he will only take what the white man gives him. Of course the preacher does not accept this. The boy goes on to say, "You believe in God because white man told you to believe in God. And why? To keep you ignorant so he can keep his feet on your neck." The student takes two blows from the enraged preacher, and resumes his reading. He does not back down from his stance, but the preacher leaves. James had just witnessed an act of strength, and despite the blows given to the student, he still kept his ground. James thinks to himself, "When I grow up, I want to be just like him. I want clothes like that and I want to keep a book with me too." James lives in poverty, and can recognize that this young student was educated, therefore not living in poverty. James witnessed something that will inspire him to rise above his poor conditions and be like the student; strong and not in the bondage of the white man.

Racism seems to corner them from every direction. The world can be a very ugly place, and as soon as they are turned on to the streets, James sees this. They continue to wait patiently in the waiting room. James's tooth has been aching for over a month, and is starting to make him sick. They are told to come back. A woman sitting next to them comments, "Don't feel d'jected honey…they take you when they want to. If you was white, that's something else; but we the wrong color." This was not the first time time James was confronted with blatant racism, but it was yet one more reminder that he was black, and a second class citizen. They are turned out into the cold to wait until one in the evening. Experiencing pangs of hunger and nearly frozen, James and his mother search for warmth. They can't go to the many caf�'s in the city, but rather, they must walk in the freezing weather to the end of the town, to the only place where black people are allowed. A mother and a small child forced to freeze, demonstrates the unjust and inhumane mentality of society at that time. His mother had pride and dignity. She refused to just sit and get warm, so she orders food, despite their lack of funds. Its much like not wanting to use the restroom at a restaurant, and then run out. She tells James, " Got to pay them something for this heat." James doesn't want his mother to spend money on him, but she does what any loving mother would do. Despite his pleas, she says nothing, and orders food for him. She truly loves and cares for her son. All is fine until she accepts a dance with a man from the music playing out of the jukebox. He is a pimp, and assaults her. "Come on, I'll gut you from you neighbo' to your throat, come on." Up until this point, James has witnessed his Mother's strength and perseverance at the dentist office, through the cold, sacrificing money, and now she physically fends off a pimp at knifepoint. She is a strong woman in an ugly world harsh world, and she hopes that James will learn from these things to be as strong as she in dark times.

Fortunately James will see that not all the world is bad. On their way out of the caf�, back into the cold, they encounter a kind elderly white woman who owns a store. She offers them food and a warm place while they wait for the dentist. Octavia, with her pride says, " We don't take no handout". The old woman can sense how Octavia is feeling, and so she makes James earn their food by taking the garbage around to the front. It is here that Octavia is trying to instill hard working character in him, not to just accept handouts. She does the same when the old lady tries to give her more salted meat than two bits worth. Octavia doesn't take it until the lady chops half of it off. She thanks her for her kindness, and they move on. Once again, turned back into the cold, James turns his collar off to ward off the freezing temperature. His Mother tells him to turn it right back down, " You a man, not a bum." Through the whole story Octavia has been setting examples for James, to be a strong person, to be a man.

Ultimately, in the end James is a man. He is a man, perhaps not in the literal sense, or the physical as we tend to think of it, but in the way that runs deep in a person's character. He has observed the wicked ways of the society that he lives in, and he has seen his mother combat them gracefully with strength, pride and perseverance, in hopes that he will follow in her footsteps. At first Octavia's parenting seems harsh and cold, but we come to learn it is necessary if James is to survive in that kind of environment. Octavia is actually a very loving, caring Mother that wishes to protect her son from the evils of the world by giving him the tools to survive.Please note that this sample paper on The Sky Is Gray is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on The Sky Is Gray, we are here to assist you. Your cheap research papers on The Sky Is Gray will be written from scratch, so you do not have to worry about its originality.

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A Womans Perfect World

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A WOMAN'S PERFECT WORLD

Religion is often used as an excuse for what some may deem inappropriate behavior, or poor lifestyle choices. Many religious fanatics have been known to use biblical quotations, and reasoning's as a way to instill their beliefs on other cultures. Polygamy seems to be one of those choices. This lifestyle is one that has managed to live on throughout the ages.

Some women who choose polygamy would propose that it is an ideal lifestyle. The question is, ideal for whom? At first thought this lifestyle is obviously beneficial to the polygamist husband. After all, with multiple wives, there is always an abundance of women to fill one's needs and to see that all desires are met. He also has the freedom to take another new, sometimes very young, wife at many different stages in his life. These times may include, when he feels his older wife is getting to the point when she is no longer able to bare his children. Sometimes, these new wives are actually chosen by one of, or all, of his current wives. However, who meets the many needs of the women? The answer to that is simple, the husband's other wives.

The many wives in a polygamous marriage are always ready and willing to fill the voids left by the remaining wives. For example, if one wife is forced to work late, there is someone to care for the children, make dinner, and another still to take care of the husband, all without a second thought and all without special instruction(Joseph ).At first glance this situation may seem perfect. Imagine for a moment a world where there is no need for daycare, fast food, or affairs. What happens when the wives looks begin to fade, as they grow older, and possibly are no longer seen as attractive as they once were in their youth? No need to worry about the husband asking for a divorce, he will simply take another, younger, wife. It is the veteran wives responsibility to teach her the ropes. In these families, these women must be lifelong friends. They share the most intimate things in life, their children and their husband. No jealousy can live here. If it did, I would imagine there would be no harmony. How could they possibly survive if there were insecurities among the women? It could become the ultimate competition. They may always be left wondering if the husband preferred one wife over another, or if there were certain things he shared in private with one of the other wives, but not another. Mary Ben David, a plural wife herself of many years, believes only strong independent women can be part of a polygamous marriage, and that many monogamous relationships consist of women who don't possess their own identities, but rely on the identity of the husband(David ). It may appear to some however, that the exact opposite is true.

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The chores are usually separated equally. In plural families there are sometimes as many as fifteen children, the work seems never-ending. Some wives work inside the home, some work outside. Career moms without the juggling. No more guilt about working late, or not being there to do homework. There's always someone there to tuck the babies in, nurse them to sleep, and know which is their favorite story. For many of today's working mothers this sounds too good to be true.

If my husband expressed a desire for another wife, this would be a nightmare for me. In my perfect world, it is the man I've chosen that meets these needs. The man I have children with, that knows their schedule, and can whip up an "on the spot" meal. If and when I work late, he will be sure their needs are met. When I get older, and my looks fade, our relationship may change, but he will love and respect me for all I've given and given up for our relationship. We will raise our children together. He will pick up my slack, as I will his.

In a marriage where there is more than one wife, and only one husband, where is the intimacy? Although the husbands reassuringly insist he makes enough time for everyone, and that each wife is satisfied completely, but where is the "partnership"? The plural families argue it is a team effort. Even more importantly, what is if any, the role of the husband? Most polygamist husbands contend this is the style of marriage "authorized by God". They claim "there is no problem in God's eyes with plural families". They firmly believe that polygamy is for women. To ensure they are able to marry the man they want to, regardless of his marital status (Chapman 1). According to USA Today editorials, He usually works, most often a mediocre job, as in the case of Tom Green, a paralegal who became the first man to be put on trial for polygamy in fifty years. A good percentage of polygamist husbands are farmers, or tradesman, as this gives them more time to devote to the church, and their families. Certainly not one that pays well enough to carry the load of so many children. Luckily, he has at least three other working adults in the family. However, if the polygamist husband wasn't fathering so many children, would the family have the need for adult incomes? The women in these families sometimes work from home, telemarketing, or selling what they grow in the garden, and others still hold clerical jobs in town.(Utah's first polygamy trial in fifty years..).

Although polygamy has been practiced for hundreds of years, dating back to the 1800s in North America, it has become convenient, and beneficial for today's working women (VanWagoner 6).Without the need for daycare it must relieve a lot of the added pressure of working motherhood.. The wives always have someone to trade duties with, in case they need a break. Wives in monogamous marriages don't have that benefit. They only have one other person to fall back on, where as women in single families often don't have anyone else.

What if the tables were turned? Maybe a woman's perfect world isn't what these families believe. Maybe it's a world that practices polyandry, a family of one wife and many husbands. Although this is said to be condemned by all major world religions, I think I have a good idea why. It seems like a situation that would really empower women. A life where a woman has sexual freedom without threat of a "bad reputation"being able to chose which bed she sleeps in, with whom she spends her special time. The wife would then become the center of the family. Imagine this for just a moment A world where, all repairs are done in a timely manner. A husband's lifelong friends are ones that the wife chooses. A night out with the boys can be spent in the living room, and the wife wouldn't mind a bit. One husband to cook, one husband to do laundry, one husband to do dishes. There would never be a shortage of funds, or attention. What child wouldn't benefit from multiple constant male role models? Not any that I know of. Maybe women would then be able to have careers, other than raising children.

Polygamy is not illegal. What's illegal is registering more than one marriage at the same time, without getting a divorce. That's bigamy, which is illegal in all fifty states. However, some estimate that as many as 60,000 people live in plural marriages in Utah. The Mormon church, which is famous for supporting polygamy among their followers, threaten excommunication of members who practice polygamy(Bertola 1).

Polygamy is what one makes of it. Those people who are raised in "traditional families" would likely be horrified at the thought. They might find it outdated, possible brainwashing of young women suffering from low self-esteem. These girls are taught at a very young age to choose a man who has "proven himself a good provider" even though he's already married.(Chapman) That they need to share their men, because there are very few "good Christian men" available, Is it possible they don't feel worthy enough to have a man of their own? These women who are raised in a close-knit community are taught, at a very young age that men should love their wives and wives should be submissive to their husbands, may not see an alternative. It may very well be a convenient excuse for what some might consider " selfish working women" who don't want to raise their own children. Could it possibly be a religious shield used by men who want to have an unlimited number of sexual partners without breaking any unwritten moral code? They all seem to be ,God fearing, Bible quoting individuals, who truly believe what they preach.

In our society there are a number of children are being raised in so-called undesirable ways, including, single parent households, or households of same gender parents ,or more importantly, children who aren't even being raised by their own parents and are placed in foster care. Is the traditional woman/man married, stay together until death do us part, family gone? In our society where the "non-traditional" family has become the norm, is there a place for plural marriages? This issue causes one to ask the ultimate question, what is "normal"?

Normal may be the atmosphere and environment to which you've become accustomed . The real questions I'd like the answers to are simple. Can women be happy, and content in this type of atmosphere? Can she really grow as an individual? More importantly, can children raised in plural families thrive, grow up to be well-rounded, and socialized adults. Will they grow up to form plural marriages of their own, or, will they become part of "mainstream" America? Will they have any desire , or need?Please note that this sample paper on A Womans Perfect World is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on A Womans Perfect World, we are here to assist you. Your cheap custom research papers on A Womans Perfect World will be written from scratch, so you do not have to worry about its originality.

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Hamlet

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One of the most unique elements of the Hamlet character is that he is so human. Many types of readers can identify with him. Hamlet is imperfect, and he is fretful. Hamlet has human properties, and it is his humanity that I intend to explore. Indeed it is these human qualities and imperfections that make his story so tragic. Another tragic part of the play is the plays irony. Irony is an important tool in the hands of the playwright to achieve both comical and/or dramatic effect. There is usually little reason for a tragedy to be funny, so Shakespeare has used this tool to add more tragedy to the play. I will investigate the nature of this irony. Also, I will investigate the types of conflict that play a major part in the play and the relationships between Hamlet and the two people who have been closest to him; Ophelia and the Ghost. Hamlet cannot share his strong feelings and emotions with his mother or his girlfriend. While his mother is literally sleeping with the enemy, Ophelia has chosen the side of Claudius because of her father, Polonius. It is especially difficult for Hamlet to talk to Ophelia. The only other woman in his life, Gertrude, has betrayed his father by marrying Claudius. Hamlet may be obsessed with the idea that all women are evil, yet he really does love Ophelia, because when he finds out Ophelia has died, he cries out, I lovd Ophelia; forty thousand brothers could not, with all their quantity of love, make up my sum.(Act V, Scene 1) The ghost provides Hamlet with a dilemma. In Shakespeares plays, supernatural characters are not always to be trusted; think of the three witches in MacBeth, who are instrumental in his downfall. Hamlet does not know whether the ghost is telling the truth or not. If Hamlet had killed Claudius solely on the ghosts advice, he would certainly have been tried and put to death himself. There would probably have been a war to choose the new king. Being the humanitarian that he is, and taking account of his responsibilities as a prince and future king, Hamlet most likely would want to avoid civil war. Even though Claudius is a murderer, and probably not as noble a king as Hamlets father was, he is still a king. He brings order to Denmark. Hamlet does not wish to plunge his country into chaos. He realizes that this will happen when he kills Claudius. Hamlet is unable to combine the spiritual world (in the form of his fathers ghost) with the tangible, every-day world that surrounds him. There is much irony throughout this play. One occurrence of irony I found particularly striking was the fact that Hamlet effectively maneuvers himself into the same position as Claudius. Claudius had attacked and killed a man who did not have the opportunity to defend himself, but when Hamlet kills Polonius, is he not guilty of the same? It is intriguing that both Claudius and Hamlet have killed fathers. It is interesting to see how these two completely different characters deal with this problem in different ways. Other interesting parallels I found are the numerous deaths by poison. Hamlets father was murdered by Claudius with poison. In the final act, the queen is the first to be poisoned, by drinking from Hamlets cup. Then, Hamlet is wounded by the poisoned tip of Laertes sword. When they change swords, Hamlet gets the upper hand and Laertes is poisoned. When the queen dies, Laertes explains all to Hamlet, before he dies. Hamlet then kills Claudius before dying himself. It is ironic that, as Claudius is poisoned because of his own plotting, he had already signed his own death warrant when he killed Hamlets father, the first tragic action of the play. There are only three people in this play who dont die by poisoning Rosencrantz and Guildenstern meet their deaths in England, after being outsmarted by Hamlet. The third is Ophelia, who is drowned. There are three types of conflict I can identify in the play man versus man, man versus nature and man versus himself. Hamlets fight with Laertes in Ophelias grave and the subsequent duel would both easily classify as man versus man conflicts. Man also struggles with nature in this play, most notably in the form of Ophelias drowning and Hamlets crossing the sea to England - although the latter conflict plays more of a background role. The man versus himself conflict is most directly exposed in Hamlets famous soliloquy, where he is wrestling with his conscience. The realization he comes to in this soliloquy is that we are afraid to kill ourselves because we do not know what is to be found after death. Another man versus himself conflict is Claudius inability to pray. He cannot really justify his past deeds. For him this is actually another step into darkness. Hamlet may be a thinking man; however, this does not mean he actually likes to think. Although he might have liked to think in the time preceding the play, when the time has come for him to take action, he cannot because of this urge to contemplate. His capacity of thinking becomes a handicap rather than an advantage. And this is not even the most painful or tragic part of the Hamlet character. The biggest problem is that he is aware of this. Not only is he incapable of acting without thinking, he knows that this is the case, which makes the burden even heavier. Hamlet cannot face reality. It is already a traumatic experience for him when he has to believe the words of the ghost, and actually the ghosts demanding him to act on this information is too much for him. Hamlet is however, a man of decision. But he is also contemplative. He needs to think in order to justify his actions, and his intellectual characteristics are the major difference between Claudius and himself. Hamlet is very aware of the relationship between action and reaction and realizes that he has to proceed very carefully. In the play, Claudius is the decisive character, and the man of action. He takes the first action, the action that sets the story in motion - the poisoning of Hamlets father. He also instigates the final action, the poisoning of the blades and the cup; an action that will backfire and cause his own death. In the play, there seems to be a constant shift of action, where only one party can act at any time. These two parties are of course Hamlet and Claudius. When Claudius has taken the action that secures him the throne, he allows Hamlet to become the man of action. But Hamlet procrastinates. The only action Hamlet takes is staging the play, which seems more to serve the purpose to establish that Claudius is indeed guilty of his fathers murder. He does this for himself and for Horatio. Then he proceeds to kill the eavesdropping Polonius. Hamlet is given the chance to avenge this foul and most unnatural murder when he sees Claudius praying. Hamlet, being a Christian prince, cannot bring himself to kill Claudius while he is praying, as this would secure his place in heaven. Hamlet wants to make sure Claudius will suffer in the afterlife, just as his father did. Hamlet leaves just before Claudius gets up, declaring he cannot pray; My words fly up, my thoughts remain below Words without thoughts never to heaven go (Claudius, Act III, Scene ). Had Hamlet known Claudius was unable to pray, then he could have had his revenge right then and there, instead of waiting until the end, and taking everyone else with him. Most of the other characters would probably have acted much quicker than Hamlet if they were in his position. Imagine Polonius in the situation Hamlet found himself in. He would not procrastinate as much. It would have most likely been off with the head of the murderer! Any other character in the play would not have stayed as quiet as Hamlet does (confiding only in his best friend, and even keeping the truth from his mother until the end of Act III). Although not every one of them might have come to killing Claudius. But Hamlet does not seem to do anything. Again, he thinks too much. But why? Hamlet is self-conscious, while the majority of characters that surround him are not. This explains why he feels inhibited to act. Hamlet resembles a real person more than any other character in the play, which might be another reason why he still remains a subject of discussion, and why the play remains so popular. Hamlet is one of the most interesting characters in English fiction because we can identify with him, and understand, although not always agree with his actions. Hamlet is also set apart by his elusiveness. Many of the characters in the play can be categorized within minutes of their introduction. Im not calling them caricatures, but there is definitely a caricature-like side to some of them. The pompous Polonius and the deceitful and thick-headed Guildenstern and Rozencrantz come to my mind. However, this does not hold true for some other characters, such as Laertes and Ophelia. The character of Hamlet refuses categorization. Interesting with regard to this is his love of theater. He is particularly interested in the idea that things may seem different from what they really are, just like the people that surround him. His mother is no longer his fathers wife, but his uncles, his girlfriend is no longer there for him, and Guildenstern and Rosencrantz are no longer his friends. Also, he is aware that he will have to disguise himself and his real motives and goals in order to attain them - this is why he fakes his madness. It is not until he picks up Yoricks skull in the beginning of Act V that he finds out what is real and what not. In the end, when the truth is revealed and everyones masks are removed, death is all that is to be found.

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Bittersween Dreams

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Bittersweet Dreams

Although Eveline dreams of freedom from her ordinary existence, she has not the physical or emotional strength to see her dreams to fruition. It is because of the ties that bind her to her Catholic-Dublinian existence and her weakened physical state, that when she attempts to journey beyond the limits of her primitive boundaries, that she suffers the ultimate consequence for her actions.

Dreams are what maidens are made of, and Eveline is no different that any other healthy young lady in that regard. However, Eveline lives in harsh times and under harsh conditions, so the intensity of her dreams are exacerbated by the dimness of her reality. When she needs to have her calgon moment, she dreams of her childhood, and the comfort and security that that represents, and of her new "excitement" (406), Frank, which represents her future comfort and security. She dreams of the opposite, of her now.

For Eveline, her childhood represents as perfect a place and time as she can tangibly reckon. In it, she is free from all the worries of the world. She recalls playing "every evening" (404), not just occasionally or often, but every evening. She recalls real friendships, like "little Keogh the cripple" (404), who would watch out for the children and warn them when her father used to come looking for them in the evenings, and Tizzy Dunn, her good friend. She recalls her father in a kind light, saying, "[he] was not so bad then" (404). But the most important memory for Eveline is the recollection of her mother. When her mother was alive, she was "happy" (404), and she didn't have all the burdens that now confound her life.

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In the present, Eveline sees and feels nothing that reminds her, of her cherished childhood abandon, and so she laments "everything changes" (404-405). But how, does everything change? Eveline spins a dream for her future, and what a beautiful dream she spins. Her dream is replete with a prince charming, a Garden of Eden, and absolute perfect-ness. In her dream, her prince charming is Frank, a self-assured young sailor, on leave from his duties, visiting Dublin on a holiday. Everything that Eveline associates with Frank has some positive emotional pull to it. He is a self-proclaimed adventurer and spinner of extraordinary tales. He is a free spirit. And Eveline desperately wants a taste his freedom. He is a "very kind, manly, [and] open-hearted…fellow" (405), and Eveline associates to him, the very feelings that she associated to her childhood happiness, security, and emotional freedom. Frank offers her, a new and better version of herself. When she is his Mrs., she will have her own home, and nowhere other than "Buenos Aires" (405). She will be married, people will respect her, and she will not end up like her mother, prematurely dead. I admit, I am guilty of hoping that she abandon her reality, for her dream.

But as much as Eveline is normal, in that she has dreams, and wishes, and desires like any other girl, two constrictive forces are pulling her away from the future freedom she dreams for herself the ties that bind her to her homeland and her physical frailty. All is perfect for Eveline until these forces start to slip into her consciousness.

To be a Dubliner means to have a name; it means that someone really exists. Eveline is a real someone; she has a real name; she is Eveline Hill. She ponders "And yet during all those years she had never found out the name of the priest" (405). The priest used to be a Dubliner; he used to be her father's friend. But now that he was gone, he ceased to exist in a real sense. In another instance, she ponders how she would be remembered by her fellow employees, once she was gone "What would they say of her in the Stores when they found out that she had run away with a fellow? Say she was a fool…and her place would be filled up [with] advertisement" (405). It is so subtle how Joyce weaves the complexities of Dublin identity to the identity of self. For Eveline, she is starting to get a sense, that if she leaves and runs away with Frank, then she will also cease to exist.

If, being a Dubliner constitutes half of Eveline's being, then being her mother's daughter constitutes the other half. From her mother, Eveline inherited a "life of commonplace sacrifices" (406), which she vowed to uphold. This inheritance included the responsibilities of raising and nurturing, the family that her mother left behind when she died. On the very evening that Eveline is planning her flight to freedom, she vividly and painfully remembers the promise she made to her mother "to keep the home together as long as she could" (406). Eveline knows her duty, but she has had enough. In her mind, she has fulfilled her duty; she has "[kept] the home together as long as she could" (406).

If life were as simple as Eveline! She is doomed, even before she starts. Although Eveline is blessed with the fortitude to mentally journey beyond the limits of her birth, sadly, she is equally cursed with the flesh of her birth. Eveline is a sick young woman. Joyce tells us clearly in the text. The first paragraph ends "She was tired" (404). Why is this, otherwise, normal young woman exhausted from the normal rigors of a Dublin existence? Joyce answers she suffers form heart "palpitations" (405), "trem[ors]" (406), "nausea"(407), and is prone to being "laid up" (406). Joyce has created for us a disaster waiting to happen! Eveline is a critical heart-patient who turns a deaf ear to the mortal limitations of her body.

Eveline knows that the journey she begins this night, is a one way venture. She has made her peace with her past and present, and has found the resolve to follow through with her convictions. Although she might die trying, at least, she would have died trying. If she is lucky, Frank will give her "life, perhaps love, too" (406). For Eveline, these are worth the risk of death, especially, in the face of the grim alternative. Thus, it is with guilt for abandoning her duties to her home, with the knowledge that her Dublinian identity will be stripped, and without a second thought for the precariousness of her physical condition, that she summons what strength she has remaining, and makes the rendezvous with her lover, Frank, at the docks.

Eveline is touchably close to her freedom when the first bells of alarm start to sound. From the moment she reaches the docks, we see that she is experiencing a heart attack "she stood among the swaying crowd" (407). The crowd isn't swaying, Eveline is. And then, the coups de grace "A bell clanged upon her heart" (407). Yet, "she felt [her lover] seize her hand Come!" (407). Frank doesn't know what is happening and is pulling her onward. When Eveline can carry on no further, "she grippe[s]…the iron railing…in frenzy" (407), and collapses. Frank is ordered to board the ship. Eveline sends out "a cry of anguish!" (407). Then, from "beyond the barrier [Frank] call[s] to her to follow" (407). But she is already dead "she set her white face to him, passive, like a helpless animal. Her eyes gave him no sign of love or farewell or recognition" (407).

"Her time was running out" (406), Joyce tells us this, and Eveline knew this. She knew, that her obligations to her family and society, were more than her weak body could endure. Still, she did the only thing a truly free spirit could she hitched a ride on her dreams. After all the emotional turmoil, Eveline finally revealed herself to be an adventurer worthy of Joyce. The more time I spent with this story, the more my respect grew for Eveline. At first, I thought her character was only a dimwitted product of her environment, but after careful deliberation, I came to appreciate the subtle boldness of this physically weak girl. It is truly sad, that Eveline was never destined to see her "Buenos Aires" (405). Eveline died, living her bittersweet dreams, and I am living, this bittersweet ending.

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Reality Tv: Big Brother

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Real New Formats of Television Looking at Big Brother.

By Phillip Bell

The term 'Reality television,' has become popular in recent years to describe programmes that depict events and interactions, which are supposedly true depictions of the 'real.' As to what constitutes the 'real,' is a constant source of debate and discrepancy. One such example, which attempts to disprove the reality of such shows, and prove 'Reality Television,' to be a misnomer is Phillip Bell's article, 'Real new formats of television looking at Big Brother.' Bell's analysis focuses on the Reality game show, Big Brother, and portrays the negative aspects of it through analysing the contestants as well as those who watch them; the audience.

He presents this pessimistic attitude by using sarcasm, ironies and snide comments, which often appear after a statement in brackets, "They encourage competitive and self-examining behaviours of their participants (victims?)…"1 By doing so the reader is positioned to see Bell's point of view, which offers no credit to Reality television and if anything mocks it.

School papers on Reality Tv: Big Brother

Bell begins with an interesting comparison of George Orwell's novel '184' and the show 'Big Brother,' which evokes a sense of nostalgia and regret from Bell as to what modern day entertainment has become. Big Brother was once "watching his cowering subjects for signs of rebellion," and is now, "paying selected members of the audience to cross over to the other side of the all-seeing lens." This notion that Big Brother, no longer represents a serious and deadly authority but rather a voyeur; concerned with entertainment and ratings somehow diminishes it's authenticity and depiction of the 'real.'

Despite Bell's stern standpoint on what is 'real,' his discussion of contestants involved are insightful. Bell accurately notes that those selected are, "carefully selected 'ordinary' people," who are specifically chosen, "…to generate certain kinds of stories, certain kinds of competitive and cooperative behaviours and inter-personal conflicts." This of course affects the 'real' as there is bias from the onset of their appearance on screen. There are also the specifics of why one is chosen; their 'role' if you like. It is imposed upon the contestant to play up to this role that the program producers have chosen them for. "They'll play the theatrical roles they've been chosen to play vixen, slut ing�nue, yobbo, etc." Such behavioural patterns Bell describes as 'demand characteristics,' which he verifies by describing a societal experiment conducted around the theme of imprisonment. People involved in this experiment felt compelled to 'perform their role,' such as attempt escape if a prisoner and to rule harshly if a guard. Although Bell uses this as an effective argument against an accurate portrayal of oneself on Big Brother, we must acknowledge the fact that we are all subjected to some form of societal conformity within everyday life. There are multi-facets of every person and when put in different situations we often display or conceal certain aspects of our true self in order to be accepted. By showing different sides of their personality, appropriate to the current situation the contestants are faced with a double-edged sword. Bell discusses this as a kind of equilibrium, which entails keeping not only the audience content but their fellow contestants as well. By being too extreme one risks challenging societal norms and hence being pushed to the outer, which of course leads to elimination. Furthermore, being deprived of certain necessities such as family, sex, food and freedom will as Bell points out, inevitably lead to extreme behaviour, where uncharacteristic behavioural traits are displayed in order to win, survive or maintain dignity. This is perhaps where the untrue portrayal of oneself comes into play as competitiveness and winning become issues. On the June 10 (00) Big Brother Live nominations episode, the housemate Mirabai admitted, "There is something held back because you have to think about the game." Such a comment confirms Bell's point of view, that contestants are reserved in offering their real selves as it ultimately comes down to the fact that it is just that; a game.

However, what sort of game would it be without a judge or mediator? This is where the audience come into play. Perhaps the most appealing facet of reality game shows is the authoritative position that the audience hold; that of judge. Bell comments that the audience "…interacts with the participants and their games, judging them, voting for or against them." He perceives this as a rather unnatural situation referring to this arrangement as 'perverse,' and 'voyeuristic;' both of which hold negative connotations. By perceiving this as unnatural Bell is neglecting to acknowledge that this form of behaviour occurs in everyday normal situations. It is inherent within human nature to observe something and then to pass judgement on it. One meets a new acquaintance and within tenths of a second has reduced them to a particular category or stereotype.

Interestingly Bell not only looks at how the audience judge the contestants but how doing so forces them to judge themselves, consciously or not. This is achieved through the television channel ('agent provocateur'), who attempts to "catch the audience in their own moralistic web." Agreeably this is the hook which draws many viewers as we are sub-consciously subjected to internal scrutiny, asking ourselves, "What would I do in that situation?"

Bell's discussion of why people pass judgement raises a valid and interesting point. When, as an audience, we are faced with displays of body flaunting, raw sexuality, and primitive behaviour, "…the native or 'feral' Aussie is on display, and the audience is made uncomfortably aware that it may be more like that species than it cares to admit." It is as though the viewer watches this behaviour that society deems as unacceptable, openly criticises it, despite feeling sub-consciously aroused and interested in behaving likewise and hypocritically act similarly in their own lives.

Moreover, Bell's main qualm with Reality television appears to be that "…they exhibit a kind of perverse, rather than a critical or ironic 'pseudo-documentary.'" This 'pseudo-documentary,' he believes stems from the fact that the contestant know there is an audience who are watching and judging the contestants, therefore there is "….the demand to act as though they are not being looked at," which will undeniably tamper with the 'real.'

Without being able to discuss this notion of the 'real,' as a balanced argument, Bell's only form of flattery throughout his article appears with sarcastic undertones, "Big Brother may not be reality but it certainly is television."

By making unjust generalisations, Bells argument diminishes in worth. He refers to all contestants as "minimally educated, heavy television viewers." This judgemental voice appears loudly in his concluding paragraph where he tries to define the problem with Reality television. He states, "…it is not its apparently ignorant or vulgar participants who are the problem. Nor is it 'human nature.' Rather, it is the imprisoning situations constructed for us to think of as reality itself that should incite the critics' indignation." Perhaps as an academic this should be taken into account, but for the everyday viewer it is human nature, which holds their interest and is of the highest importance.

Although Bell's article does raise some interesting and valid points, his overall attitude is negative and sarcastic. He does not conclusively prove that these shows do not present 'real' situations and people, nor does he gain any kudos by being closed-minded and cynical. By treating the general population as a collective whole, he is forced to make sweeping generalisations, which are often unjustified. Furthermore Bell passes judgement on such things as the contestants intellects, and of the type of people who would be amused by, "the selfish, the perverse, the eccentric," thus appearing class-orientated and naïve towards the richness and quality of human nature. In this sense Reality television is more 'real' than Bell gives it credit for. As an objective audience we catch sight of glimmers of the real and it is these that we should grab on to.

Bibliography

Bell, Phillip, "Real New Formats of Television," Media Information Australia, No. 100, August 001Big Brother Live nominations, Southern Star Endemol, Broadcast date June 10, 00 (Network Ten)

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Pachelbel's Canon in D

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Like Allegri, whose famed Miserere eclipsed everything else he achieved in his career, Johann Pachelbels name is automatically linked to the ever-popular three- part Canon in D. Born in Nuremberg in the autumn of 165, Pachelbel showed an early appetite for learning. In addition to school, he had two music teachers, one who introduced him to the fundamentals of music while the other taught him to play and compose. He was briefly at the University of Altdorf before taking a position in 167 as assistant organist at the cathedral of St Stephen in Vienna. Four years later he became the court organist to the Duke of Saxe-Eisenach. He became restless here, and requesting a letter of reference from his employers, left after a year. His reference described him as a rare and perfect virtuoso.

Subsequently Pachelbel became the organist at the Erfurt Predigerkirche, where he spent 1 happy years. His first wife succumbed to the plague, but within a year he had remarried and subsequently had seven children. This period was a time of increasing contentment and creative growth. In 160, he became organist in Stuttgart at the Wurttemberg Court. The threat of a French invasion curtailed this position two years later, and Pachelbel returned to his hometown of Nuremberg to take up the post of organist at St Sebald. There he lived out his final decade writing ever more imposing works.

It is not known when Pachelbel composed his famous Canon. The work is scored for three violins and continuo, each violin entering in turn and elaborating on a simple theme as the piece gathers in strength and builds to a climax. But Pachelbels importance is, in fact, perhaps greater as a composer for the organ; his chorale preludes, based on hymn tunes, strongly influenced J.S. Bach. He was also the author of a great many motets, arias and Masses, and 1 Magnificats which feature solo singers and a choir as well as an orchestra often including wind and brass. His body of work reflects the cultural contrasts between his own Protestant ways and those of the higher Church, and certainly deserves to be known at least as well as his celebrated Canon.

Canon in D Major

Write my paper on Pachelbel's Canon in D for me

By

Johann Pachebel

Johann Pachebel (165 - 1706) was one of the great composers of the baroque period. Pachebel was a German organist as well as a composer. Pacheb, in most cases is not thought of before other composers of this period. Bach seems to be the name that is connected to baroque music the most. Another name that is heard more often then Pachebel is Handel. However, Pachebels music resembles some of the best pieces of baroque and can hold its own next to Bach and Handel. However, you can hear a lot of Bach in Pachebels works. Pachebel was teaching Bachs brother which led to Bach teaching Pachebel.

Melody

In this piece there are four different themes stated, each using a different melody. In many instances each theme is repeated several time. As the theme is repeated, generally the same notes are used. In theme one the same notes are used in both voices.

Listen to theme one

Click Here

Theme1.vcd

The same thing happens in theme two.

Listen to this theme.

Click Here

Theme.vcd

In theme three different notes are used however these notes are used for harmony.

Listen to the third theme

Click Here

Theme.vcd

Theme four, both voices play at the same time so different notes are played for

harmony purposes.

Listen to theme four.

Click Here

Theme4.vcd

Rhythm

The rhythm in this piece is quite simple. Usually each theme uses one rhythm and sticks with it through the whole theme. Also in the entire piece there is only four rhythms used. Could you listen to the piece and write the four rhythms that you hear?

In the first theme the only uses half notes, in both voices.

The second theme introduces quarter notes.

The third theme uses the most complicated rhythm in this piece, sixteenth notes.

The fourth theme uses mostly eighth notes.

Harmony

Im sure by now that you have covered monophonic, polyphonic, and homophonic music. Monophonic is one melody is played at a time. Polyphonic is several melodies played at one time. Homophonic includes harmony.

Any suggestions as to what this piece is?

Monophonic

Polyphonic

Homophonic

In a way this piece could be both polyphonic and homophonic. There are, at times, two melodies played at the same time. Since this is a canon at some spots in the piece that one voice is playing one melody and the other voice is playing another melody. This piece could also be homophonic music because not only is their harmony playing along with the melody but also because there are two different melodies going at the same tim, this creates harmony.

Form

Can you tell me what the form of this piece is?

HINT It is the name of the piece.

A canon is a round. When we were younger we have all sang Row, Row, Row, Your Boat in a round. Well that is the same concept of this piece. One of the voices starts out and then the next voice enters with the same melosy that the first one had. The voices continue through the piece being one phrase behind the other.

Listen again and find the measure where the second voice comes in?

Click Here

Canon.vcd

Expression

I think that this is one of the most expressive pieces of music.

I would like you to think about ways that the dynamics, tempo, and articulation makes this piece expressive.

The tempo is qite slow. The tempo of this piece leaves time for each note to build in its own way. The tempo lets each note smoothly lead into the next in a very relxing fassion.

The dynamics of this piece is typically soft. However, this leaves enough room for the song to build in to wonderful climaxes. hear quite a few climaxes in this piece, which adds to the expression.

For the most part of this piece all of the notes are slurred. This helps to make the piece very delicate. It also adds a sense of happiness to the piece.

I would like you now to listen to the piece, listen for the expression of the piece. Listen to the phrasing and dynamics.

Click Here

Pachelbels Greatest Hit Canon in D

There is nothing better.

I just bought this CD last week, and have listened to it non-stop. This is a must buy for anyone who is a fan of Johann Pachelbel, track number 1 Cannon in D is probably the most romantic piece of music of anytime. I have never heard any thing more beautiful, and if you are not a huge fan of classical music..give this CD a chance and you will be.

Pachelbels Greatest Hit Canon in D

Not so great

Some of the arrangements on this CD are pretty good, but some are not. I get the feeling the producers needed to fill some, so they took some synthesizers and used those versions.

I wonder where is the origanal organ version, or the string quartet version? its a sad thing that these versions are missing. I would keep to one or two favourite versions rather than the addle of those on this CD.

This CD might be good for those obsessed, those looking for some better version of the cannon than what they have (the string quarted is by far one of the best), or people who have an interest in music and intend to compare and listen.

Personally, Id buy many, many other CDs first, though this one was interesting.

Pachelbels Greatest Hit Canon in D

Hard to shed a tear

I was subjected to this recording during a car trip with an older relative. Being a violist myself, I have played the canon several times with other strings. In fact, Pachelbels canon is not a canon at all; just several variations over an obbligato base line.

After hearing the canon for the umpteenth time, I have found it to be shallow and dull, especially on this recording. The recording is repetitious and utterly dismal. Track 5 I find to be especially abominable; the words over the intrumental music make no sense and are not sung in Pachelbels language and style; the words are inauthentically sung. This is baroque music, not comtemporary christian. Also, there is not even an original performance with a chamber group or organ. I do not mean to offend anyones taste in the review, I just wish to point out the characteristics of something that should be left on the shelf.

The accomplished Baroque organist Johann Pachelbel was south German born, but spent much of his career in middle Germany.

Johann Pachelbels repertory is the stylistic ancestor of J. S. Bachs, particularly his technique of chorale variation. His development of the cantus firmus chorale is perhaps his greatest contribution. It consists of the chorale melody in long notes, one phrase at a time, each phrase preceded by fore-imitation in the accompanying voices. This compositional pattern influenced many other composers and eventually became a standard form.

His body of work reflects the cultural contrasts between his own Protestant ways and those of the higher Church, and certainly deserves to be known at least as well as his celebrated Canon

It is not known when Pachelbel composed his famous Canon. The work was originally scored for three violins and continuo, each violin entering in turn and elaborating on a simple theme as the piece gathers in strength and builds to a climax.

Canon

Johann Pachelbel

c1680

Canon and Gigue in D. A short piece for string orchestra. Length 5 minutes. Overplayed popular classic which has been featured in films, TV adverts, the 168 Aphrodites Child single Rain and Tears, Coolios rap single in 17, in lots of shopping malls and other piped-music palaces, and at the Funeral of Lady Diana Spencer.

A short sequence of notes in the bass is repeated 8 times, as the strings pile up the decorative layers on top the Canon in D has a mesmeric grace that has charmed modern audiences. Its not actually a canon but another popular baroque form a chaconne, with just a two-bar ostinato, with three violin parts coming in at an interval of two bars.

This song was written by Johann Pachelbel who lived from 165-1706.

The melody becomes more complex as the song progresses

and then at the end you return to playing it in thirds.

The sixteenth notes will be twice as fast as the eighth notes.

It is written in the key of D Major. You will be playing F# and C#.

If you are using an electronic keyboard, find a 4/4 rhythm.

They suggest a speed of 68, but you will start slower than this.

Observe the fingering between the staves. Where two notes are played at the same time,

the fingering indicated is for the top note. Please note that this sample paper on Pachelbel's Canon in D is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Pachelbel's Canon in D, we are here to assist you. Your cheap custom college papers on Pachelbel's Canon in D will be written from scratch, so you do not have to worry about its originality.

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