Bertolt Brechts Caucasian Chalk Circle - Role of Minor Characters Essa

The minor characters of a play are fundamental in passing on the major topical worries of the writer. Such a hypothesis can be glaringly exemplified all through Bertolt Brecht’s acclaimed play the Caucasian Chalk Circle in which the minor characters have been built to enable the peruser to comprehend the topical issues communicated. Distributed in 1944, the Caucasian Chalk Circle is a shrewd examination of class based social orders and has been deliberately composed to delineate the dissimilarity that exists between the privileged societies and the low class. The minor characters of the play make a profoundly class based setting for the story to happen inside and at last through the goals of the play the crowd is situated to cross examine the inflexible social structure that is commanded by characters, for example, the Elder and Younger women and sentence the individuals who seek to be acknowledged by such a general public, Lavrenti and his better half. This content, through t he character of Michael, rather advances correspondence in the public eye, a social heart that recommends we ought to think about the thriving and satisfaction of all, not an advantaged not many. All through the play, Brecht uses Epic theatre’s essential development, the Verfremdungseffekt (or separating impact) to urge the crowd to see the exhibition mentally instead of inwardly. This convinces the crowd to favor the characters on a target level and to see the story in a â€Å"universal† sense in which the lesson of the story is a higher priority than the genuine occasions. To help pass on his interests Brecht abstains from developing characters that will welcome an enthusiastic reaction from the crowd, rather, he makes minor characters in the content as prime examples or portrayals of specific classes inside Feudal socie... ...rcle trying to urge watchers to reevaluate the industrialist society we live in. The differing class framework natural in such a general public is contrarily spoken to in the play through minor characters, for example, Natella Abashvill. Through the minor characters Brecht can urge the crowd to advance a type of correspondence between various classes. Brecht, as a Marxist, accepted there ought not be various degrees of prosperity relying upon what class you had a place with. With an end goal to feature this thought Brecht utilizes characters, for example, the Elder and Younger women to obviously layout the how people were treated by the high societies as indicated by where they fitted in the class separate. At last, through Brecht’s cautious development he can proffer a furious arraignment of the entrepreneur way and urge the crowd to think about his own Marxist conclusions. Bertolt Brecht's Caucasian Chalk Circle - Role of Minor Characters Essa The minor characters of a play are essential in passing on the major topical worries of the writer. Such a hypothesis can be unmitigatedly exemplified all through Bertolt Brecht’s acclaimed play the Caucasian Chalk Circle in which the minor characters have been developed to enable the peruser to comprehend the topical issues communicated. Distributed in 1944, the Caucasian Chalk Circle is a sharp examination of class based social orders and has been deliberately composed to delineate the divergence that exists between the privileged societies and the working class. The minor characters of the play make a profoundly class based setting for the story to happen inside and at last through the goals of the play the crowd is situated to cross examine the inflexible social structure that is commanded by characters, for example, the Elder and Younger women and sentence the individuals who seek to be acknowledged by such a general public, Lavrenti and his significant other. This conten t, through the character of Michael, rather advances fairness in the public eye, a social still, small voice that recommends we ought to think about the thriving and bliss of all, not a favored not many. All through the play, Brecht uses Epic theatre’s essential advancement, the Verfremdungseffekt (or removing impact) to urge the crowd to see the presentation mentally as opposed to inwardly. This convinces the crowd to agree with the characters on a target level and to see the story in a â€Å"universal† sense in which the lesson of the story is a higher priority than the genuine occasions. To help pass on his interests Brecht abstains from developing characters that will welcome a passionate reaction from the crowd, rather, he makes minor characters in the content as models or portrayals of specific classes inside Feudal socie... ...rcle trying to urge watchers to rethink the entrepreneur society we live in. The differing class framework natural in such a general public is contrarily spoken to in the play through minor characters, for example, Natella Abashvill. Through the minor characters Brecht can urge the crowd to advance a type of balance between various classes. Brecht, as a Marxist, accepted there ought not be various degrees of prosperity relying upon what class you had a place with. With an end goal to feature this thought Brecht utilizes characters, for example, the Elder and Younger women to obviously plot the how people were treated by the high societies as indicated by where they fitted in the class partition. At last, through Brecht’s cautious development he can proffer a wild prosecution of the entrepreneur way and urge the crowd to think about his own Marxist feelings.

A Street Car Named Desire Essays

A Street Car Named Desire Essays A Street Car Named Desire Essay A Street Car Named Desire Essay Article Topic: A Streetcar Named Desire A Streetcar Named Desire, the over the top need to escape from reality characterizes the hero Blanched Dubos. Frequented by the way that she instigated the self destruction of her young spouse, Blanched can't adapt to what has since happened to her life. She depends on tales and figments to reproduce an all the more socially satisfactory self. In any case, the opposing connection among Blanched and Stanley Kowalski compromises her dream, as he ceaselessly goes up against her with the real world and takes steps to break the figments others have about her. Stanley speaks to finish authenticity and Blanched is fantastical and hopeful. Therefore, the cooperations between the two are unmistakably illustrative of the battle among the real world and dream in the play. A battle where reality triumphs as Blanched eventually gets incapable to separate between reality and her falsehoods. From the earliest starting point of the play, plainly the world Blanched lives in a dream land. A world where her thoughtless activities and absence of riches don't influence her status as a refined woman. Blanche plans to cover her blurring looks by covering the bulb with a paper lamp. This could be reminiscent of attempting to cover reality. Blanche says that she despite everything has a feeling of vanity over her looks despite the fact that she knows that her looks are slipping recommending that shes uncertain which would be relatable to the crowd. This is critical as Blanche regularly lies about her age in the play and is depicted as a habitual liar. It presents that Blanche misleads accomplish the suspicion that all is well and good that shes missing. Be that as it may, when the crowd discover that the dim is soothing, this infers keeping individuals in obscurity so she may carry on her fai ade. This all would lead the peruser into maybe shaping an end that you would frame in fai ade in a circumstance where you have an inclination that you dont agreeable as far as the manner in which you are, so for the most part develop a fai ade to fit in. Anyway you could contend that Blanche does the inverse and this is exhibited through the manner by which she acts to be better than others around her. Her demonstrations of predominance are appeared through little signals and when through stage bearings the crowd become mindful that shes Fanning herself with a palm leaf and wearing tiaras. The way that Blanche has a wide range of characteristics makes her possibly increasingly genuine in my perspective. Through the idea and thought of vanity that Blanche shows could speak to each lady, which applies much more in the 21st century where obviously vanity and appearance are regular significant issues. Through the manner in which she acts by Fanning herself with a palm leaf in that scene demonstrates that she feels significant, which is the thing that everybody at first needs and makes the translator identify. When she recommends that she hasnt put on one ounce in 10 years just like a tremendous achievement it summons the translator to reference to magazines articles, particularly womens magazines as they are fixated on weight and their magazine firmly centers around looking great, yet for whom? Another featured topic in the play is male reliance. His is appeared through the way that both the fundamental female characters in the play require a male nearness to accomplish joy. It is conceivable that Blanche might be attempting to turn into her sister as far as settling down and that the connection among Stella and Stanley causes Blanche to feel sorry for upon herself for not having somebody of her own. This could likewise propose why Blanche is so aim on looking great with the goal that she may pull in male admirers. Alluding to Stella additionally being dependant on men is made evident by Williams on the grounds that in numerous scenes Stanley is depicted as genuinely injurious, however Stella despite everything returns to him. Blanche even attempts to persuade her that she can improve Youre not old! You can get out. Be that as it may, Stella despite everything chose to remain with Stanley. From this the crowd get the impression of Stella has picked Stanley over Blanche or Blanches thought and it could be to do with the way that the future that Stanley speaks to is more secure than the one guaranteed by Blanche. Blanche sees union with Mitch as a methods for getting away from dejection. The numerous experiences with men, Strangers have left Blanche sincerely frightened yet in addition with a poor notoriety. Blanche attempts to shroud this notoriety for being it makes her ugly which is when Mitch discovers he dismisses Blanche by saying I dont think I need to wed you no all the more saying that shes not Clean enough to carry home to his mom. After this bombed endeavor Blanche considers Shep Huntliegh who may save her. Blanche is so dependant on men that she hasnt understood the levelheaded angle where she is autonomous and figures out how to save herself. It is obvious that through the course of the play Blanches reliance on the graciousness of a more interesting prompts her destruction rather then salvation as it places her destiny under the control of others. Williams could be proposing to get through an ethical instructing through the character of Blanche in the play; dont be excessively dependent. Both Blanche and Stella are representative of dependent/dependant ladies. This could have made forceful intense subject matters be raised by women's activist and ladies today, as there is more opportunity. Be that as it may, truly bodes well since the women's activist demonstration didnt come around till the 1960s, so ladies wouldve been dependent for a male provider. Williams features the idea of new versus the old in the play and Blanche herself is emblematic of old qualities and the feudalist age. She speaks to a framework where there is various leveled structure dependent on status that is accomplished through family notoriety. Blanche is a relic of the old south, the America that was starting to prevailing fashion away. This is uncovered through Blanches desire for her sister when she asks You have a house keeper, dont you? inferring that in Belle Reeve the DeBois wouldve been natural to an actual existence where benefits like servants, would be normal. This idea is significant in the play as it shows the consistent battle between the Old South attempting to stay alive and turn into a piece of New Orleans which is all things considered a piece of the new Industrialized period. Her battle to keep this piece of her alive is made obvious when she states on her birthday that Stanleys regularity isnt fundamental when Stanley tosses food, demonstrating that she is as yet attempting to maintain habits and basic dip which is inadequate. On the off chance that Blanche is illustrative of the old America, at that point Stanleys illustrative of the new line of mechanical workers. In this sense Stanley is emblematic of the new. He accepts that he is equivalent to Blanche regarding status, maybe considerably more prominent because of the way that he is alluded to as the new heterogeneous specialist, who work to accomplish all that they has. He expresses that he is 100% American And pleased with it. His recommends that his conduct is because of the way that he accepts that he is illustrative of the genuine America while Blanches portrayal outrages him as it dismisses meritocracy, which drives him into saying everyman is a ruler. This could be to additionally expand the contrast among him and Blanche as she sees herself as sovereignty however Stanley is really the lord of the house. Williams introduced the topic of imagination versus reality into the play. This is colossally huge as we see Blanche going mental and suffocating herself in her untruths and dreams to a point where shes lost control of her brain. Clearly Blanche lean towards her dreams and lies as she makes reference to I dont need authenticity, I need enchantment, which could be her quest for chivalric saint, which she cannot appear to discover. It could likewise be the way that she is better remaining tangled inside her dreams since her past might be seen as damaging; seeing passings, losing her affection, losing Belle Reeve and so forth his injury recommends that she looks to be shielded from which is significantly progressively clear when Blanche specifies that Mitch is a separated in the stone of the world that I can cover up in. The undertones related with rocks are that they a hard and extreme which is emblematic as far as how life is. On the off chance that Blanche is representative of imagination than Stella is emblematic of the real world. Because of this reality there could be a potential accord framed that Stella is more reasonable than her sister. She understands promptly that Blanche and Stanley don't agree, and are both obstinate which leaves her to be the voice of reason. Promptly when things begin turning out badly she specifies that individuals must endure every others propensities, she by implication proposes that Blanche additionally needs to become accustomed to Stanleys propensities all together for their family to be supported. Williams has depicted Stella as the normalizing power in the play and shows and features her as a supporting being particularly towards Blanche. Stella emblematically is a mother figure for Blanche as she means to ensure her. In spite of the fact that Blanches senior than Stella, Stella despite everything makes endeavors to secure her sister since she is completely mindful of her misfortune when more youthful. This could be the explanation that she takes a gander at Blanche with a Pitying look which Blanche has additionally taken note. She knows about Blanches different preferences and in this manner stops at twenty five candles, realizing that she is shaky about her age and developing old. In spite of the fact that Blanche additionally attempts to child her younger sibling, through Stellas eyes it is clear that she is in the need of help, similar to she discloses to Stanley she was delicate and trusting as she was and individuals like you mishandled her. Constrained her to change. This is

StartMIT IAP for Entrepreneurs

StartMIT IAP for Entrepreneurs IAP (Independent Activities Period) is a really neat time at MIT, because you get to see where all the creative energy of the student body goes when it’s not tied up doing psets. A lot of people participate in hackathons like MakeMIT and programming competitions like Battlecode. Or they trade in courses in physics and math for wonky classes like Science of Cooking and How to Make a Bike. Or those who want to explore a new field may take on a full-time research project. But for a lot of students, their energy takes an entrepreneurial bent. That’s why MIT began StartMITâ€"an intensive entrepreneurship workshop that runs over IAP, open to any member of the MIT community at any stage in the process of of starting a companyreally. My current stage of starting a company could best be described as enthusiastic interest, so I submitted a proposal with only modest hopes of being accepted. To my surprise, I got in, and I signed myself up! Best decision so far of 2016. StartMIT is basically a playground for aspiring entrepreneurs. It’s a 2 ½ week long, full-time workshop that touches on everything to do with turning an idea into a commercially viable businessâ€"from market research to finding a team to prototyping to fundraising to hiring to marketing. We heard speeches from successful startup founders, visited startups in the Boston/Cambridge area to see what a real nascent company looks like, and were introduced to many of the monetary and mentoring resources available to student entrepreneurs. Plus, we got to meet other like-minded students and hear about the projects they were working on…which in some ways was the coolest part of the program. Prof. Anantha Chandrakasan, Ph.D., head of MITs EECS Department and program director of StartMIT, speaks to participants of the program. Photo credit: Rose Lincoln. StartMIT is technically a for-credit class, but its “teachers” are a series of MIT alums or professors who have already founded their own businessesâ€"which means that we got to interact with some of the coolest and most forward-thinking entrepreneurs in their field. Imagine learning about marketing from someone who started a company to sell marketing software. Or getting pointers on how to commercialize research from someone who has done it successfully ten times. The guest list of StartMIT ran the gamut from veteran professors to current undergraduates, from engineers who learned business to businessmen who adopted technology, from venture capitalists to experts on intellectual property, from freshly-minted CEOs to veterans who have been leading companies for over 60 years. Just to give you a taste of the types of speakers at the program: Drew Houston  explained how working at startups in high school and his frustration with forgetting USB drives at home inspired him to found the enormously popular file-hosting site Dropbox. Biotechnology superstar and serial entrepreneur Robert Langer explained the technology behind just 7 of the many companies based on his discoveries. He has 1100 issued and pending patents. That’s one patent for every 23 days of his LIFE. Prof. Robert Langer explains one of the many research discoveries that he and his students successfully commercialized. I was particularly blown away by the talk given by Sangeeta Bhatia, M.D., Ph.D., and the founder of 10 biotechnology companies. She explained in fascinating detail how her lab developed tiny artificial livers for use in drug testing and channeled that innovation into a viable company by navigating patent law and the needs of pharmaceutical companies. And then, halfway through her speech, she casually mentions that (on top of everything else shes done) that she’s the mother of two children. You could hear jaws hit the floor. I don’t know how she does it. Prof. Sangeeta Bhatia discusses how she applied her new micro-livers for use in drug safety testing. Photo Credit: Justin Knight. President Reif even stopped by to give his support and encouragement for the entrepreneurial culture at MIT. President Reif is a fan of StartMIT! Photo credit: Rose Lincoln. In addition to the scheduled lectures, StartMIT also hosted a special event on Empowering Innovation, which featured a reception and a panel of five outstanding female entrepreneurs. The panelists came from diverse backgrounds and industries, and it was uplifting to see how these motivated women were each able to find different paths to being thriving leaders. One thing I noticed about StartMIT as a whole is that the lecturers were predominantly male, but women were very well-represented among young speakers in their 20s and 30s. For instance, the recent graduates panel, which was composed of young founders who were not too long ago in our shoes, was made up of a majority of women. While entrepreneurship is still a male-dominated field, it’s clear that more women are being inspired to start companies, which is awesome. The five speakers from the Empowering Innovation panel, from left to right: President Emerita of MIT Susan Hockfield; Payal Kadakia, CEO and co-founder of ClassPass; Prof. Dina Katabi, whose work in wireless networks and mobile computing has lead to startups like PiCharging and Emerald; Helen Greiner, CEO and founder of CyPhy Works and co-founder of iRobot; and Jesse Draper, creator and host of The Valley Girl Show. Photo credit: Rose Lincoln. The full speaker list for StartMIT is here. You could burn hours on Google just reading up on the incredible things these people have done. Most importantly, these seasoned entrepreneurs were generally very open to talking to students about specifics of their experience. They would leave time for QA and would often hang around after their talks to answer individual questions. Some even stayed for lunch. Dozens of experienced entrepreneurs, all in one place, willing to field questions from an overeager freshman? That’s an opportunity I couldn’t pass up! I asked a lot questions and tried to chat with speakers afterwards. I learned a lot, both about entrepreneurship and about how to approach people, from asking them about their experiences. Plus it was a lot of fun. Alice Brooks told me about being on Shark Tank, I had Bernard Gordon try to convince me to go into industry and gain experience before founding a company, and Jamie Goldstein, a venture capitalist, gave me a few pointers on my product pitch. Jeremy Wertheimer, SM ’89, PhD ’96, VP, Google, talks with students enrolled in StartMIT following a talk on creating company culture. Photo credit: Rose Lincoln Some speakers were even kind enough to let us tour their companies in the Boston area. During the second week of the program, we got to take field trips to entrepreneurial hubs like Kayak, Ministry of Supply, Hopper, Hubspot, and Mass Challenge. But I give credit to President Reif for summing up the most incredible part of StartMIT. “What is MIT?” he asked. “It is you. You are here in this room to work with us, and your presence is what gives me confidence that if there is a way to solve the world’s challenges, it is here.” Indeed, the most inspiring part about the program was interacting with my peers. Being around such a diverse, ambitious, talented group of students was exciting and mind-opening. The course is open to pretty much anyone in the MIT community: undergrads, grad students, post-docs, businessmen with established careers, engineers, MBAs, cofounders who have an up-and-running company and aspiring entrepreneurs who came up with an idea the day before the application was due. Over the course of the program I met people from every corner of MIT’s campus, people I probably would never have spoken to otherwise, ambitious people who were at a variety of places in their lives and careers and who all had different ideas for their future. It made me think about the paths that I could pursue for myself. And I was exposed to a lot of different models and attitudes about what entrepreneurship is and how to go about implementing itâ€"which is the purpose of the program. During the third week of the p rogram, when we were delivering our startup pitches in front of the rest of the StartMIT class, it occurred to me that in ten years (or less) these same students might end up sharing their experiences as instructors, instead of participants in, StartMIT. Over the course of the past 2 ½ weeks, I heard more advice about business development, intellectual property, finding cofounders and mentors, fundraising, prototyping, company culture, and market research than I can fit into a single blog post. But I also learned a lot about MIT’s distinctive brand of startup culture, and I thought I would share a few aspects that are specific to entrepreneurship at MIT. 1. There are different types of entrepreneurship, and MIT has a specialty. MIT really encourages innovative entrepreneurshipâ€"companies that are founded based on a novel technology or a new way of doing things. Many MIT entrepreneurs are inventors. They get involved in startups because they came up with a better model or product for doing something important. MIT is involved in the type of commercialization that will change and advance the world. 2. Academics and entrepreneurship are not mutually exclusive. I’m from the West Coast, where the archetypal startup founder is a college dropout with some coding skills and a hot idea. At StartMIT, a lot of the founders were very well-educated engineering or business experts with advanced degrees and significant research or industry experience. You definitely don’t need a Ph.D. to start a company, but having one changes the type of company you’re able to start. These people invent, and commercialize, the type of technological innovations that only expertise can produceâ€"from self-driving cars to printers for OLED screens to new cancer therapies. 3. There are resources; use them! Just last Monday MIT announced a new initiative, the Sandbox Innovation Fund, to make startup funding broadly available to as many members of MIT as possible. The program is designed to be non-competitive; all you have to do is submit a project and budget proposal in order to receive seed funding ranging from $1000 to $25k. That means that any member of MIT with a startup ideaâ€"even if it really is just an ideaâ€"can get the first kick they need to get their company off the ground. MIT’s Dean of Engineering, Professor Ian Waitz, unveiled the new program to StartMIT, and he explained a little bit more of the mentality behind it. Our goal with Sandbox is to have students leave MIT able to be more effective as entrepreneurs and innovators by giving them realistic experience, connections with knowledgeable mentors, education tailored to their needs, and money to move their ideas forward. The money is really just a small part of the program. We want to create an educational experience for innovative students of all types. If they have an idea they are passionate about that serves a market or social need, we would like to help. But Sandbox isn’t the only resource available to entrepreneurs. MIT has a variety of programs in place to help startup founders get the funding, mentorship, and publicity they need to grow their business. The Martin Trust Center for MIT Entrepreneurship offers classes on entrepreneurship (including a new minor for undergraduates), speaker series, a network of advisors, and maker spaces. They also host the MIT $100k Competition and run GFSA, a student venture accelerator. The Deshpande Center for Technological Innovation provides researchers with grants, guidance, and encouragement to bring their transformative technologies to market. The Venture Mentoring Service is open to any member of the MIT community and matches entrepreneurs with a network of experienced business founders to guide and advise them. The list goes on. 4. Your classmates here are an incredible resource. Everyone at MIT is talented and driven. In a couple decades, they are going to be the people who are running some of the most impactful organizations in the world. Or they could be the people who start a company with you today. Being in an environment where every one of your peers has something to offer is an incredible gift. When I applied for StartMIT, I was nervous about being a freshman with no entrepreneurial experience. But by the end of the program, being a freshman didn’t seem so much a disability as an opportunity. I have 3 ½ more years to reap all the resources here at MIT, and the rest of my life to use those resources to do something awesome. That’s a really, really exciting prospect.

Controlling Demand Through Pricing - 1391 Words

Controlling Demand through Pricing: A report on the quantitative analysis of the ChocoMint bar Introduction ChocoMint is a bar of chocolate under ChocoHeaven, which is a distributor of organic chocolate. In recent years, the business of ChocoMint bar encountered some problems. Since the ChocoMint bar is manufactured overseas, the supply chain could be unreliable. Besides, as ChocoMint is stored at special storage locations in the UK, the storage capacity for this kind of product in the UK is limited. Therefore, in order to prevent the storage from exceeding the company’s storage capacity limits, as well as reduce the risk from supply chain (relying less on the overseas supply chain), sales department of ChocoHeaven has been trying to†¦show more content†¦It is not a suitable model for the data that beyond its specific range of domain. Usually, the valid range of domain of a linear equation is quite narrow when it is applied to practical problem. Finally, linear models are typically based on a set of assumptions such as the requirement of simplification of the data. They are not really suitable models for those data with complex context. 4.2 A more appropriate model In the case of ChocoMint bar, the hyperbolic model might be more appropriate. Figure4.2 hyperbolic relationship between monthly demand for ChocoMint and relative prices y = 836.78x-0.854 R ² = 0.8488 R = -0.9213 4.3 Justification of the hyperbolic model’s higher suitability Firstly, compared with the linear model, the value of correlation R of this hyperbolic model is closer to 1. Thus, it indicates that the hyperbolic model represents the relationship between the price and monthly demand much better. Secondly, in the linear model, it shows that when the price decreases to 0 (which means the ChocoMint bar is free), there is a limited demand for ChocoMint bar. However, the demand for free goods are usually infinite in practice, which is exactly demonstrated by the hyperbolic model. As the hyperbolic graph above indicates, when the price is approaching zero, the graph does not intercept the y-axis. On the contrast, it is infinitely close to y-axis with increasing values of monthly demand, whichShow MoreRelatedEconomic Analysis of an Oligopoly Market Structure1715 Words   |  7 Pagesas they encourage competitive pricing, albeit predatory pricing, it is clear that Woolworths and Coles control the supermarket industry in Australia, in the formation of a duopoly. It is evident that Woolworths and Coles engage in predatory pricing in an attempt to eliminate independent retailers from the market. 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According to Pullen (2013), this is an industry that is realizing $7.5 billion every year in annual sales. As nine in every 10 households is purchasing these products and sending them out to their friends or loved ones. These figures are illustrating the potential market of firms that want to create a uniqueRead MoreChina s Largest Consumer Of Oil Companies ( Nocs )1279 Words   |  6 Pagesway, the national monopoly in China’s oil sector was established with the CNPC and Sinopec controlling all process from extracting, refining, sale to trade. The government’s main goal of the regrouping is to regulate previous disorder in the oil extracting industry and eliminate oil smuggling issues. The regrouping is intended to improve the efficiency in oil sector by imposing more government oversight through the two national companies. However, the regrouping barely achieved the government’s initial

The Effects Of Bullying In Schools - 1136 Words

While the definition of bullying is disputable, it can be widely understood as repeated aggressive behaviours towards an individual(s) with the intention of physical, mental or emotional harm for one’s own personal gain (Spears et el 2008, p. 6). Bullying has long and short-term effects on an individual such as alienation, engagement in violence, decline in attendance and academic performance and a higher chance of developing a mental illness (Spears et el 2008, p. 8). Recent research indicates that’s one in four Australian students are bullied in school (Baker, 2015). This demonstrates that the issue of bullying is prevalent in Australian schools. Research indicates that bullying effects not only the perpetrator, but also the victim’s†¦show more content†¦If all students practice positive and inclusive peer interactions for at least one hour a week, an inclusive environment can be achieved. The Method of Shared concerned has been implemented in various schools with a unique range of cases to tackle bullying (Rigby, Griffiths 2008, p.11). Almost all the cases that employed the method of shared concerned saw dramatic improvement in bullying (Rigby, Griffiths 2008, p.11). This indicates that schools should employ the method of shared concern to tackle bullying in schools. This method is a progressive approach that does not enforce punishment. With the notion that bullying is a result of a power struggle, a cohesive and collaborative process empowers students by building their confidence and social skills and addressing conflict (Rigby, Griffiths 2008, p.11). It can effectively address all types of bullying including student to teacher bullying, student to student bullying if utilized and applied appropriately through a multistage process (Rigby, Griffiths 2008, p.11). If these approaches are successfully implemented then all schools can have a safe and supportive environment with minimal bullying. This will improve attendance and ac ademic performance and the overall wellbeing of students. It will also decrease the risk of developing a mental illness from bullying. Life can be overwhelming and we all get stressed and anxious from time to time. However, anxiety is more thanShow MoreRelatedBullying And Its Effect On Schools1607 Words   |  7 PagesWhile bullying has occurred for many years, anti- bullying programs in schools are having a strict development. Bullying was not an important subject that was paid much attention in schools or classrooms before 1999. When the Columbine and Virginia Tech shooting happened, schools did not have any anti-bullying programs. In 1999, schools started to implement anti-bullying programs like The Espelage Lab and Collaborator and many others. Unfortunately, bullying is still happening in nowadays. 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Discrimination in fairytales Free Essays

string(64) " will somehow help the character to regain what they have lost\." What do you think about fairytales? Do you think about a pretty little princess waiting for her prince or a dark sensual world of make-believe that revolves around violence? I seriously doubt it’s the latter. This is because fairytales have drastically changed over the centuries. The modern versions we know today were preceded by a much darker kind of story, one that played heavily on the ideas of superstition, the devil and violence. We will write a custom essay sample on Discrimination in fairytales or any similar topic only for you Order Now Genders weren’t as heavily criticised. Heroines used to save themselves and others too, usually with brains or charm opposed to brawn. But at least they were trying. An example of this could be â€Å"Sleeping Beauty†, Perrault’s version, where the Princess saves herself and her two children from her husband’s evil stepmother, by cooking a goat; instead of one of the children as the ogress requested. Her husband then comes in to save her. She played a crucial part in the story: saving her children from the cannibalism of their father’s step-mother. Cannibalism is certainly frowned on in society, but is in fact actually a rather common theme in fairytales: Red Riding Hood also originally included cannibalism. The Wolf left the Grandmother’s blood and meat for the girl to eat. After she unwittingly cannibalises her grandmother, she sometimes strips for the wolf and gets into bed with it. He then either eats her or ties her to a piece of string. She usually escapes using her own cunning. This is quite different from the grandma-loving biscuit-carrying Red Riding Hood of today. It actually comes across as a story more about child molesting, or at the very least, lust. The story is sometimes seen as a parable of sexual awakening. The red cloak symbolises the blood of the menstruation cycle or the hymen, although earlier versions of the tale do not state the cloak is red. The anthropomorphic wolf can symbolise a lover, a seducer, a rapist, or a molester. This is clearly a rather different take on the Red Riding Hood than we’re used to. It seems to be a rather mature disturbing tale. I don’t think it’s necessarily something we would want our children exposed to. But that was how they were originally written. At least until they were bowdlerised by the Grimm brothers. Fairy stories were originally gothic tales and scary stories about what might come and take you in the night; they were far removed from the Disney classics. The Grimm brothers, Jacob and Wilhelm, were born in Germany in the late 18th century. In an effort to preserve Germany’s heritage and promote cultural unity, they collected a vast array of folk and fairy tales from their fellow Germans-mostly middle- and upper-class friends. Although their original intent was to preserve the stories exactly as told, one edit led to another, and soon they had given the stories a literary style and released them as Kinder- und Hausmirchen (Children’s and Household Tales. ) Because their intended audience included children, the Grimms selectively bowdlerised the tales they published, notably removing evil mothers and replacing them with step-mothers (as in the case of †Snow White†), and removing implications of sex and pregnancy (as in †Rapunzel†). However, because standards of child-friendliness have shifted in the past 200 years, some of the Grimms’ stories are now considered family unfriendly and the deaths written in them are considered to be shockingly violent. This was not the view at the time. So basically they took a fornicating girl in a tower, and turned her into a damsel in distress. This was not quite the same idea. This gave rise to the dependent needy princesses and maidens that feature so heavily in today’s fairytales. These are characters that belittle everything that women fight and give their lives to achieve. And ironically it is the past stories that show less anti-feminism even though people were actually more sexist in that period. At least those women had some self-respect and the ability to plot, and in rare cases, use weapons. The blonde stereotype of women in modern fairytales is unparalleled. From a young age, it’s almost as if we are being trained to indulge in the ideals of vanity and sexual dependence. Well excuse me†¦ but I’d rather not. It seems to me that this is the start of young girls’ urge and desperation for ‘the look’: this is something that many women will diet and exercise to achieve. Although as girls age they graduate off pretty princesses and onto fashion icons and models. I’m completely against this idea, partly because I’m a perpetrator of wanting ‘the look’ myself, and the fact that I will never achieve it. In other fairytales, a heroine is willingly bound by a spell, whereas a male character may be cursed because he has refused to yield something, for example shelter, in ‘Beauty and the Beast’. If the female character is cursed unwillingly, she is cursed by a malignant character that is as ugly as her personality. This is the exact opposite of the maiden who is cursed. This amplifies the idea that beauty is idyllic and good and ugliness is evil and unforgivable. This isn’t a very good role model for children and I find this interesting because it seems to reflect our desire for beauty. However, the reality is that women are not all beautiful and if they aren’t, it doesn’t necessarily mean that they are nasty unpleasant people. Some villains do have a sort of beauty, but this is usually a sharp-featured frightening beauty that terrifies the younger generation. A wronged women in a fairytale may take the form of a particular animal to escape an evil stepmother or an unwanted marriage. The animal they take is usually reflective of their main traits. For example a graceful and delicate woman may take the form of a swan or a doe. These are animals that are considered to be beautiful. Their fellow animals will provide some company and will somehow help the character to regain what they have lost. You read "Discrimination in fairytales" in category "Papers" This animalistic form gives the character a connection to nature and separates them from society. They become wilder and less sophisticated, embracing a more instinctual kind of beauty. So characters have also gone from blonde to beast, the opposite of the current situation-where blondes prevail far more than beasts. Beastly women, however, are often considered to be connected the Devil, like ‘wild woman’ who is the devil’s offspring. Lots of hair or fur seems to show some relation to evil, perhaps as it isn’t very attractive. This can be compared with the Elizabethan saying ‘Bush natural more hair than wit’ which means that people with lots of hair or fur are supposed to be primitive, inferior, sexual and beastly. These weren’t exactly desirable traits either at the time or now. Nowadays there seems to be a teeming population of blondes in fairy stories. An example could be â€Å"La Belle aux cheveux d’or† who had hair ‘finer than gold’ that was ‘marvellously wonderfully blonde’ and was ‘curly and fell to her feet’. This is a rather pleasing image: a beauty with long wondrously blonde hair. The story claims ‘you couldn’t look upon her without loving her’. A rather amazing claim: that a woman or man may just gaze upon her and find themselves desperately in love with her, whether in a sexual way or not. This seems to be an illustration of the power possessed by mere appearances. The word blonde comes from the Latin ‘blandus’ meaning charming. So in the past it had no implications of sex or great femininity. It also comes from the Medieval Latin ‘blundus’ meaning yellow, which only serves to describe the colour not the appeal. In the 14th century, Chaucer began to use the word ‘blondinet’ or ‘blondin’, which was an affectionate diminutive. In fact it was mainly used for boys. Nowadays we don’t think of boys being blonde in the same way girls are. Blonde began to become exclusively female and suggested sweetness, charm and youthfulness: everything a young princess would desire. Only in the 30’s and 40’s did the word acquire ‘hot’ vampirish undertones and begin to be desired almost obsessively. The word blonde symbolises femininity and beauty; things that women crave beyond reason. However, the reality is that it’s just a hair colour and that there are women of all hair colours- black, brown, red, grey†¦ white, if you count albinos- that are as beautiful as blondes. More disturbingly perhaps, in recent years the word blonde has been yoked with ‘dumb’ to depict a particular character type. Not only is the heroine nearly always blonde, but she is always young. This seems rather ageist to me and isn’t the sort of idea that we would want our children brainwashed with. Do we want them to idolise the youthful and not respect that the elderly can achieve things themselves? No. They should understand from a young age that you can’t use people and that OAP’s are not a step of the stairway of success, as people is fairy stories often do. The heroine never possesses great wisdom and seems to get things and assistance by flicking her hair and batting her eyelashes. Wow†¦ that’s very useful. I don’t think that that should be something that children aspire to be like. Intelligence and knowledge are more important than beauty, and fairytales seem to miss this. So the prince can slay a dragon, but can he win a game of checkers? I wouldn’t count on it. It seems to me that in fairytales, only the villains seem to possess a decent IQ, as they’re the only characters that use their brains or cunning to conjure up a scheme. Heroes rely on courage. I think it’s almost sad that in the stories strength and beauty are idolised and seem to triumph over intelligence. This is similar today, however, if we think about how the bullies of the world act all big and tough, but aren’t the brightest bulbs around. They tend to pick on the weak, so in today’s world that would be the geek. Rather sad, don’t you think? The stereotype of a maiden in fairy stories is dependent, needy and waiting for her happily-ever after. This is not exactly an image to aspire to. After all why would a woman need a man? She could get on perfectly well on her own. As the feminist saying goes, â€Å"A women needs a man, like a fish needs a bicycle. † However, I think this is a little extreme. Perhaps this dreadful stereotype of women could be remedied if half the time the women went out to save the men. Perhaps it would ruin the men’s egos, but at least the women could be portrayed with a little self-respect and not a day-dreaming ditz who has the attention span of a goldfish. The 90’s Disney movies tried desperately to do this. Ariel, Belle and Mulan who rush to the aid of their lovers are the examples of this. I decided to write about fairytales because there are so many issues surrounding them. I remember them with fondness from my childhood, and I would want to read them to my children and grandchildren. I think gender discrimination is a serious issue. Just because someone has an X and a Y chromosome or two X’s, it doesn’t mean they are any better than the other. I think feminism is a step too far in the other direction however. Being co-dependent isn’t necessarily a bad thing. Men need women too. Fairytales show both sides of this as well. The prince rescues his princess as he can’t live without her and the maiden loves the man because†¦ well who can resist a man on a white horse? Not me! They are simple stories that are debated hotly because of the context of them. Are they too violent? Are they too idealistic? Are they too perfect? Fairytales are all about love and romance. They are about good triumphing over evil in a series of unlikely events. They tell us of deeds of valour and bravery in a time that we can only imagine. They show us how a poor little maid can fall in love and become a princess. The characters may be seriously flawed and have many issues, but they are stories. Wonderful stories. Stories that we read time and time again so that we can dream of being that brave knight or that damsel in distress. I think that my childhood would not have been the same without Chicken Licken or the Princess and the Pea. I think that even though they are unrealistic and give people impossible expectations and dreams, they are a part of our culture. To edit them, as the Grimm brothers did, would destroy a time long-forgotten. I think that they still exist today. The royalty of today is the celebrities-actors and models. We look at them and wish we were like them, just as the people of the Renaissance would have looked at a princess and thought ‘I wish I was her†¦ ‘ Dreaming is in our nature and to change that for the sake of a few misconceptions would be unforgivable. How to cite Discrimination in fairytales, Papers

Juan Gris Was Born In 1887. He Was A Spanish Born French Painter Who W

Juan Gris was born in 1887. He was a Spanish born French painter who went to the cubist school. Originally his name was Jose Vittoriano Gonzalez, he was born in Madrid and educated there. He left Madrid in 1906 and went to Paris, making the acquaintance of Spanish artist Pablo Picasso and of the French painter Georges Braque. Gris's first cubist paintings, generally more calculated than those of Picasso and Braque, appeared in 1912. He spent the next summer in C?ret, France, with Picasso, and while there adopted the use of papier coll?, shapes cut from paper and glued to the canvas. During World War I (1914-1918) he worked in Paris he had his first one-man exhibition in Paris in 1919. From 1922 to 1924 he designed settings for two ballets of the Russian producer Sergey Diaghilev, Les tentations de la berg?re (The Temptations of the Shepherdess) and La colombe (The Dove), as well as continuing work on his own paintings. After 1925 he worked mainly on gouaches, watercolors, and illustr ations for books. Some of his famous works include Portait of Josee, The Table and The Open window. Portrait of Josette was created in 1916 and is now in the Musea del in Prado, Madrid. This was deffinetly one of Gris's greatest achievements. The portrait of Josette is based on his studies after Corot and Cezanne. To perfection he seemed to create a stunning mixture of the foreground and the background. This beauty is accomplished through color patterns that ensemble different spatial planes. The blacks which are used around the bosom, butox and leg are used to enhance this women's shapely figure. The transparency does not result in an illusion of depth instead it acts as something to join the planes together. The table was created in Spring of 1914. Today it is located in Philadelphia in the Museum of Art. The surfaces of collages such as The Table are nearly entirely covered with a wide variety of overlapping papers. These fragments, moreover, are now deployed in increasingly complex ways: the shape of a piece of paper may correspond to the shape of the depicted object or it may itself provide a ground for figuration, whether drawn, painted, or in the form of additional, superimposed collage elements. And Gris continued to appropriate materials for their literal representational function as mere images, as he had in his earliest collages. In The Table, for example, Gris glued a page of a detective novel to his drawing of an open book and part of a real newspaper headline to his canvas in hope of imitating these images with pencil or paintbrush. But these collage elements also take on a metaphoric value: the spectator's attempt to distinguish the true and the false (alluded to in the newspaper clipping) from the myriad paradoxical and contradictory clues contained in the collage may be compared (not without some humor) to the investigative work of the detective in the novel. Whereas Picasso had demonstrated the multiplicity of ways in which the material aspect of a signifier is not transparent to its signified, Gris sought to show the coincidence of substanc e and meaning. For Gris, the transparency of glass was embodied (rather than arbitrarily signified) in the transparency of a paper whose two faces had merged and become one. Transparency, however, is always contingent on the presence of light. Gris made this clear in The Table by dividing his composition into two, antithetical zones a dark blue and black peripheral zone is spotlighted by an oval field in the center. The projecting edges of the rectangular table in all four corners of the canvas have been constructed by pasting thin paper to the canvas ground and then painting both the paper and remaining canvas with the same dark blue paint. Shading, executed in charcoal over the paint, brings these nearly obliterated differences in texture to the threshold of visibility. In dramatic contrast, the golden tonality that pervades the central oval allows for a wide range of differences in material textures, patterns, weight, and color as well as subtleties of drawing to be perceived. In The Table, Gris represents the still life table as both an upright oval, which coheres to the vertical