‘A View from a Bridge’ by Author Miller Essay Example for Free

‘A View from a Bridge’ by Author Miller Essay The play, ‘A View from a Bridge’, by Author Miller has the theme of a Modern Greek tragedy. A Greek tragedy is a play where fate runs it’s ‘bloody course’, which will lead to the tragic hero’s downfall. A tragic hero is usually a character of noble stature. Just like all people, tragic heroes aren’t perfect but what separates them from the others is that they have a hamartia, a tragic flaw. This flaw will be the cause of the downfall for the tragic hero. Eddie Carbone is somewhat a tragic hero. He doesn’t fit as a tragic hero because in the play, he is a normal longshoreman, which is fairly ordinary in Red Hook. Just like all men, †he worked on the piers when there was work, he brought home his pay, and he lived.† He doesnt have a high status position. On the other hand, he can still be categorized as a tragic hero because he has a tragic flaw and an inevitable downfall. In the start of the play, he is also respected, just like a tragic hero. Eddie’s tragic flaw is how much he loves Catherine. His fate is unavoidable due to the tragic flaw in his personality. His unnatural love for Catherine made him jealous of Rodolpho. This again is a device used in Greek tragedy, and can be described as a weakness of the tragic hero. This is a feature that all tragic heroes have; hence they are called â€Å"tragic† heroes. At the start, the tragic hero will be a good person. In the play’s case, Miller portrayed Eddie in the beginning of the play as a loving and caring man. He loves Catherine a lot. He said, â€Å"I want you to be in a nice office.† This shows that he cares a lot for Catherine and her future. At this stage, the audience should see Eddie as a respectable man. Miller also uses the technique of foreshadowing to imply to the audience that betrayal is going to happen. Miller used the ‘Vinny Bolzano’ example. Vinny â€Å"snitches† on his own uncle. In the play, Eddie said â€Å"†¦. hidin’ in the house and he snitched to the Immigration.† Catherine’s response was fairly surprised. She said â€Å"What, was he crazy?†. Vinny Bolzano was publicly humiliated by his own family and shunned from the community. He was not seen in the area since. . Miller added this to foreshadow the fact that Eddie is going to do something similar in the play. This is also an example of how the community functions. They believed that ‘snitching’ is always bad therefore he got punished for it, although the actual law will find it as a righteous act. Eddie tells Catherine that â€Å"you can quicker get back a million dollars that was stole than a word that you gave away†, and with this advice, Eddie gains the audience’s respect. It is also ironic because later on in the play, Eddie â€Å"snitches† on Marco and Roldopho. This loses all sympathy and respect towards Eddie. In the play, Alfieri’s role in the Greek Tragedy is a chorus. Alfieri refers to fate’s â€Å"bloody course†, which immediately brings us to the thought of destiny or fate. This is an ominous statement as it gives the sense that unavoidable tragedy will happen, and he is won’t be able to change the outcome. Alfieri said â€Å"heard the same complaint and sat there, as powerless as I†. This proves that he is merely a bystander looking at something way out of control. He also said â€Å"I could see every step coming, step after step, like a dark figure walking down a hall to a certain door†, which reinforces Eddie’s fate that awaits him. Eddie’s tragic flaw is soon exposed, as he will not accept the love between Catherine and Rodolpho. As Eddie realizes that their relationship is becoming more serious, he degrades Rodolpho by questioning his sexuality. While Eddie was talking to Beatrice, he says that Rodolpho is â€Å"like a chorus girl or sump’m†. Eddie infers that Rodolpho is less of a man. Since it didn’t work, Eddie took matters up to Alfieri. Eddie told Alfieri that Rodolpho â€Å"ain’t right†. He is trying to get the law on his side. Once Eddie is frustrated, he says, he’s stealing from me!†. This shows that deep down, Eddie believes that Catherine belongs to him. Eddie starts to show his jealous side by telling Catherine that Rodolpho wants Catherine only in order to become an American citizen. He told Catherine that Rodolpho is â€Å"only bowin’ to his passport†. Eddie still wants Catherine therefore he challenges Rodolpho directly by teaching him how to box. Miller demonstrates the tension between them through the stage directions. For example, Eddie hits Rodolpho, which â€Å"mildly staggers him†. It seems that Eddie needs to prove himself to be manlier than Rodolpho. This is also the beginning of his downfall. Marco then challenged Eddie by picking up the chair. This grows the tension between them, foreshadowing that something bad will happen. In the final scene, in which Eddie died in, it is also very similar to Greek tragedy. The tragic hero will die reconciled with others and will end regretfully to his actions. Miller conveys Eddie’s remorse and had him reconcile with Beatrice as he cries â€Å"My B.! My B.†, and dies in her arms. Eddie also dies in his own hands. He brings the knife into the duel, therefore it would seem, like most tragic heroes, Eddie is the cause of his own destruction. This gives the play a more complete ending. All problems have been solved. Then again, it can be argued that Eddie is different from a tragic hero because at times he appears to have more control over his actions than a tragic hero does. For example, Eddie was driven to call the Immigration Bureau because of his love for Catherine. Alfieri presents him with another option, to â€Å"let her go. And bless her.† It seems like Eddie has selected his route, which lead to his downfall, whereas traditional tragic heroes usually dont have an alternative option. This is unsympathetic because he had another option, but it was his choice not to take it. Not only did he betray Rodolpho and Marco, he also betrayed his community. He lost all his respect and reputation. In conclusion, Eddie is very similar to a traditional tragic hero from Greek tragedy. His tragic flaw drives him to desperate actions, and in this case he cannot let Catherine go. Fate â€Å"runs its bloody course† as the inevitable death of Eddie is shown. Eddie is stubborn and refuses to â€Å"settle for half†, constantly wanting something he can’t have. His tragic flaw leads the fateful path to his death.

The Hoover Dam and Its Construction Essay -- Hoover Dam Research Paper

Outside of China, the United States is the most-dammed country on the planet. Counting only dams taller than fifty feet high, the U.S. has some 5,000 dams that range from giant hydroelectric dams such as the Grand Coulee in Washington State to flood control dams in the southeast and dams that provide water for irrigation in California. Overall the United States has as many as 2.5 million dams of one sort or another. The design and construction of many of these dams took place between 1930 and 1975. This 45 years period is known as the golden age of dam building, starting with the construction of the Hoover Dam beginning in 1931. By the 1970s the golden age of dam construction began to come to an end with increased concerns of the impacts of dams on their surroundings. To better understand this time period I will look at the construction of Hoover Dam during the 1930’s followed by an examination many of today’s arguments for and against dams [i]. The need for a dam on the Colorado River was known decades before construction actually began due to the numerous destructive floods of the Colorado River. A need for water and electricity was also discovered to help with the development of the West. But there were many factors standing in the way such a large-scale construction project. Finally, in 1927 a bill detailing the project passed in Congress. Many construction companies began to look over the proposals but most agreed that the plan was too ambitious, too difficult, the project site was too unforgiving, and that the technology was not available to build a dam of that size[ii]. Hoover Dam is located in the Black Canyon, on the Colorado River, about thirty miles southeast of Las V... ...onomic impacts of the dam, the impacts of removal, and the economic costs. Notes [i] Davy, Emma. â€Å"Robofish† Current Science March 2, 2001: 10. [ii] http://www.hooverdam.usbr.gov/ [iii] http://xroads.virginia.edu/~MA98/haven/hoover/front2.html [iv] http://www.pbs.org/wgbh/amex/hoover/ 5 Robbins, Elaine. â€Å"Damning Dams.† E Jan 1999: 14. 6 Franklin, Chris. â€Å"Let the Colorado River run free.† Earth Island Journal Spring 1997: 23. 7 http://www/irn.org/ 8 â€Å"Not so fast; Eliminating dams; Why dams can be green.† The Economist March 3, 2001: 4. 9 Wade, Beth. â€Å"Bringing down the dams.† American City and County June 1999: 20. 10 â€Å"Knocking down dams – A good year for alewives.† The Economist July 29, 2000: 32. 11 http://www.saveourdams.com/ 12 McMahon, Richard Jr. â€Å"Let’s not damn the dams.† The Business Journal January 28, 2000: 47.

Classical Music Essay

Introduction Music is found in every known culture, past and present, varying wildly between times and places. Since all people of the world, including the most isolated tribal groups, have a form of music, it may be concluded that music is likely to have been present in the ancestral population prior to the dispersal of humans around the world. Consequently music may have been in existence for at least 50,000 years and the first music may have been invented in Africa and then evolved to become a fundamental constituent of human life. The music of the Classical period is characterized by homophonic texture, or an obvious melody with accompaniment. These new melodies tended to be almost voice-like and singable, allowing composers to actually replace singers as the focus of the music. Instrumental music therefore quickly replaced opera and other sung forms (such asoratorio) as the favorite of the musical audience and the epitome of great composition. However, opera did not disappear: during the cla ssical period, several composers began producing operas for the general public in their native languages (previous operas were generally in Italian). Along with the gradual displacement of the voice in favor of stronger, clearer melodies, counterpoint also typically became a decorative flourish, often used near the end of a work or for a single movement. In its stead, simple patterns, such as arpeggios and, in piano music, Alberti bass (an accompaniment with a repeated pattern typically in the left hand), were used to liven the movement of the piece without creating a confusing additional voice. The now-popular instrumental music was dominated by several well-defined forms: the sonata, the symphony, and the concerto, though none of these were specifically defined or taught at the time as they are now in music theory. All three derive from sonata form, which is both the overlying form of an entire work and the structure of a single movement. Sonata form matured during the Classical era to become the primary form of instrumental compositions throughout the 19th century. The early Classical period was ushered in by the Mannheim School, which included such composers as Johann Stamitz, Franz Xaver Richter, Carl Stamitz, andChristian Cannabich. It exerted a profound influence on Joseph Haydn and, through him, on all subsequent European music. Wolfgang Amadeus Mozart was the central figure of the Classical period, and his phenomenal and varied output in all genres defines our perception of the period. Ludwig van Beethoven and Franz Schubert were transitional composers, leading into the Romantic period, with their expansion of existing genres, forms, and even functions of music. PERIODS Medieval †¢When we explore Medieval music, we are dealing with the longest and most distant period of musical history. It includes the Gregorian chant. Gregorian chant is monophonic, meaning music that consists of only one melodic line without accompaniment. Polyphony, music where two or more melodic lines are heard simultaneously, did not exist (or was not knotted) until the 11th century. Unlike chant, polyphony required the participation of a composer to combine the melodic lines in a pleasing manner. Renaissance †¢In the mid-1500s, a prominent bishop commented that music composed for the church should reflect the meaning of the words so that the listeners would be moved to piety. This concept seems like a no-brainer today, but it was a fairly new idea at the time. To suggest that Medieval composers had no desire to write â€Å"expressive† music would be unfair. But, it was the rediscovery of ancient Greek ideals in the Renaissance that inspired many musicians to explore the eloquent possibilities of their art. †¢The increased value of individualism in the Renaissance is reflected by the changing role of the composer in society. Unlike most of their Medieval predecessors, the great masters of the Renaissance were revered in their own lifetimes. †¢Sacred music was still predominant, though secular music became more prevalent and more sophisticated. The repertory of instrumental music also began to expand significantly. New instruments were invented, including the clavicho rd and virginal (both keyboard instruments) and many existing instruments were improved. Baroque (1600-1750) †¢Johann Sebastian Bach, George Frideric Handel, Johann Pachelbel, Antonio Vivaldi †¢Baroque music is often highly ornate, colorful and richly textured when compared with its predecessors. Opera was born at what is considered to be the very beginning of the Baroque era, around 1600. †¢Music’s ability to express human emotions and depict natural phenomenon was explored throughout the Baroque period. †¢Although imitative polyphony remained fundamental to musical composition, homophonic writing became increasingly important. Homophonic music features a clear distinction between the melody line and an subsidiary accompaniment part. †¢The orchestra evolved during the early Baroque, starting as an â€Å"accompanist† for operatic and vocal music. By the mid-1600s the orchestra had a life of its own. The concerto was a favorite Baroque form that featured a solo instrumentalist (or small ensemble of soloists) playing â€Å"against† the orchestra, creating interesting contrasts of volume and texture. †¢Many Baroque composers were also virtuoso performers. For example, Archangelo Corelli was famous for his violin playing and Johann Sebastian Bach was famous for his keyboard skills. The highly ornamented quality of Baroque melody lent itself perfectly to such displays of musical dexterity. Classical (1750-1820) †¢Johann Christian Bach, Ledwig van Beethoven, Franz Joseph haydn, Wolfgang Amadeus †¢The word Classical has strong connotations, conjuring up the art and philosophy of Ancient Greece and Rome along with their ideals of balance, proportion and disciplined expression. The late Baroque style was polyphonically complex and melodically ornate. The composers of the early Classical period changed direction, writing music that was much simpler in texture. †¢Homophony–music in which melody and accompaniment are distinct–dominated the Classical style, and new forms of composition were developed to accommodate the transformation. Sonata form is by far the most important of these forms, and one that continued to evolve throughout the Classical period. Although Baroque composers also wrote pieces called sonatas, the Classical sonata was quite different. †¢One of the most important developments of the Classical period is the growth of the public concert. Although the aristocracy would continue to play a significant role in musical life, it was now possible for composers to survive without being the employee of one person or family. This also meant that concerts were no longer limited to palace drawing rooms. Composers started organizing concerts featuring their own music, and often attracted large audiences. The increasing popularity of the public concert had a strong impact on the growth of the orchestra. Although chamber music and solo works were played in the home or other intimate settings, orchestral concerts seemed to be naturally designed for big public spaces. As a result, symphonic music (including opera and oratorio) became more extroverted in character. Composers gradually expanded the size of the orchestra to accommodate this expanded musical vision. Romantic (1820-1915) Johannes Brahms, Claude Debussy, Frederic Chopin, Felix Mendelssohn, Piotr Ilyich Tchaikovsky †¢Romanticism implies fantasy, spontaneity and sensuality. †¢The Classical period focused on structural clarity and emotional restraint. Classical music was expressive, but not so passionate that it could overwhelm a work’s equilibrium. Beethoven who was in some ways responsible for igniting the flame of romanticism, always struggled (sometimes unsuccessfully) to maintain that balance. Many composers of the Romantic period followed Beethoven’s model and found their own balance between emotional intensity and Classical form. Others reveled in the new atmosphere of artistic freedom and created music whose structure was designed to support its emotional surges. Musical story-telling became important, and not just in opera, but in â€Å"pure† instrumental music as well. The tone-poem is a particularly Romantic invention, as it was an orchestral work whose structure was entirely dependent on the scene being depicted or the story being told. †¢Color was another important feature of Romantic music. New instruments were added to the orchestra and composers experimented with ways to get new sounds from existing instruments. A large palette of musical colors was necessary to depict the exotic scenes that became so popular. †¢In addition to seeking out the sights and sounds of other places, composers began exploring the music of their native countries. Nationalism became a driving force in the late Romantic period and composers wanted their music to express their cultural identity. This desire was particularly intense in Russia and Eastern Europe, where elements of folk music were incorporated into symphonies, tone-poems and other â€Å"Classical† forms. †¢The Romantic period was the heyday of the virtuoso. Exceptionally gifted performers–and particularly pianists, violinists, and singers–became enormously popular. Liszt, the great Hungarian pianist/composer, reportedly played with such passion and intensity that women in the audience would faint. Since, like Liszt, most composers were also virtuoso performers, it was inevitable that the music they wrote would be extremely challenging to play. †¢The Romantic period witnessed an unprecedented glorification of the artist–whether musician, poet or painter–that has had a powerful impact on our own culture. Modern (ca, 1915-Present) Aaron Copland, George Gershwin †¢The late Romantic period featured its own extremes: sprawling symphonies and tone-poems overflowing with music that seemed to stretch harmony and melody to their limits. It is certainly possible to view some early 20th century music as an extension of the late Romantic style, but a great deal of it can also be interpreted as a reaction against that style. †¢20th century music is a series of â€Å"isms† and â€Å"neo-isms.† The primal energy of Stravinsky’s Rite of Spring has been called neo-Primitivism. The intensely emotional tone of Schà ¶nberg’s early music has been labeled Expressionism. The return to clearly structured forms and textures has been dubbed neo-Classicism. These terms have been employed in an attempt to organize the diversity of styles running through the 20th century. †¢Nationalism continued to be a strong musical influence in the first half of the century. The study of folk songs enriched the music of numerous composers, such as Ralph Vaughan Williams (England), Bela Bartok (Hungary), Heitor Villa Lobos (Brazil) and Aaron Copland (USA). Jazz and popular musical styles have also been tremendously influential on â€Å"classical† composers from both the United States and Europe. †¢Technology has played a increasingly important role in the development of 20th century music. Composers have used recording tape as a compositional tool (such as Steve Reich’s Violin Phase). Electronically generated sounds have been used both on their own and in combination with traditional †¢instruments. More recently, computer technology has been used in a variety of ways, including manipulating the performance of instruments in real time. Characteristics Given the extremely broad variety of forms, styles, genres, and historical periods generally perceived as being described by the term â€Å"classical music,† it is difficult to list characteristics that can be attributed to all works of that type. Vague descriptions are plentiful, such as describing classical music as anything that â€Å"lasts a long time,† a statement made rather moot when one considers contemporary composers who are described as classical; or music that has certain instruments like violins, which are also found in other genres. However, there are characteristics that classical music contains that few or no other genres of music contain. Literature The most outstanding characteristic of classical music is that the repertoire tends to be written down in musical notation, creating a musical part or score. This score typically determines details of rhythm, pitch, and, where two or more musicians (whether singers or instrumentalists) are involved, how the various parts are coordinated. The written quality of the music has, in addition to preserving the works, enabled a high level of complexity within them: Bach’s fugues, for instance, achieve a remarkable marriage of boldly distinctive melodic lines weaving in counterpoint yet creating a coherent harmonic logic that would be impossible in the heat of live improvisation. Instrumentation The instruments used in most classical music were largely invented before the mid-19th century (often much earlier), and codified in the 18th and 19th centuries. They consist of the instruments found in an orchestra, together with a few other solo instruments (such as thepiano, harpsichord, and organ). The symphony orchestra is the most widely known medium for classical music. The orchestra includes members of the string, woodwind, brass, and percussion families. Electric instruments such as the electric guitar appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and the sounds of instruments from other cultures such as thegamelan. None of the bass instruments existed until the Renaissance. In Medieval music, instruments are divided in two categories: loud instruments for use outdoors or in church, and quieter instruments for indoor use. The Baroque orchestra consisted of flutes, oboes, horns and violins, occasionally with trumpets and timpani. Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries. While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament. Keyboards almost all share a common layout (often called the piano keyboard). Form Whereas most popular styles lend themselves to the song form, classical music has been noted for its development of highly sophisticated forms of instrumental music:[11] these include the concerto, symphony, sonata, suite, à ©tude, symphonic poem, and others. Classical composers often aspire to imbue their music with a very complex relationship between its affective (emotional) content and the intellectual means by which it is achieved. Many of the most esteemed works of classical music make use of musical development, the process by which a musical idea or motif is repeated in different contexts or in altered form. The sonata form andfugue employ rigorous forms of musical development. The other notable form in classical music is opera. Technical execution Along with a desire for composers to attain high technical achievement in writing their music, performers of classical music are faced with similar goals of technical mastery, as demonstrated by the proportionately high amount of schooling and private study most successful classical musicians have had when compared to â€Å"popular† genre musicians, and the large number of secondary schools, including conservatories, dedicated to the study of classical music. The only other genre in the Western world with comparable secondary education opportunities is jazz. Complexity Professional performance of classical music repertoire demands a significant level of proficiency in sight-reading and ensemble playing, thorough understanding of tonal and harmonic principles, knowledge of performance practice, and a familiarity with the style/musical idiom inherent to a given period, composer or musical work are among the most essential of skills for the classically trained musician. Works of classical repertoire often exhibit artistic complexity through the use of counterpoint, thematic development, phrasing, harmonization, modulation (change of key), texture, and, of course,musical form itself. Larger-scale compositional forms (such as that of the symphony, concerto, opera or oratorio, for example) usually represent a hierarchy of smaller units consisting of phrases,periods, sections, and movements. Musical analysis of a composition aims at achieving greater understanding of it, leading to more meaningful hearing and a greater appreciation of the composer’s style. Society Classical music regularly features as background music for movies, television programmes, advertisements and events. Nessun dorma from Giacomo Puccini’s opera Turandot for example was the theme tune for the 1990 FIFA World Cup. Relation to Education Throughout history, parents have often made sure that their children receive classical music training from a young age.Some parents pursue music lessons for their children for social reasons or in an effort to instill a sense of self-discipline. Some believe that knowledge of important works of classical music is part of a good general education. During the 1990s, several research papers and popular books wrote on what came to be called the â€Å"Mozart effect†: an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart’s works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students’ IQ by 8 to 9 points This popularized version of the theory was expressed succinctly by a New York Times music columnist: â€Å"researchers†¦ have determined that listening to Mozart actually makes you smarter. â€Å"Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. In 1996–1997, a research study was conducted on a large population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O’Connell of the University of North Carolina at Greensboro; etc.) and others who has significant results through the discourse of their work. SUMMARY Personally, I listen to classical music and this is my topic for my ongoing thesis, listening to classical music somehow brings you back to old times, helps me to appreciate art and improves my cognition. Classical music is a music that never gets old, a gift that we, the new generation must take care of.

I Am An International Student From India - 1445 Words

What barriers or difficulties have you dealt with in coming to college and/or in your life here at Knox? Have you been able to overcome these difficulties? How so? What difficulties are you currently coping with? I am an international student from India. I spent two years at an international residential school. After graduating from high school, I was exploring my options of going to college in North America and I went on to finalize Knox College. During my freshman year fall term in 2014, I was under the impression that since I have been to an international school in India, I would have a competitive advantage in transitioning to an American institution. However, that was not the case and I was completely out of sorts during my first two terms at Knox. For me, the hardest part to comprehend was letting go of my high school memories and recognizing that I am a college student in America. I found a support system in a Knox senior who had previosuly graduated from the same high school as me. He made me realize that in order to relish the college experience, I have to digest and move on from the fact that I am now an alum of Kodaikanal International School and an undergraduate student at Knox College. When I finally managed to break the shackles and really indulge myself in the college experience, I started to feel a sense of inclusion. I would like to thank two of my professors, Prof. Richard Stout, who is also my advisor and Prof. Manisha Pradhananga, who is now myShow MoreRelatedHealth Problem Of Public Health Care902 Words   |  4 PagesHealth problems in the developing countries like India take on enormous proportions because of lack health education and preventive medicine. Growing up in India surrounded by poor sanitation, lack of hygiene and clean drinking water and scarcity of primary health services, I began to realize the necessity of public health care. 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