Art history Essay Example | Topics and Well Written Essays - 500 words - 5

Art history - Essay Example Condottiere was the name given to the captain or leader who commanded a mercenary in the 14th and 15th century in Italy. The leader together with his mercenary engaged in fights in the Italian city-states on behalf of the contracting Papacy and the city-states. Thus, the word condottiere originated from condottiero meaning contractor. The mercenary worked with states directly fighting for them, and a fighting contract was signed with the highest bidder. Nevertheless, the contract bound them to a certain city or state with whom the contract was signed, but they moved from one lord or city to another, a game that was fatal for both parties. Additionally, some condottiere had their own small towns acquired through inheritance of conquer, for example, Attendolos who founded the Sforza family. In the Renaissance society, military skill was very expensive, but a wealthy city such as Venice was in a position to afford the services of a condottiere and his mercenary. Therefore, such wealthy cities hired military services only when needed, and this provided a way for them to spare its citizens from the horror and the rigors of war, and save on the cost of maintaining a standing military. Furthermore, the condottiere played a significant role in influencing the field of art as some of the greatest statues of all time in Italy were of the condottiere. An example of work of art that demonstrates the role of condottiere is Denatello’s Equestrian Statue of Erasmo da Narni, referred to as Gattamelata.

Outline the bank multiplier approach to explaining the process of Essay

Outline the bank multiplier approach to explaining the process of money creation and discuss its limitations - Essay Example This has led to call for the replacement of federal reserve system by a computer based system that would fix rates via calculations using standard economic metrics. Say in his law seems to make a suggestion to the fact that money is neutral and does not in any way lead to recession. He felt it was an irrational action to hoard money if one had it. In his view the only reason to have money is to spend it on one’s needs, in buying products. An increased spending is brought about by the increase in money supply going by the opinion that money is meant for spending. Say economist do not believe that businesses suffer as a result of lack of money for which reason other economist may advocate the printing of more money. Say and his followers rather believe that to increase ones purchasing power all that is needed is for there to be an increase in production processes. This would cause demand for the product an exchange for these goods automatically puts money into the pockets of the producer thereby increasing his purchasing power. The printing of more money would invariably lead to indiscriminate consumption which is believed by say economist as a wealth

Post modernism and our contemporary social work understanding

Post modernism and our contemporary social work understanding Drawing on material from the module, critically discuss the extent to which theories relating to post modernism inform our understanding of an aspect or aspects of contemporary social work. Theories of postmodernism have gathered pace across all aspect of social theory. This is often referred to as the postmodern turn (Best and Kellner, 1997). The emergence of the modern/postmodern debate in response to economic, social and cultural transformation has significant implications for professions such as social work (Crook et al, 1992). A vast array of literature has emerged with an interest in understanding changes to welfare provision and social work in relation to post modernity (Parton, 1994). This text will critically discuss the extent to which theories relating to post modernism inform our understanding of contemporary social work. Being with the emergence of postmodern theory it will attempt to define this phenomenon by exploring the key themes. Focusing on two elements in particular, welfare and anti-oppressive practice, this text will try to identify features of postmodern social work using modernity as basis for comparison and analysis. To conclude collaborative theories such as affirmative or critical postmodernism will be explored as perspectives that inform understanding and guide social work practice into an approach that combines both personal and social factors. Postmodernist social theory began to emerge in the 1960s and 1970s. It developed into the 1980s where the concepts of globalization and reflexivity become incorporated. Today the postmodern debate continues to influence social work policy and practice (Walker, 2001). Postmodern theory developed as a response to a perceived crisis of modernity brought on by factors such as accelerated economic growth, consumerism and resource depletion (Boggs, 1993). For many theorists such as Lyotard (1991) modernity failed to achieve its supposed aims of democracy, human emancipation and social justice through its evidence based world view. Amongst theorists there is little consensus about when the world become post modern or if indeed it has giving rise to a plethora of postmodern perspectives and associated terms such as late modern, post-industrial, post-structural and high or late modernity (Dodd, 1999). Some theorists attempt to explain postmodernism historically whilst others consider it synonymous with the demise of historical time (Felski, 2000, p.2). As a result postmodernism proves difficult to define. There is however a common feature that can be identified within most postmodern theory, the demise of mega-narratives (Lyon, 1994). Factors such as uncertainty, flux, ambiguity, pluralism and diversity have also been identified as characteristics of a postmodern society (Turner, 2006). The influx of postmodern theories has changed the discourse of social science shifting the focus from analysis of social structure to analysis of meaning (Noble, 2004). In considering the impact of theories relating to postmodernism attention should be given to what characterises modern and postmodern social work. Social work can be considered a child of modernity (Parton and Marshall, 1998). The foundations of modernity were set in understanding the social world through reason, objectively and scientific study (Boggs, 1993). Some argue that it was this presence of logical argument and commitment to reason that equipped social work with tools to identify and address oppression (Noble, 2004). For this reason social work has spent most of its adolescence within the social sciences focusing on an evidence based approach to practice (Payne, 2005). Writers such as Gellner (1992) and Hambermas (1987, cited by Leonard 1997) advocate that if separated from repression and domination human reason is still the most progressive force for tackling the social world. A modernist perspective assumes that there is some fixed essence or ethical base that informs social work (Noble, 2004). This was a popular perspective in the 1970s where pursuit for a synthesized approach to theory and practice was accelerated and arguments were made for the introduction of generic practitioners and departments (Howe, 1994). The argument that in the age of modernity social order is maintained through self-regulation, systematic enquiry and expertise put forward by Foucault (1975), goes some way toward explaining the development and popularity of therapeutic approaches within social work. Promoting psychological understanding became a basis for social work with treatment and rehabilitation forming the foundations of the profession (Payne, 2005). There is of course considerable debate as to whether social work did begin with such emancipatory aims and its promotion of universalism and objectively is certainly challenged by the postmodern discourse. Social work, from a postmodern perspective, stresses attention to power dilution, diversity, the authority of the service user, pluralistic perspectives and a fluid approach to intervention (Parton and OByrne, 2000). In this approach universalism is rejected and practitioners no longer strive to understand human behaviour through a theoretic framework. Multiple public inquiries into child deaths and institutional abuse have shaken faith in psychologically based techniques, questioning their ability to support individuals to function safely in society (Walker, 2001). This coupled with criticisms from radical social work perspectives has created space for a legal and social justice framework to emerge (Howe, 1994). Within this framework social workers are increasingly judged by their effectiveness giving reason, argues (Aldridge, 1996), for social workers to embrace their expertise and become more confident to articulate responses to criticism. An implication of accountability culture is that social work practice becomes task-orientated and performance related (Hugman, 2003). It is for this reason that postmodernism has been critiqued for responding only to the surface of events with little inclination to explore what is behind this (Ferguson and Levalette, 1999). Social work is reduced to a set of organisational procedures dictated by codes of conduct, Once the idea of a common theoretical base underpinning all social work practices is abandoned, the full implications of the controlling nature of legislation and policy can be unleashed (Howe, 1994, p.524). Having considered what characterises modern and postmodern social work we can begin to explore how these perspectives inform different aspects of social work. Given that social work is submerged in the welfare debate it seems a logical starting point to consider in relation to postmodernism (Pease and Fook, 1999). Understanding postmodernist theory in this sense gives insight into the political and social climate that shapes practice. Concerns have been raised regarding the impact of the postmodern discourse. Writers such as Powell (2001) suggest that the welfare system provides an essential role in taming unwieldy elements of capitalism through a state supported redistributing welfare system. Although modernist thinkers would concede that the welfare state has never fully succeeded in addressing inherent inequalities, its very existence has improved the standards of living for the majority (Noble, 2004). Therefore it is hardly surprising that concerns are being voiced over an increa sing neo-liberal agenda and subsequent downsizing of the state in favour of a free market economy (Midgly, 1999). The introduction of quasi-markets and mixed economies of care has resulted in what is referred to as a contract culture (Ife, 199). Powell (2001) suggests that the erosion of the welfare state has placed barriers to humanistic social policies and as a result professions such as social work struggle to remain central to service provision and to advance their wider aims of social justice. Postmodernism with its disregard for universal values and ethics coupled with globalisation and the continued spread of capitalism are the driving forces behind this change (Noble, 2004). Ritzer (1995) attempts to define the status of society and social relationships in relation to a global market economy. Warning of the de-humanizing influences of large multi-national corporations Ritzer (1995, p34) highlights working practices that, exemplify the contemporary rationalisation process within globalization of culture. The four main elements of these working practices; evolving, efficiency, calculability and predictability are increasing present within social work. Naturally these concerns are not shared by everyone. Many postmodern theorists argue that that the welfare state has always been a source of controversy never reaching consensus on how it should be organized, funded or distributed (Dominelli, 1996). Modernists can be critiqued for failing to acknowledge the welfare state as a mechanism for reproducing social inequality through the way in which resources are accessed and priorities established (Walton 1975, cited by Dominelli, 2004). Giddens (1991) identifies the welfare state as bound to traditional family and gender systems. Fraser and Gordon (1994) observe the gendered nature of welfare suggesting that policies centred on dependency, often associated with femininity, perpetuate negative representations of women and other disadvantages groups. Jordon and Jordan (2000) suggest instead that the Third Way in politics, dismissed as oppressive capitalism by commentators such as Bauman (2002), has a moral fibre in the sense of offering ju stice and inclusion without forcing conformity. Rights and freedoms are offered in the context of the market place, individuals have choice by means of being a consumer (Howe 1994). It is argued that the growth of the voluntary sector and changes to decision making and management structures are creating space for more innovative and personalised service delivery which is free from the constraints of institutional barriers (Walker, 2001). The modern postmodern debate gathers pace when considered in relation to anti-oppressive practice. Here there are further concerns regarding the postmodernism influence on social work. Writers such as Ferguson and Levalette (1999) have argued that postmodern perspectives have little to contribute to anti-oppressive practice. Without universal ethics and values it becomes difficult to transform power relations or to identify common experiences that oppressed groups may share (Callinicos, 1995). The main critique that Ferguson and Levalette (1999) lobby on postmodernism is if all discourses are to be treated as valid the basis for distinguishing oppression is removed. Some feminists among other political critics argue that postmodernism, with its rejection of meta-narratives disempowers socially disadvantages groups at the very point at which they need to demand emancipation in the name of universalistic notions of justice and equality (Leonard, 1997). To address this requires a separa tion of emancipatory theory from oppressive ideology. The notion that emancipation can have a normative foundation is considered by postmodernism to be unsound. However advocates of modernity such as Hambermas (1987, cited by Leonard 1997) advocate the need for a standard or a form of undistorted communication to remain in order to distinguish and challenge oppression. Smith (1994, p.26) raises concerns that in a postmodern society oppression becomes self defined, the relationship between an individuals social situation and their identity becomes separated resulting in no objective way to locate a primary source of oppression. Smith (1994) also suggests that the celebration of diversity that postmodernism promises only serves to trivialise real oppression felt by many disenfranchised groups. Increasingly concepts of identity have replaced discourses of oppression (Ferguson and Levalette, 1999). Leading the charge on identity is Giddens (1991) who asserts that individuals are rational and reflexive agents who create and shape their own identities. This assumption that identity is a matter of choice has been challenged significantly. Commentators such as (Skeggs, 2001) have argued that choice and reflexivity is a classed phenomenon with many individuals having few and often undesirable lifestyles from which to choose. There are of course counter arguments to be considered here. To some postmodernists modernity is, or was depending upon their perspective, a Eurocentric, patriarchal and destructive force legitimised through the language of science (Pease and Fook, 1999). In a modern society those in positions of power are able to determine how knowledge is understood and what knowledge is relevant (Howe, 1994). Postmodernism rejects the idea that grand theories such as liberalism, socialism and psychoanalysis have offered explanations for human development suggesting instead that they perpetuate oppression by demanding consensus to their absolute notions (Bauman, 1992). A universal knowledge base that informs understanding of human behaviour naturally assumes something transferable that can be applied across all societies and cultures (Dominelli, 1996). It has been suggested that this form of universalism equates to cultural domination and the potential for racist ideology (Leonard, 1997).Within this critique postmodernism suggests that diversity should be celebrated as a reflection of the polymorphous, non-unitary and con-consensual nature of the social word (Howe, 1994, p.524). A relativist approach in contrast to a universal approach suggests all forms of behaviour are local rendering notions of human nature redundant (Howe, 1994). Postmodernism challenges the notion that perspectives such as Radical or critical social work are the only means by which emancipation can be achieved. In this context adopting universal truths as a basis for emancipation is deemed arrogant and unethical (Noble, 2004). Postmodernism spurns the concept of reason as an e mpancipatory force and suggests that a more empowering approach is through the embracing of pluralism and difference (Dodd, 1999, p.212). A key element of postmodernist thinking is the importance of language. From a postmodern perspective it is the discourses that constitute social and economic life (Ferguson and Levalette, 1999). Howe (1994, p.552) explains that Language, once thought simply to reflect reality, now appears to constitute our reality in an independent domain of its own which carries meaning and culture. The notion that power is embedded in language offers scope for social workers to critically reflect and challenge dominant discourses and assumptions to avoid perpetuating oppressive practices (Fook et al, 2000). This highlights the transformative capacity of critical postmodernism to improve practice and facilitate social change (Morley, 2004 p. 299). However Ferguson and Levalette (1999) observe that new language and terminology although a force for challenging oppressive categorisation, does not change the material situation individuals face. In summary it is worth considering how postmodern perspectives can be combined and developed to offer an approach to social work that integrates diversity and flexibility of meaning with the possibility of an ethical discourse that is shared rather than individualised (Hugman 2003, p.1035). Critical postmodernism based on a constructionist approach, combines flexibility of meaning with the understanding that society is socially constructed through the actions and relationships of its members (Hugman, 2003). In this sense postmodernism does not need to equate to the disappearance of traditional social work but nor does it need to succumb to a neo-liberal agenda (Sim, 1999). Ferguson and Lavalette (1999, p.28) in support of Leonard (1997) suggest another avenue in combining the postmodernism and structural discourses, by combining postmodernist themes with socio economic developments (informed by a Marxian perspective on globalisation and post-fordism), a rejuvenated emanicpatory social work can be developed. Parton and OByrne 2000) discuss the application of an affirmative postmodern social work which opens up thought towards greater inclusion and less prescriptive theories and methods of practice. Ife (1999) and Pease and Fook (1999) also support a social work that values diversity and uncertainty but maintains a political struggle towards social justice based on a commitment to some universal ethical and values. These theories offer a way of managing a changing society without removing a unified knowledge base or without forcing a postmodern retreat. In other words they provide a way forward that incorporates the personal with the political so that bo th are integrated into a more relevant social work discourse (Noble, 2004, p.2). This text has gone some way towards outlining postmodern perspectives of contemporary social work. From this brief analysis we can see that social work developed during the period of enlightenment or the age of modernity. As a result its focus became the development of a universal theoretical framework that informs knowledge in order to challenge social oppression. Changes within society have given rise to postmodern theories which offer social work the possibility of a fluid, pluralistic approach that promotes diversity and participation through the validity of all perspectives. As we have discussed neither of these approaches is without challenge or critique. Consideration has been given to the impact of postmodernism upon the welfare state and thus social work, outlining concerns relating to a neo-liberal agenda but questioning at the same time the suggested empacipatory nature and role of the state. The impact of postmodernism on anti-oppressive practice has been debated and implications for social work considered. Conclusions have been offered in the form of theories that combine postmodernism with elements of universalism and structural analysis. It has been clear throughout this journey that postmodernist theories have and continue to impact upon social work practice. In conclusion giving consideration to a postmodern perspective helps assists social work to examine the diverse, provisional and uncertain nature of all aspects of our world, including knowledge and skills and values and ethics (Hugman, 2003, p.1037). Word count 2,679

Rainbow Boys Essay -- essays research papers fc

The question of sexual identity is asked to many professional athletes when they are first diagnosed with HIV or tested positive for the AIDS virus. Magic Johnson is a five time championship winner with the Los Angeles Lakers, awarded MVP three times, and played amongst the first nine Olympic All-Star teams (Naismith Memorial Basketball Hall of Fame). Despite these great achievements in his life, his contact with the HIV virus caused him to face much discrimination. Although Johnson’s source of the virus has been unknown, many people have â€Å"misconceptions of AIDS as an exclusively gay disease† and thought that Magic was homosexual because of his positive test (Stewart). During an interview with Arsenio Hall, immediately after admitting his infection, Magic was asked about his sexuality. In response to this question Magic responded that he was â€Å"far from being homosexual† (Stewart). Magic Johnson’s acknowledgment to contacting the virus lead many a ctivist to feel that his â€Å"disavowal of homosexual activity put a barrier between gay people with AIDS and everyone else, reinforcing the stereotype that gays ‘brought it on themselves’† (Kantrowitz). This idea that gays brought it on to themselves reinforces the discrimination that HIV positive and AIDS people face throughout their lives. The misconception that leads people to discriminate against HIV positive individuals assumes that all people who are infected are homosexual and causes one to lose his or her identity. Due to his pop...

Much Ado About Nothing

‘The Jokes which society tells are a significant index of that society's concerns and anxieties'. (M. Mangan, A preface to Shakespeare's comedies, 1996) If this is the case what can we learn from ‘Much Ado About Nothing' about the ‘concerns and anxieties' of the society in which Shakespeare was living? Sir H Walpole once remarked that ‘a comedy should make us think', Shakespeare exploits this function of comedy by utilizing jokes on the themes of cuckoldry, infidelity and honour to permit the audience to think about the ‘concerns and anxieties' associated with these jokes within Shakespeare's society and what can be learnt from these jokes told. The figure of the Cuckold in ‘Much Ado About Nothing', a husband of a woman who commits adultery, is a running joke throughout the play. In the play, the character Benedick, who carries a misogynistic view of women, is the main instigator of these jokes, he says that being a cuckold is what happens when you get married and you would have to ‘hang' his ‘bugle in an invisible baldrick' and he vows never to allow the plucking ‘off' of ‘the bull's horns and' setting ‘them' on his ‘forehead', meaning he does not want to get married. Even though Benedick may be slightly bestial, it is clear there is a fear of getting married in Benedick's opinions. As Michael Mangan2 comments in ‘Huddling jest upon jest', the jokes made in ‘Much Ado About Nothing' about husbands and cuckolds indicate to the audience ‘the underlying anxieties about gender roles' and ‘about women's possible sexual licence' common in Shakespeare's society. The cuckold theme was the subject of many ballads and pamphlets in the Elizabethan Era. An Elizabethan Audience would have been familiar with cuckold jokes and would even probably know the place in London known as ‘Cuckold's Haven'. However, they would also relate to the concerns of infidelity amongst women, especially the men and some would share these misogynistic views and fears of women. These fears were so strong as a result of the male honour and pride which most men had and also the accosted idea of being the natural heirs. A modern-day audience would be able of relate to the ideas of adultery, as often portrayed in Serial Dramas such as ‘Eastenders' or ‘Coronation Street', nevertheless, they would probably not have the same fears as the Elizabethans as more people cohabit rather than marry and are more aware to such problems as adultery and that husbands are involved adultery as much as women. In most of Shakespeare's comedies there is a ‘shrew', an outspoken, independent, strong, female stock character, in ‘The Taming of The Shrew' this is Katerina and in ‘Much Ado About Nothing' there is Beatrice. The strong female character or ‘shrew' is one of the comic conventions that feature in all of Shakespeare's comedies and moreover it, is not unusual that there are jokes aimed towards the stereotype. In the play, the men refer Beatrice as ‘Lady Disdain! ‘ and that she has a ‘shrewd †¦ tongue' being ‘too curst'. It can be acknowledged that as the men make light of Beatrice's outspoken, shrewish behaviour, underneath it, they are intimidated by her intelligence and strength. An Elizabethan Audience would recognise the stock character but also correlate themselves with the anxieties of strong women. The social hierarchy was of common knowledge; where God came first, then the king or monarch who would be appointed by God, the man, the women and then beast. The Elizabethan men were just accepting Queen Elizabeth I, and would find it hard to adjust to women becoming strong and independent, feeling intimidated as a strong female character placed a threat to the social hierarchy. On the contrary, a modern audience would be accustomed to the idea of the strong woman as of the female rights campaigns throughout the Twentieth Century, women now occupy a more central and public role in society. Nevertheless, sexism does still exist in all spheres of society even after women's rights In ‘Much Ado About Nothing', Shakespeare applies sexual innuendos as jokes to comment subtly, on the freedom sexuality in his society and the limits. In the play the sexual innuendos were remarked by women, which would appear strange to an Elizabethan audience. In Act 1 Scene 1 Beatrice remarks whether ‘Signor Mountanto' has ‘returned from the wars' meaning ‘Signor Benedick' and the word ‘Montanto' meaning the thrust of male genitals and the ‘mounting' of a partner. Margaret also uses a sexual innuendo by commenting on ‘the weight of a man' making Hero's heart ‘heavier'. It was common in Shakespeare's comedies to use lower status characters to make such commons as not to offend any of the higher status audience and appeal to the lower status. Furthermore, Shakespeare has not only used these sexual innuendos to entertain the more bawdy members of the audience but also, to convey the concerns and anxieties on sexuality in the Elizabethan era, as even though, illicit sexual behaviour was not heard of in the courts and upper classes of society, it was extremely common among the lower classes and Shakespeare was trying to inconspicuously, portray his concern that the Upper classes ignored such behaviour and places such as brothels. An Elizabethan audience, would be able to relate, however, a modern day audience would be used to sexual innuendos as jokes as modern day morals are less religious and restricted. Love as a disease is another joke used in ‘Much Ado About Nothing', to highlight the concerns and anxieties in Shakespeare's society over love. In Act 3 Scene 2 , after Benedick has apparently fallen in love with Beatrice he claims to have ‘the toothache' and Don Pedro and Claudio tease him suggesting he ‘draws it' or ‘hang it' and in Act 3 scene 4 after Beatrice has supposedly fallen in love with Benedick she claims to be ‘sick' and Margaret and Hero suggest ‘cardus benedictus', a holy thistle and a clever pun on Benedick's name. Shakespeare discreetly portrays how Benedick and Beatrice's alliance with their honour provokes them to fear being reliant in another person and this explains Benedick's fear of marriage. Shakespeare is vividly commenting on the fears of love and its effects in Messina as a microcosm of Elizabethan England. An Elizabethan and a modern day audience could relate to this concern, as there are many pressures and problems that come with falling in love such as suitability, personality, appearance and many more. They could also make a connection to the effects love has on a person where it makes them a victim, oblivious to all things around them, gives them a loss of their sense of reality and a blindness to their lover's faults. In Shakespeare's society fashion was very topical and in ‘Much Ado About Nothing' he addresses this with jokes about fashion. In Act 2 scene 3 Benedick ponders to himself why Claudio is interested in the ‘fashion of a new doublet' remarking that love has changed Claudio and yet, ironically, in Act 3 scene 2 Claudio and Don Pedro teasingly comment that Benedick now has the ‘appearance of fancy in him' and that he ‘rubs himself with civet' a perfume. Furthermore, being interested in fashion was a sign of a loss of dignity and honour and a person without substance, also the theme of fashion exposes the superficiality of the male code of honour. An Elizabethan audience would appreciate the connection between fashion and a loss of dignity, whereas, in a modern day audience's society, appearances are the threading that holds together all impressions of a person and wearing the latest style or fashion has become a great necessity for most people. Subsequently, they would not comprehend the concerns and anxieties over fashion. In the Elizabethan era, the Male Code of Honour was a foundation established and seen of great importance, however, in ‘Much Ado About Nothing' Shakespeare exposes this code of honour, by means of jokes, to depict how shallow it was. In the play Beatrice mocks this code of honour by calling Benedick ‘a stuffed man' and ‘a very valiant trencher man'. She also remarks less humorously, ‘manhood is melted into curtsies' and that ‘men are †¦ turned into tongue and trim ones'. Therefore through Beatrice, Shakespeare discloses the concerns and anxieties of the male code of honour and how it is superficial and lacks substance in the behaviour and speech which is always very fanciful and uses a lot of hyperbole; Shakespeare shows this by having the men speak in verse in iambic pentameter to demonstrate them as one-dimensional. Especially, in the scene after Claudio has seen Hero and is professing to be in love with her. An Elizabethan audience would be able to network with this theme as they would have held this code in high esteem, on the other hand, a modern day audience would not identify with why the male code of honour would be so highly valued and they would be concerned with matters such as money, status, fashion, love and others. In ‘Much Ado About Nothing', Shakespeare discreetly uses the malapropisms of the Police Constable Dogberry as a joke to unmask the concerns and fears over the law in Shakespeare's society. In the play, Dogberry says such things as ‘senseless' instead of sensible, ‘tolerable' instead of intolerable and many more. These malapropisms appeal to the audience showing the humour of Dogberry's behaviour and the stereotypical behaviour the police and authorities in Elizabethan society, who were not taken seriously and often laughed at, which proved to be a major concern in that society. An Elizabethan audience would find the joke humorous but also be aware of the serious undertone, that there is an anxiety over the incompetence of the police force not keeping society safe and secure. A modern day audience would not shoulder the same fears, as the police authorities are respected and feared by law abiding citizens. Out of all the several factions of humour, incongruity of practical jokes are used the most in ‘Much Ado About Nothing' as forms of deception. This conveys the anxieties and concerns that Shakespeare was trying to demonstrate. All of the deception is plotted by men which parallels back to Balthasar's song ‘men were deceivers ever' and deception comes naturally to men. In Kenneth Branagh's adaptation of ‘Much Ado About Nothing' Balthasar's song is implemented with all the men listening to the song and paying particular attention to it, this places the importance on to how relevant the song is to the men of the play. In the famous gulling scenes Don Pedro, Claudio, Leonato, Hero and Ursula try ‘to bring†¦ Benedick and †¦ Beatrice into a mountain of affection' with them fashioning ‘it'. As well, Don John and Claudio try to ‘cross' the ‘marriage' of Claudio and Hero and they ‘misuse the prince, to vex Claudio'. As the deception of these practical jokes may appear comical, they underline the concerns, in Shakespeare's society, of deception, as Shakespeare uses it in all of his comedies; ‘Twelfth Night', ‘The Taming of the Shrew', ‘A Midsummer Night's Dream', ‘As you like it' and ‘Much Ado About Nothing' this illustrates that deception was not only an entertaining comic convention but a serious and sever anxiety within his society because in that period of time there were many who tried to deceive others, however, the deception was well hidden. A modern day and an Elizabethan audience would be able to connect to this as deception was and still is a very common occurrence witnessed by many in societies. In the title of 3Peter Holindale's essay on the subject of comedy remarks that there are ‘serious voices in a Comedic world', this is viewed in Messina and paralleled to Elizabethan England. The jokes crafted and exploited by Shakespeare in ‘Much Ado About Nothing' elaborate and reiterate the anxieties that not only the Elizabethan era faced but every generational society faces and adds to as each day passes and furthermore, make each new generation of audience laugh at these anxieties. Much Ado About Nothing In the book Hero & Claudio love is the main plot. the whle story line is based on Hero and Claudio. When one reads the book it may bring up many questions do they or dont they love each other? There are many situations when in the book when you say â€Å"there is no way they love each other. † For example when Claudio returns from war, and he first laid eyes on Hero he insisted that he was that he was in love with her; because he was with Benedick and he says â€Å"Can the world buy such a jewel? † he then goes on and says † I would scarce trust myself, though i had sworn the contrary, if Hero would be my wife. I think it was abit too fast for Claudio to say or to conclude his already in love with someone he has just seen. To make things worse Claudio allows his very good friend Don Pedro to woo the woman that he insists he loves, Don Pedro tells Claudio † I know we shall have a revelling tonight I will assume thy part in some disguise, and tell fair Hero I am Claudio,† i think if Claudio loved Hero as much as he says then he wouldnt let another man go woo her; he would r he should confidently tell her how he feels. Even after Don Pedro woo's Hero, there is never a point when Hero and Claudio talk or express their feelings for each other . Like Benedick and Beatrice who's love story is the sub-plot of the story. Beatrice and Benedick fight alot but ina way its inderstandable: but after they were ttricked they actually admit their love to each other Benedick tells Beatrice † I do love nothing in the world so well as you† Benedick even allows to kill his own friend just to prove his love for Beatrice he says, † enough, I am engaged, i will challege him, Claudio shall render me a dear account. That to me is true love. I dont see or feel any of this passion with Claudio and Hero. Another point is when Claudio sees Margret in the window with Borachio and thinks its Hero. His reaction at first is justified, but in my opinion he should have taken time to calm down and go confrim the story for himself. It was stupid to trust Don John again: because when Don Pedro was wooing Hero, Don J ohn went to Claudio and told him he heard Don Pedro went to Claudio and told him he heard Don Pedro swear his affection to her. Borachio then adds fuel to the fire by saying â€Å"so so did i too, and he swore he would marry her tonight. † After he hears this immediately gives up on her because he says † farewell therefore, Hero. † And at the wedding his reaction was too exaggerated if he really loved her, he would not have publicy mistreated and embarassed Hero the way he did, and all these actions just proves how much Claudio does not trust Hero. Another strange event is when Hero's name is cleared and Claudio realises that it was his fault that she's dead. At first his reaction is exactly what you would except what you would except; but after he told Leonato to take revenge, Leonato told him he would marry Antonio's daughter and he immediately agree's to marry her. Hero the woman he claims to love just died and it was his fault, and his already agreed to marry another woman. If he truly loved her he would have told Leonato with all due respect i need time to mourn but he didnt he just agreed to it. but at the same time maybe Claudio wanted to punish himself, because Leonato would remained him of what he did to sweet Hero. With all these poits we cant ignore that there were also some signs that indicated that they were in love. Like in the end when Hero is revealed we could tell also Hero's reaction when she started crying it showed that they definetly had feelings for each other. If i was in Hero's position i would definetly not take Claudio back because he humiliated me infront of my family and friends at my wdding and two he has caused my death . So there is a possibility that they loved each other. This could be an I can live with you and can't live without you relationship. Much Ado About Nothing To what extent is ‘Much Ado about Nothing’ a dramatic representation of the comedy of deception? The title of ‘Much Ado about Nothing’ indicates that there is a lot of fuss over topics which have little importance in the play-for example if Claudio wasn’t rash and hot headed then Don johns ill deceived plan would not of worked at all. The use of deception throughout makes the plot so complex.An evident example is when Don John who operates as a plot-device falsely slanders Hero for his own mischievous behaviour, â€Å"the lady is disloyal† (Act 3 Scene 2, 87-88), (he is not one of Shakespeare’s most complex villain which reminds the audience that ‘Much Ado about Nothing’ isn’t supposed to be a tragedy), countered by Friar’s deception who pretends Hero is dead to get back at Claudio for publicly humiliating Hero. Alternatively, the Friar’s plan to pretend that Hero is dead is yet another illusion created to prevent the truth being told.He knows of the ‘strange misprision in the princes’ yet recommends further plotting. Hero becomes a passive character throughout the play as she does little in the play but becomes an interesting character through the other characters deceptions. Hero is supposed to be the main female character in the play though she has the fewest lines, she only reacts to the actions and commands from the other characters, she hardly acts herself.Even when Claudio publicly humiliates Hero at their wedding she doesn’t defend herself at all meaning the audience won’t question Claudio’s accusations and believe him. Even when the accusations against her are cleared and after she’s witnessed Claudio’s reckless behaviour, she accepts him back into her life without asking for an apology. This exposes Hero’s vulnerability to circumstances and the minimum distinguishing characteristics she has. Though deception is known to be bad it is used to bring out positive results in the play of which are actually artificial and easily undone.An example of a positive result is in Beatrice’s and Benedick’s gulling scenes. The deception in these scenes is used in a comic style; manipulating Beatrice and Benedick into falling ‘in love’ with one another. The use of deception in these scenes is needed as it’s the only way to convince the other characters to allow in their lives. In ‘Much Ado about Nothing’, all of the characters seem to be willing to be deceived; for example Claudio doesn’t think to suspect that Don John may be lotting against him; Benedick and Beatrice seem to change their views on love in both of their gulling scenes; Claudio is willing to marry Hero whom he doesn’t appear to know that well to appease Leonato. Deception is so closely linked into the play that it becomes too familiar to the characters of ‘Much Ado about Nothingâ⠂¬â„¢. Shakespeare shows that deception does not have to be evil in ‘Much Ado about Nothing’; he reveals that it can be used for positive and negative results.However, in the play it is difficult for the audience to differentiate between good and bad deception; During the masked ball, Claudio declares his desire to woo Hero but he’s too nervous, Don Pedro woos Hero claiming its for Claudio’s benefit, Don John uses this opportunity to convince Claudio that he’s being deceived, similar to how the audience temporarily believe. The theatre creates illusions for the audience and also for the characters, which become caught up in these illusions of which they help create for each other.The illusion of Hero’s honour is debated in public by Claudio-she is the ‘sign and semblance of her honour’- for Claudio’s appearances are not only deceiving but amount to honour itself. Furthermore, in the masked ball Benedick and Beatrice flirt with one another, pretending not to know who is hiding behind the mask but in fact are aware of each other’s presence. Another example of masking is when after ‘Hero’s death’; Claudio is made to marry Leonato’s niece (who is actually Hero wearing a mask), Claudio must wed blindly. Hero assumes the mask of passive victim, the masking of Hero exposes how marriage has little to do with love.Claudio’s willingness to marry an unknown person relates to his guilt of slandering the innocent, and the fact he was deceived by male passions not by women, he cares more about appeasing Leonato then marrying for love. Shakespeare uses deceit for neither a positive or negative effect, it is a means to an end. In the period of time of which the play is set, ‘nothing’ was a homophone of ‘noting’. There are various examples throughout the play of ‘noting’ type statements, for instance Claudio notes the scandal with his own eyes.The characters see what they want to see and take note. In the play there is ‘much ado about nothing’; lots of things happen and by the end nothing has changed really. Though Benedick and Beatrice declare their love for each other and they get married, perhaps they already loved each other, but just know it now. Deception is not the result for the mishaps in ‘Much Ado about Nothing’, the main plots in the play occur by the characters susceptibility to suggestion. The characters see what they want to see, they’re no more mislead then which they allow themselves to be.

A key element of unfolding the story in the action movie genre Essay

Violence is a key element of unfolding the story in the action movie genre. It is used to make sense of the narrative for the audience, gradually revealing character traits as well as intentions. In summation to this violence in the action movie genre often follow certain narrative conventions; including binary oppositions, Todorov’s disequilibrium as well as open endings and linear/non-linear narratives. Movies that conform to these stereotypes are often successful, movies such as Die Hard or more censored action movies such as Logan or Deadpool which follow the binary opposition style of narrative where the protagonists aim within the movie is to â€Å"train† to eventually take down the antagonist, oppositions may include – (Good vs. evil, rich vs. poor and man vs. woman) In addition to this the listed movies follow Todorov’s theory of disequilibrium where everything is in one piece until the antagonist is introduced only then will chaos arise. However, action movies that challenge these usual narratives leave options for the audience as to how they think the movie is going to end; movies such as Avatar are examples of this. This importance of violence in action movies are reinforced and undermined in the movies I have chosen to research, these movies include; Avatar, World War Z, 300, War of the planet of the apes, Casino Royale and American Sniper. The listed movies were chosen based on my personal preference for movies whilst taking into consideration the responses that the audience has given regarding the film, I have aimed to choose films within the 15-18 age rating mark to explore to a greater extent of how violence affects narrative in the action movie genre. This essay will analyse how greatly violence affects narrative systems in action films, with particular focus on – ‘Avatar (2009), World War Z (2013), 300 (2006), War of the planet of the apes (2017), Casino Royale (2006) and American Sniper (2014), ’ concentrating on how these titles challenge or reinforce particular action narrative conventions. Regarding the aspect of time in the film, it was Todorov who stated that – â€Å"All stories are based on a change from equilibrium (where everything is in order) to disequilibrium (chaos).† This can be applied when watching Avatar, James Cameron directs the movie with the assumption that the audience knows that everything is in order. Set in the distant future where technology has vastly advanced, a cripple played by Sam Worthington gets the opportunity to explore a ‘new world’ known as Pandora to further learn about their species known as the Navie. James Cameron reinforces Todorov’s theory through Avatar. He does this through Jake Sully (Sam Worthington) who starts learning about the Navie, gradually bonding with their kind, only to be stopped by his commander who seeks to attack the Navie for their land which holds expensive materials, resulting in the Navie to lose their trust for Jake Sully. However, Cameron then challenges this theory by having Jake Sully fill the position of the hero in the film entitling him with the role of a proper protagonist in an action movie as he goes against his commander to save the Navie and the woman he has fallen in love with. The importance of time for narrative can be highlighted by the view that – â€Å"Time can be subverted, altering the story and its effect on the viewer.† This can be applied to Avatar as the main protagonist in the movie enters Pandora through a machine which morphs the conscience from his body into an alternative Avatar body. These scenes are shown to the audience multiple times within the film and are presented in the form of some sort of dream to make a clear distinction between the time in the ‘real world’ and Pandora. Regarding the plot and story of Avatar James Cameron uses violence to clearly illustrate to the audience the binary oppositions within the film, using different genres of music when a ‘good’ or ‘bad’ character appears on the screen as well as using non-diegetic voice-overs of Jake Sully with the intentions of making him appear as an ‘underdog’ sort of character who is rising up and finding a purpose in his life. In summation to this, different shot types are used to highlight certain characters dominance – evidence of this can be seen from when Jake Sully is presented in a worm’s eye view type of shot despite him being a cripple, a sense of nobility is being expressed. It was Jacques Derrida that stated that â€Å"binary pairs were never equal.† He further went on to claim that within any particular culture, one ‘side’ of each binary pair tended to be valued or judged in a more privileged light. This idea is con firmed heavily in Avatar painting the Navie to be a good force and the military/scientists to be the enemy attempting to steal the Na vie’s land and even kill them if they stand in their way. Whether or not violence is important for narrative in the action movie genre, can be further answered by decomposing the movie; World War Z. Marc Forster places Gerry Lane high up on a podium presenting him to the audience to be a strong, brave and heroic protagonist, this is done through the use of backstory given to his character in the movie. Using the information that Forster gives the audience we learn that Lane has a motive for what he is doing and why he is doing it- we as an audience come to learn that he wants to protect his family and the other people close to him all whilst bearing the hopes of the world on his shoulders. With further reference to the plot as a narrative, Bordwell and Thompson stated; â€Å"All we have before us is the plot – the arrangement of material in the film as it stands. We create the story in our minds on the basis of cues in the plot.† This is reinforced in World War Z as it follows a linear narrative but leaves the option open for an open ending in which the audience can ponder on a possible ending for the movie, various situations in the movie allow the audience to do this; the idea is further supported through violence as seen in the opening three minutes of the film where multiple disasters are presented to the audience through a ‘news broadcast’ format, which is used for authenticity and to give the viewer an idea of what the current state of the world is. An example of this further being enforced can be seen during the first action scene that we see in the film, a state of confusion and uneasiness is created by Lane and his wife’s reaction to hearing about the – â€Å"sudden outbreak of rabies† on the radio, this develops into a state of panic when we begin to see everyone running to safety; trampling over people and even going as far as to run over people. The unintentional violence shown here is purposefully added by Foster in an attempt to connote the level of threat in the current situation and how serious it is. In summation to this, this scene can be compared to a later action scene in the film which takes place in Jerusalem; in this case the audience is left to wonder what the outcome of the battle is going to be, Forster doesn’t give the audience an opportunity to easily pick an ending of the scene; he structures the film in a way which presents the antagonists in a superior sense – as seen from the many scenes where the antagonist have the upper hand on the main characters in the film. The scene in Jerusalem shows an injured soldier on the floor with a wound on her arm is an example of this, Lane is presented to the audience in an over the shoulder shot moaning in pain whilst he attempts to console her. Despite this the audience could have conflicting ideas for who would prevail due to characters such as Lane in the film being presented as heroes as seen from his elevated status when he is consoling the soldier, making him the dominant figure in that particular shot. In summation to this, the various triumphs and escapes that the characters make the infected humans support the protagonists prevailing. With regards to the narrative that violence adds in these two scenes, it is clear that violence is important when taking into account the audience’s interpretation of how the next scene will turn out, Foster uses violence as a key element throughout the film to leave the audience sceptical as to what is going to happen to Lane next. In conclusion, I believe that it can be seen from the evidence above that violence is important for narrative in the action movie genre, supporting this would be how violence presents the audience with a binary opposition which ultimately sets the story and plot of the film; violence also reveal certain character traits to the audience and presents them in various lights. However, it can also true that violence is not the key element for narrative in the action movie genre.