Musical Style and Innovations of Beethoven Essay Example for Free

Musical Style and Innovations of Beethoven Essay Musical Style and Innovations Beethoven is viewed as a transitional figure between the Classical and Romantic eras of musical history. Above all, his works distinguish themselves from those of any prior composer through his creation of large, extended architectonic structures characterized by the extensive development of musical material, themes, and motifs, usually by means of modulation, that is, a change in the feeling of the home key, through a variety of keys or harmonic regions. Although Haydns later works often showed a greater fluidity between distant keys, Beethovens innovation was the ability to rapidly establish a solidity in juxtaposing different keys and unexpected notes to join them. This expanded harmonic realm creates a sense of a vast musical and experiential space through which the music moves, and the development of musical material creates a sense of unfolding drama in this space. In this way Beethovens music parallels the simultaneous development of the novel in literature, a literary form focused on the life drama and development of one or more individuals through complex life circumstances, and of contemporaneous German idealisms philosophical notion of self, mind, or spirit that unfolds through a complex process of contradictions and tensions between the subjective and objective until a resolution or synthesis occurs in which all of these contradictions and developmental phases have been resolved or encompassed in a higher unity. Beethoven continued to expand the development section of works, extending a trend in the works of Haydn and Mozart, who had dramatically expanded both the length and substance of instrumental music. As Beethovens major immediate predecessors and influences, he looked to their harmonic and formal models for his own works. However, both Mozart and Haydn placed the great weight of a musical movement in the statement of ideas called the exposition, for Beethoven the development section of a sonata form became the heart of the work. Beethoven was able to do this by making the development section not merely longer, but also more structured. The very long development section of the Eroica Symphony, for example, is divided into four roughly equal sections, making it, in effect, a sonata form within a sonata form. The first movement alone of this symphony is as long as an entire typical Italian-style Mozart symphony from the 1770s. His focus on the development would, like others of his innovations, set a trend that later composers would follow. Although Beethoven wrote many beautiful and lyrical melodies, another radical innovation of his music, compared especially to that of Mozart and Haydn, is his extensive use of forceful, marked, and even stark rhythmic patterns throughout his compositions and, in particular, in his themes and motifs, some of which are primarily rhythmic rather than melodic. Some of his most famous themes, such as those of the first movements of the Third, Fifth, and Ninth symphonies, are primarily non-melodic rhythmic figures consisting of notes of a single chord, and the themes of the last movements of the Third and Seventh symphonies could more accurately be described as rhythms rather than as melodies. This use of rhythm was particularly well suited to the primacy of development in Beethovens music, since a single rhythmic pattern can more easily than a melody be taken through a succession of different, even remote, keys and harmonic regions while retaining and conveying an underlying unity. This allowed him to combine different features of his themes in a wide variety of ways, extending the techniques of Haydn in development (see Sonata Form). He also continued another trend towards larger orchestras that went on until the first decade of the 20th century, and moved the center of the sound downwards in the orchestra, to the violas and the lower register of the violins and cellos, giving his music a heavier and darker feel than Haydn or Mozart. Gustav Mahler modified the orchestration of some of Beethovens music most notably the 3d and 9th symphonies with the idea of more accurately expressing Beethovens intent in an orchestra that had grown so much larger than the one Beethoven used: for example, doubling woodwind parts to compensate for the fact that a modern orchestra has so many more strings than Beethovens orchestra did. Needless to say, these efforts remain controversial. In his Fifth Symphony Beethoven introduced a striking motif, drawn from a late Haydn symphony, in the very opening bar, which he echoed in various forms in all four movements of the symphony. This is the first important occurrence of cyclic form. He was also fond of making usual what had previously been unusual: in the Fifth Symphony, instead of  using a stately minuet, as had been the norm for the dance movement of a four-movement work, he created a dark march, which he used as the third movement and ran into the fourth without interruption. While one can point to previous works which had one or more of these individual features, his music, combined with the use of operatic scoring that he learned from Mehul and Cherubini, created a work which was altogether novel in effect too novel, in fact, for some critics of the time. On the other hand, his contemporary Spohr found the finale too baroque, though he praised the second movement as being in good Romantic style. His Ninth Symphony included a chorus and solo voices in the 4th movement for the first time, and made extensive use of fugues, which were generally considered to be a different form of music, and again unusual in symphonies. He wrote one opera, Fidelio. It has been said that he wrote beautiful vocal music without regard for the limitations of human singers, treating the voice as if it were a symphonic instrument even though his conversation books note his desire to make his music singable and include references that indicate that he had remembered his fathers singing lessons. Beethovens development and works are typically divided into three periods: an early period in which his works show especially the influence of Mozart and Haydn; a middle, mature period in which he developed his distinctive individual style, sometimes characterized as heroic; and a late period, in which he wrote works of a highly evolved, individuated, sometimes fragmented and unorthodox style sometimes characterized as transcendent and sublime, where he tried to combine the baroque ideas of Handel and Bach with his icons Mozart and Haydn. In his late years he called Handel my grand master. In contrast to Mozart, he labored heavily over his work, leaving intermediate drafts that provide considerable insight into his creative process. Early drafts of his Ninth Symphony used rough vertical marks on the score in place of actual notes, to indicate the structure he had in mind for the melody. Studies of his sketch books show the working out of dozens of variations on a particular theme, changing themes to fit with an overall structure that evolved over time, and extensive sketching of counter-melodies.

Ammonium Dihydrogen Phosphate (ADP) Crystals Structure

Ammonium Dihydrogen Phosphate (ADP) Crystals Structure Ammonium dihydrogen phosphate (ADP) crystals are widely used as the second, third and fourth harmonic generator for Nd:YAG and Nd:YLF lasers. It belongs to the tetragonal system with the space group I-42d 1. These crystals are widely used for electro-optical applications such as Q-switching for Ti–sapphire and alexandrite lasers as well as for acousto optical applications2–4. Tris(thiourea)zinc(II) sulphate (ZTS) is a semi-organic nonlinear optical (NLO) material which finds applications in the area of laser technology, optical communication, data storage technology and optical computing because it has high resistance to laser induced damage, high nonlinearity, wide transparency, low angular sensitivity and good mechanical hardness compared to many organic NLO crystals5-8. It belongs to the orthorhombic system with noncentrosymmetric space group Pca21 and point group mm2. Growth, spectral, optical and thermal studies of rare earth neodymium(III) doped ZTS9, cerium(III) doped ZTS10,11 have been reported. We have also investigated the influence of Ce(III)- doping12 effects of ADP crystals. In the present investigation, the effect of La(III)-doping on ADP and ZTS crystals has been studied using FT-IR, XRD, SEM, EDS, UV–vis, thermal and Kurtz powder SHG measurements. ADP (E. Merck) was purified by repeated recrystallization. ZTS was synthesized as reported earlier13. To avoid decomposition, low temperature ( ZnSO4 ·7H2O + 3(CS(NH2)2) à ¯Ã¢â‚¬Å¡Ã‚ ® Zn(CS(NH2)2)3SO4 After successive recrystallization processes, crystals were grown by slow evaporation solution growth technique (pH = 6.2). Doping of lanthanum (5 mol %) in the form of lanthanum(III)- chloride (Aldrich) was used as such in the aqueous growth medium. The crystallization took place within 10–15 days and the high quality transparent crystals were harvested from the aqueous growth medium. Best quality and highly transparent seed crystals are used in the preparation of bulk crystals. Photographs of the as-grown crystals are shown in Fig. 2.2.1. The FT-IR spectra of pure and doped crystals reveal small shifts in some of the characteristic vibrational frequencies (Table.2.3.1.1.) and it could be due to lattice strain as a result of La(III)- doping. The vibrational patterns of lanthanum doped ADP exhibit slight variations as compared with pure ADP. PO4 stretching and bending vibrations are observed at ~1100, ~910 cm-1 and ~453, ~546 cm-1 respectively. Symmetric stretching vibrations of NH4+ ion are observed in the range of ~1407 cm-1. Vibrational peak at ~1280 cm-1 corresponds to OH bending. Broad peaks observed at ~3234 cm-1, ~3120 cm-1 correspond to N–H ·Ã‚ ·Ã‚ ·O stretching vibrations. A close observation of FT-IR spectra of pure ZTS and doped specimens also reveals that the doping results in slight shifts in some of the characteristic vibrational frequencies. It could be due to lattice strain developed as a result of doping. An absorption band in the region 2750–3400 cm-1 corresponds to the symmetric and asymmetric stretching frequencies of NH2 group of zinc(II) coordinated thiourea. The absorption band observed at ~1620 cm-1 in the spectra of pure and doped specimens corresponds to that of thiourea (~1625 cm-1)14 of about the same frequency and it can be assigned to NH2 bending vibration. The CN stretching frequencies of thiourea (1122 and 1502 cm-1) shifted to higher frequencies for pure and La(III)- doped ZTS crystals (~1128 and ~1500 cm-1). The C-S is stretching frequencies (1398 and 712 cm-1)15 are shifted to lower frequencies (~1394 and ~706 cm-1) for pure and doped samples. These observations suggest that metal coordinate with thiourea through The powder XRD patterns of La(III)-doped samples are compared with that of undoped one (Fig. 2.3.2.1). No new peaks or phases were observed by doping with inner transition metal lanthanum. However, a drastic reduction in intensity is observed as a result of doping. The most prominent peaks with maximum intensity of the XRD patterns of pure and doped specimens are quite different. The observations could be attributed to strains in the lattice. The cell parameters are determined from the single crystal X-ray diffraction analysis and the values of pure and doped crystals are given in the Table 2.3.2.1. The ionic radius of the dopant La(III) (117 pm) is very small compared with that of NH4+ (151 pm)16. Hence, it is reasonable to believe that the dopant can enter into the ADP crystalline matrix occupying predominantly substitutional positions without causing much distortion. However, the valance of the dopant is different from the host and hence one cannot expect only the simple substitut ional occupancy leading to inhomogeneous strains in the crystal17. It is also appropriate to mention here that in the case of dopants having a dissimilar valance and size from the substituting element of the host lattice, due to expected strain, even small thermal/ mechanical fluctuations during the growth process lead to easy formation of structural defects18,19. It clearly shows that the crystal undergoes non-uniform strain in the lattice. The cell volume of the La(III)- doped ZTS crystals increased (Table. 2). It could be due to the small ionic radius of Zn2+ (88 pm) in comparison with that of La(III) (117 pm)17. This type of behavior (the unit cell volume of the doped materials not varying regularly with the ionic radius of the dopant) has been explained by the electron-doping effect counteracting the steric effect20. The concentration of absorbing species can be determined using the Kubelka-Munk equation21, The direct and indirect band gap energies obtained from the intercept of the resulting straight line with the energy axis at [F(R)hÃŽ ½]2 = 0 and [F(R)hÃŽ ½]1/2 = 0 are deduced as 5.35 eV and 5.50 eV respectively for ADP:La and 5.37 eV 5.70 eV for ZTS:La (Fig. 2.3.3.1). The effect of the influence of dopant on the surface morphology of ADP crystal faces reveals structure defect centers as seen in SEM images (Fig.2.3.4.1). A plate like morphology with a layered structure is exhibited. The incorporation of lanthanum in the ADP crystal matrix results in cluster of scatter centers and voids than those of the undoped specimen. The flower like morphology is observed in ZTS doped specimens. Pure ZTS contains small defect centers in the plate surface and incorporation of La(III) increases the surface roughness (Fig.2.3.4.1(b)). The incorporation of La(III) into the crystalline matrix was confirmed by EDS performed on ADP and ZTS (Fig.2.3.5.1). It appears that the accommodating capability of the host crystal is limited and only a small quantity is incorporated into the ADP and ZTS crystalline matrix. EDS reveals that the accommodating capability of ZTS is much better than ADP as shown in Fig.2.3.5.1(b). The amount of doping in ADP:La and ZTS:La specimens are estimated using AAS and the foreign metal ion entering into the ADP/ZTS crystal matrix is much smaller but significant. Further, the final dopant concentration within the host lattice is not proportional to the prevailing concentration of dopant in the solution at the time of the crystallization process, since the host crystal can accommodate the dopant only to a limited extent. The AAS data reveal that the La(III) ion concentration in ADP and ZTS crystalline matrix are 7.5 ppm and 11.3 ppm respectively. High incorporation of the dopant takes place in the case of lanthanide doping in ZTS compared to ADP. TG/DTA thermogram reveals the purity of the material. The thermogram curve shows a gradual mass loss and residual mass obtained at 1000 ËÅ ¡C is only 10% Fig.2.3.6.1 (a) An endothermic peak is obtained in the DTA analysis for ADP:La at a higher temperature (200ËÅ ¡C) than the pure ADP crystals (191 ËÅ ¡C). The melting point of the material was confirmed by using Sigma instruments melting point apparatus (200ËÅ ¡C). The investigation shows that there is no physically absorbed water in molecular structure of crystals grown from the solution. The simultaneous TG-DTA curves in nitrogen for ZTS and ZTS:La systems at a heating rate of 20 ËÅ ¡C/min are given in the Fig.2.3.6.1(b). The absence of water of crystallization in the molecular structure is indicated by the absence of weight loss around 100 ËÅ ¡C. The melting point of pure ZTS is 231ËÅ ¡ C. A good thermal stability of ZTS:La is observed up to ~235 ËÅ ¡C and the thermal behavior is not very much altered in the presence of the dopant. The sharp endothermic peak at 235 ËÅ ¡C is may be due to melting point. TG curves show a gradual mass loss and residual mass obtained at 1000 ËÅ ¡C is ~20 %. The sharpness of the peak shows the good degree of crystallinity of the material. No decomposition up to the melting point ensures the stability of the material for application in lasers, where the crystals are required to withstand high temperatures. In order to confirm the influence of doping on the nonlinear optical properties (NLO) of the as-grown crystals, these were subjected to SHG test. The SHG efficiency of the materials was performed by Kurtz powder SHG method22. Input radiation used is 2.5 mV/pulse. The output SHG intensities of La(III) doped ADP and ZTS specimens give relative NLO efficiencies of the measured specimens. The doubling of frequency was confirmed by the green color of the output radiation whose characteristic wavelength is 532 nm and it indicates that the doped material exhibits second order NLO effect. The efficient SHG demands specific molecular alignment of the crystal to be achieved facilitating nonlinearity in the presences of a dopant. Incorporation of La(III) into ADP and ZTS crystalline matrix also enhances the SHG efficiency (Table.2.3.7.1) and hence La(III) is a useful dopant. The efficient SHG demands specific molecular alignment of the crystal facilitating nonlinearity in the presence of dopant or it may be due to the improvement in the crystalline perfection of ADP/ZTS crystals by low level La(III)- doping. The effect of various dopants on the SHG efficiencies of ADP/ZTS has been listed in Table.2.3.7.2. The comparative SHG oscilloscope traces of the powder samples ADP:La (blue) and ZTS:La (red) are displayed in Fig. 2.3.7.1. The influence of La(III) doping on the ADP and ZTS crystal has been systematically studied. The reduction in the intensities observed in the powder XRD patterns and slight shifts in vibrational frequencies in FT-IR indicate minor structural variations in the doped materials. Morphological changes in the doped specimen are observed in the SEM micrographs. The studies indicate that the crystal undergoes lattice stress as a result of doping. Energy dispersive X-ray spectrum reveals the incorporation of La(III)- into the crystalline matrix of ADP/ZTS crystals. AAS studies also confirm the above observations. It is clear that the incorporation of La(III)- is comparatively high in the case of ZTS. The thermal analysis reveals the purity of the material. Enhancement in SHG efficiency is observed in ADP/ZTS as a result of La(III)- doping became of facile charge transfer.

The black death Essay -- essays research papers

What was the Black Death, and what was its impact on European society? The Black Death was a bacterium which was carried by flea infested rats. This disaster spread across Europe quite rapidly. Much accusation for the cause of the plague was pressed onto the Jewish community. The most common plague was the bubonic plague, although the pneumatic plague also existed. This disaster caused economic, social, political and cultural havoc. Approximately 50% of the infested population died, which, was estimated between 19 to 38 million. During this occurrence 25 to 50 percent of the population throughout Europe decreased. The plague began around 1347 and did not end until around 1369. What major problems did European states face in the fourteenth century? There was economic mayhem during 1347-1351 caused by drop in population, which was caused by the immense amount of deaths caused by the Black Death. Peasants salaries were increasing where as aristocrats’ loss around 20 percent of their income. This caused social instability and lead riots. Peasants revolted against the nobles which affected commercial and industrial activities. The political structure changed causing instability. This was due to internal conflicts on who should lead to bureaucracy. How and why did the authority and prestige of the papacy decline in the fourteenth century? The papacy began to lose control when King Philip IV chose to tax the French clergy, without the pope’s consent. The Struggle...

IDA B. WELLS-BARNETT Essay -- Essays Papers

IDA B. WELLS-BARNETT Ida B. Wells-Barnett is first among many. She was a civil servant and fought injustices amongst the black community. Ida was born a slave in Holly Springs, Mississippi in 1862. There she witnessed the Civil War and the dramatic changes it brought to her life. During Reconstruction she found possession of previously unheard-of freedoms, her civil rights. The most dramatic change was the institution of schools for the education of blacks. The establishment of the Freedman’s Aid Society founded by Shaw University, later renamed Rust College, and was where Ida attended classes. Ida possessed an interest in school, and she quickly worked her way through every book in the Rust College library. At an early age she demonstrated leadership and a strong liking to journalism. Growing up in Memphis opened opportunities for Ida to further her education at LeMoyne Institution and Fisk University. Her impact among the Negro community was first felt in May 1884. On her way to work, I da boarded her usual seat on the first-class ladies coach, she was asked by the conductor to move to the forward car, which was a smoker. Wells refused, got off the train, returned to Memphis, and filed suit against the Chesapeake, Ohio, and SouthWestern Railroad Company for refusing to provide her the first-class accommodations for which she paid. In December, 1884 the Memphis Circuit Court ruled in her favor and awarded her $500 in damages. The reaction within the white community was expressed in the Memphis Appeal, â€Å"Darky Damsel Gets Damages† (Klots, 32) Although her success was short lived when the company appealed the case to the Tennessee Supreme Court, which reversed the decision. Wells-Barnett’s willingness to use the courts to challenge Jim Crow laws was well ahead of her time. Using her forceful pen to write of her experience and outcome soon led her to writing regularly for the black press throughout the country. Ida gained a reputation for fearlessness because of her militant opinions she openly expressed in print. Through her writings she was able to influence the black community, nonetheless educate them and sympathizers of injustices against them. The impact of Ida B. Wells-Barnett was felt within the Negro community through her anti-lynching crusade, journalistic writings, and prominent organizations. With the sharpness of her pen... ...tion. Wells-Barnett was a woman with a strong sense of justice. She was the pioneer of the anti-lynching crusade raising her voice in protest, and writing with a fiery pen. She was direct and possessed strength during a time when this was unheard of by a woman especially a black woman. A reformer of her time, she believed Negroes had to organize themselves and fight for their independence against white oppression. She roused the white South to bitter defense and began the awakening of the conscience of a nation. Through her campaign, writings, and agitation she raised crucial questions about the future of black Americans. Today we as black Americans do not rally against oppression like those that came before us. Gone are the days when we organized together, today we live in a society that does not want to get involved as a whole. What we fail to realize is that there is strength in numbers and that we must not lose sight of the struggles that went on before us that granted our civil rights. Sure, gone are the days of Jim Crow and even though there is not a movement that will define this generation it is important to realize that the fight for equality is never over.

power and politics Essay -- essays research papers

Politics and Power Paper   Ã‚  Ã‚  Ã‚  Ã‚  It is not about â€Å"what you do†, â€Å"it is about who you are and who you know†. As employees, we have all heard sayings like this before when it comes to the business world. The â€Å"power and politic† mindset is a direct result of the type of tug of war experienced for millions of years; from prehistoric times through modern day. Ever since Ugha smashed Mugha in the head with a club back in prehistoric times, politics have been around in the workplace. Politics are a subliminal fight for survival and it actually happens in personal lives as much as it does in our work lives. Politics can go hand in hand with power, just as night follows the day. Many of the political situations that occur within a corporation are a result of growth and change. However, part of the task of becoming a viable asset to a corporation is to look beyond the surface and find out where the company is heading as a result of these changes. In this way, employees c an position themselves to be a positive part of the growth and change.   Ã‚  Ã‚  Ã‚  Ã‚  Power and politics go hand in hand in the business world today. The likelihood of gaining power often depends on the ability to read and understand politics. Once power is gained, leaders tend to utilize politics to reach long term goals and visions. Pending on the style of leadership, personal agendas may come into play. While personal agendas are not always a bad thing, they are generally set forth with limited perspective and can potentially result in catastrophe. Because personal agendas restrict the flow of communication and constructive criticism, personal agendas are a major contributor to the negative aspects of power. However, there is far more to be gained than lost with regard to power. Power provides a solid structure and a clear expectation. Since people strive to please, measurable guidelines offer a foundation for success. When power is used effectively, appropriate politics can be set into place to obtain a desired outcome.   Ã‚  Ã‚  Ã‚  Ã‚  Politics are meant to go unnoticed and usually lie beneath the surface. Recognizing politics is half the battle in learning to handle and deal with them. Once politics are recognized there is an opportunity to benefit personally and collectively. Politics can promote the â€Å"I’ll scratch you’re back if you scratch mi... ... has built its reputation on. (Schermerhorn, John R., Hunt, James G., Osborn, Richard N. Organizational Behavior, pgs 1-31).   Ã‚  Ã‚  Ã‚  Ã‚  What can you do to thrive in a political environment? There’s no magic formula, but common sense, fair play and sound judgment are good starting points. Work hard; absolutely. But instead of keeping your head down, keep your antenna up. Instead of keeping your nose clean and not getting involved in any of the politics, use it to sniff out information and opportunities. Instead of seeing power and politics as dirty words, put them to good use for yourself and others. One thing is for sure, power and politics will always survive in the business world, and it is imperative that we as employees find a way to use them to our advantage, because if we do not someone else will. As it is pointed out in one article, the great philosopher Plato once said â€Å"Those who are too smart to engage in politics are punished by being governed by those who are dumber† (Martinez, 2000). References Martinez, M. N. (2000). Politics Come With The Office. Information retrieved on   Ã‚  Ã‚  Ã‚  Ã‚  August 27, 2005 from www.graduatingengineer.com

Cosmo Thinks I’M Fat: Images of Feminity in Women’s Magazines

Cosmopolitan magazine is â€Å"the lifestylist for millions of fun fearless females who want to be the best they can be in every area of their lives. † The best-selling magazine in its category, Cosmopolitan has 58 international editions, is published in 34 languages and is distributed in over 100 countries. Despite its popularity, a number of leading researchers have suggested that the material presented in these magazines can be damaging to the mental state of its readers in numerous ways.After examining the latest issue of Cosmopolitan magazine, it appears that while there are several examples of degrading advertisements and features a majority of the ads are neutral or positive in tone and help define a more modern, feminist woman. The November 2010 issue of Cosmopolitan definitely displayed a number of advertisements that displayed overtly sexualized images of women. One ad for Skyy Vodka showed a bottle of the vodka situated suggestively between the legs of a woman weari ng red leather boots.An article about Kary Perry has her laying in bed with ample cleavage with a caption reading â€Å"This cleavage is Cosmo-approved. † Jean Kilbourne contends that advertising content can affect people in deep and possibly hurtful ways. â€Å"Sex in advertisting is pornographic because it dehumanizes and objectifies people, especially women. † (Kilbourne) When people are constantly bombarded with images of objectified people–whether men or women–they are conditioned to see each other in dehumanizing ways.This means that the attitudes that can lead to sexual aggression are normalized. Kilbourne maintains that â€Å"Ads don’t directly cause violence, of course. But the violent images contribute to the state of terror. And objectification and disconnection create a climate in which there is widespread and increasing violence. † Kilbourne shows concerns about two trends in fashion and advertising that she cites as cultural re actions to the women’s movement. The first is the increase in images of violence against women.This is seen in an ad for Belvedere Vodka that depicts a woman blindfolded being led to a martini glass with a toothpick with two olives-a phallic representation. The second reaction Kilbourne notes is the increase of violent images depicting children–especially young girls. An ad for JC Penny showed two very youthful models dressed as young school girls ad looking vulnerable. These ads seem to suggest that the age of the objectification of women does still exist within the advertising world.Although some parts of the magazine may have objectified women featured, there were actually more displaying positive female role models. Advertisements for Dove body mist and deodorant portrayed women of different healthy weights, shapes and ethnicities- not for sexual gratification but to show confidence. Their contender, Secret, used the motto â€Å"When you’re strong, you spar kle. † However, the most positive image might have come from the Nike â€Å"Make Yourself† campaign. There were two ads from this campaign in the latest issue of Cosmo.The first read â€Å"Make yourself- Strong† and showed an image of Olympic Track and Field Medalist Allyson Felix. The second read Make Yourself Proud and featured professional dancer Sofia Boutella. This grouping provides a diversity called for by Wolf If the icon of the anorexic fashion model were one flat image out of a full spectrum in which young girls could find a thousand wild and tantalizing visions of possible futures, the icon would not have the power to hurt them. What this suggests is that even though there were some negative images, the range of role odels helps to allow women to find whatever they need to find themselves within the pages of the magazine. According to Kilbourne, our culture defines femininity and masculinity in a way that narrows accepted gender roles. The popular cult ure usually trivializes [relational skills] in women, mocks men who have real intimacy with women and idealizes a template for relationships between men and women that is a recipe for disaster: a template that views sex as more important than anything else, that ridicules men who are not in control of their women, and that disparages fidelity and commitment.These stereotypes of masculinity are found over and over throughout the magazine. A story about Alex Rodriquez reads â€Å"Right now, there’s no guy sexier than A-Rod. Baseball fans are obsessed with him, and three of Hollywood’s most gorgeous women have fallen for him. † Some other comments throughout the magazine bring to mind disturbing images if they had been aimed at women rather than men. ? Brad Pitt: It’s hard to tell who has more testosterone: Brad or his chisled Megamind character Metroman ? Chris Pine: He’s starring in this month’saction packed flick Unstoppable Oh, did e mentio n he takes his shirt off too? ? Fernando Verdasco: Speaking of shirtlessness, this top-ranked tennis hunk has been posting pec-tastic images of himself on Twitter ? Enrique Iglesias- We have mixed feelings about the fact that he used a fan’s camera during a concert to take a shot of his crotch. Rude! But can we see it? In a context where the subjects were women these comments would be extremely unnerving. The significance of these observations appears to show that while the objectification of women may be on the decline, it is on the incline for men.The fight for equality is succeeding, to the detriment of the male gender. Unfortunately, even Kilbourne minimizes the effect that this can have on men. There is a world of difference between the objectification of men and that of women. The most important difference is that there is no danger for most men, whereas objectified women are always at risk. Sometimes risks are more than just physical. Also, the assumption that all men are larger and/or stronger than women seems just as narrow as many other assumptions made in the past.

Komeo and Ouliet act 1 scene 5 evaluation Essay

Act 1 scene 5 of Romeo and Juliet takes place in the house of lord and lady Capulet during the preparations for the Juliet’s engagement party and during the party its self. It is where Romeo and Juliet first meet before they realise who each other are and after they find out about each other. It is the basis of the whole play it is where Romeo and Juliet meet and fall in love with each other, it is where tybalt develops a grudge for Romeo â€Å"I will withdraw: but this intrusion shall now seeming sweet convent to bitter gall† this quote shows that he will not take any action for now but will do something later on. Shakespeare uses this party as a backdrop to what is arguably one of the most important scenes in the play because there it creates a atmosphere of tension and love, all the major events that happen later in the play can be traced back to this moment from Romeos banishment to Juliet drinking the poison to both of there deaths. This scene begins with the servants running around in a panic trying to get ready for the up coming party they are also in a panic because they cannot find potpan who is another servant â€Å"where’s potpan that he helps not to take away† this quote shows that they are very frustrated with the preparations for the party this is further reinforced by there constant use of short sentences and blunt orders e. g. â€Å"Away with the joint stools, remove the court cupboard†. Parties were traditionally used as settings for important events in many dramas at the time Shakespeare was writing Romeo and Juliet and as such the audience would be anticipating an exciting or important event so the scene would be set for the star-crossed lovers to meet. As Lord Capulet and Juliet enters the room Shakespeare changes the focus from the servants to Lord Capulet welcoming his guests it is at this point that the audience is beginning that something pivotal is about to happen. He is in a very jovial mood wanting people to dance with him â€Å"Ladies that have their toes unplagued with corns will have a bout about you, which of you will now deny a dance†. The audience is now expecting something important to happen because there are many actors on a very busy stage all dressed in extravagant costumes. After Capulet is done welcoming his guests the viewpoint switches to Romeo as he starts talking to one of the serving men asking about Juliet, This is a point of immense dramatic irony as Romeo begins to fall in love with Juliet before he even knows who she is and that she is the daughter of his family’s greatest enemy and the audience begins to get an ominous feeling as they know that this love can only end in tragedy, In his soliloquy Romeo uses many forms of imagery to describe Juliet such as â€Å"snowy dove trooping with crows† the snowy dove indicates beauty and grace where as the crows mean ugliness so the quote implies that Juliet is the one drop of beauty in a cloud of ugliness and also â€Å"she doth teach the torches to burn bright† it shows that compared to everything else she shines out like a star against the blackness of space And â€Å"And, touching hers, make blessed my rude hand† means that until he touched her hand he was dirty and ugly but since he touched her hand he has felt blessed and clean. The above quotes show that his love for Juliet is true love and will never be extinguished and not just a passing lust as was his love for Rosaline, which was more of a circumstancuial lust. When Tybalt hears Romeos voice he is immediately angered to the point in which he wants to kill him â€Å"This, by his voice, should be a Montague. Fetch me my rapier, boy† and â€Å"to strike him dead I hold it not a sin† it means that he finds it ok and not sinful to kill Romeo because he is doing in for his family’s honour and so it would be ok in the eyes of god. The audience will now start to get worried about Romeos safety and would be concerned about for the future of him and Juliet But as Lord Capulet hears him storming about Romeo he ask what is a matter â€Å"why how now kinsman wherefore storm you so? † Tybalt then tells him that Romeo is at the party â€Å"uncle this is a Montague, our foe a villain that is hither come in spite to scorn at our solemnity this night† but then Capulet tell him that he doesn’t want his party ruined by violence and to let him stay â€Å"let him alone he bares him a portly gentleman† and â€Å"he shall be endured what, Goodman boy! I say, he shall: go to, am I the master here or you? † this last quote is more of a threat not to ruin the party and to leave him be than an order to leave him alone. When he accepts his uncle’s wishes he says â€Å"I will withdraw but this intrusion shall now seeming sweet convent to bitter gall† this implies that he will let Romeo go for now but sooner or later there conflict will have to come to violence. It is now that Shakespeare switches again to the viewpoint of Romeo as he starts talking to Juliet it is at this point that the audience know that they are both about to fall in love but as Juliet talk they do not yet know that they are both from enemy family’s and that there love will never be allowed, but as Romeo proclaims his love for Juliet â€Å"if I profane with my unworthiness hand this holy shrine, the gentle fine is my lips, ready stand to smooth that rough touch with a tender kiss† it is from this point on that the audience know that the two are destined to be lovers but that they are both doomed to death. It is at this point that the nurse comes and takes Juliet away telling her that her mother needs a word with her â€Å"madam, your mother craves a word with you it is here that the nurse informs Juliet that Romeo is a Montague â€Å"his name is Romeo, and a Montague the only son of your great enemy† the audience may now begin to understand the future complications that may arise as there true identities are brought into the light such as the problem of the nurse having to go with Juliet to all her meetings thus making it impossible to do anything in secret. The party comes to an end as all the guests begin to leave Lord Capulet is disappointed that the guests are leaving â€Å"Nay gentlemen, prepare not to be gone we have a trifling foolish banquet towards† but he is still in good sprits after the party even after his argument with Tybalt â€Å"I thank you honest gentlemen; goodnight, more torches here come on lets to bed† it is here that all the other characters exit the stage leaving only Juliet and the nurse onstage with the audience expecting the climax of the scene when Juliet discovers who Romeo really is Shakespeare. Makes use of dramatic irony very well in this scene leaving it until the very end of the scene to divulge the information to Juliet as she finds out of his true identity â€Å"his name is Romeo he is a Montague the only son of your great enemy† she uses several oxymoron’s to get her shock and heart ache across to the audience â€Å"my only love sprung from my true hate† if she truly hated him how could she ever love him? â€Å"To early seen unknown and known too late† meaning if she had know who he was from the start she may never of fallen in love with him but now she has fallen in love it doesn’t matter who he is, this dramatic end shows that she loves him so much and that he loves her that they will do anything to be together even if it means upsetting there families or leading to her eventual death as it eventually does. This scene is central to the rest of the play because without this scene they would never of met and every major event in the play depends on them meeting such as when he climbs under her balcony and stating the immortal words. â€Å"Romeo, Romeo, where fort art thou Romeo† to the wedding through to Romeos exile and to both of there eventual deaths. In my opinion this scene makes very good use of dramatic irony using in perpetuity throughout the scene.