The Yellow Wallpaper Analysis Paper

Individuality and the importance of upholding women’s rights, such as viewing a woman as a respectable, free-willed human being, are the essential truths established in Charlotte Perkin Gilman’s â€Å"The Yellow Wallpaper. † Through the development of the narrator Gilman uses symbolism and imagery to awaken the reader to the reality of what a woman’s life was like in the 1800’s. Analysis of the symbolism throughout the story reveals that the author was not only testifying to the social status of the women in society but specifically giving insight into her personal life, and what she was subjected to. What appeared to be a mere, contrite story to many readers, was actually a successful strike at the wrong mindset that society possessed at that time. The narrator was a woman who experienced these difficulties. Living in a house with her husband, John, she was confined to a spacious, sunlit room that contained hideous yellow wallpaper that she despised. Against her better judgment she was not permitted to write, draw, or work, but simply rest. Soon the wallpaper she detested became her only stimulus. She examined it by day and night, and began to see patterns develop and figures form. The vague figures took the shape of a woman trapped behind bars, constantly searching for a way out. The narrator sympathized with the enslaved woman, and began to contemplate ways to save her. The narrator becomes paranoid around her husband and the babysitter who she thinks are also trying to unmask the wallpapers true meaning. Finally the narrator becomes frantic and is reduced to a state of disillusion. The author draws the story to an end, with the narrator tearing down the wallpaper and exclaiming that she finally released the woman behind it. The wallpaper itself was not the cause of the narrator’s madness. Her husband thought that she was suffering from a nervous depression and concluded that it was in her best interest to be prescribed the rest cure, confined to a room and isolated from her normal activities. This confinement and lack of freedom to live a normal life drove the narrator to examine the wallpaper, which was her only individual freedom left. Because of the narrator’s madness, she was unable to make the connection between the woman behind the wallpaper and herself. The narrator felt trapped, like the woman in the wallpaper, due to her domineering husband, her lack of individuality and personal freedom of choice, as well as the prejudices suppressing her from society at large. The narrator’s life was parallel to the author’s life. Gilman, like the narrator was subject to a confinement, cut off from society. She found individuality and freedom through her writing but it was abruptly ended by a doctor’s diagnosis stating that these activities were not healthy. The doctor prescribed the rest cure for Gilman; she was to live â€Å" as domestic a life as far as possible, to have but two hours intellectual life a day, and to never touch a pencil, brush or pencil again. † She went home and followed the doctor’s orders for 3 months, and became even more mentally unstable than before. Soon she decided to break the doctors orders, and began to work again, and to continue her previous routine of everyday life. Gilman’s decision to exert her God- given ability to choose what she thought best resulted in her becoming a strong individual. She wrote the â€Å"Yellow Wallpaper† as an attempt to change the way women were viewed and to express the importance of individuality. Her purpose â€Å"was not intended to drive people crazy, but to save people from being driven crazy. † The author succeeded in her attempt to convey the need for individuality. Several times throughout the story, the narrator expressed her want to write, work, spend leisure times outdoors, and to leave the room. Her failure to carryout her desires resulted in insanity. Not only did she have her husband working against her, but she also had society’s opinion at large to her disadvantage. During the 1800s, the only â€Å"right† workplace for women was at home. Women were viewed as incompetent, and as beings that were not able to think for themselves. The narrator in the â€Å"Yellow Wallpaper† knew nothing in her husband’s eyes. Her feelings were not relevant, but were instead pushed aside and counted worthless. Although the narrator never came to grips with the need for individuality, the reader can imagine how different the circumstances may have been if she had exercised her right to think and act freely. Thinking and acting freely was a rare occurrence in the women at large in the 1800s. In the first part of the short story on page 437, the narrator states â€Å"Personally I disagree with their ideas. Personally I believe that congenial work, with excitement, and change, would do me good. But what is one to do? † The narrator reveals her lack of confidence and of individuality when she remarks â€Å" But what is one to do? † She constantly discounts her feelings and continually discredits herself of any self- confidence she has left within her. Further down the page she articulates her hatred for the room and expresses her desire to move to another room downstairs, but once again places her feelings aside by saying â€Å"But John would not hear of it. † The author also succeeded tremendously with the symbolism of the woman trapped behind the wallpaper. The woman trapped behind the yellow wallpaper symbolizes the narrator’s fear of confronting her husband with her opinions and feelings, and also the desire to escape the room she finds herself in. Many women during this time had similar feelings to that of the narrator in the â€Å"Yellow Wallpaper. † The author set out to alter the mindset in women during her time. In this short story the woman trapped behind the wallpaper not only represents the narrator, but the majority of women in that time. On page 444, the author writes â€Å"Sometimes I think there are a great many women behind the wallpaper, and sometimes only one†¦ And she is all the time trying to climb through. But nobody could climb through that pattern- it strangles so. I think that is why it has so many heads. † This excerpt symbolizes the way women felt in her time. The way of thinking about women in that time was so strong, that not one woman thought they could escape the false stereotype that they had adopted unwillingly. In the author’s opinion, many women felt trapped and depressed, but felt that they could do nothing about it. It is evident that the author urged all of her women readers to escape the spirit of the opinions and notions of her time period, and to be an individual who expressed their feelings freely. Charlotte Perkins Gilman sought to communicate that women should be respected on the same level as men, and that women also had the ability to think rationally and independently. Thorough examination of the symbolism found in this short story finds that individuality is of utter necessity in overcoming difficult obstacles. The author’s attempt to teach women this principle succeeded in one of the greatest ways possible. Women of the past and present have escaped the stereotype of a typical 1800s woman and have created for themselves a workplace outside the home.

Hamas Victory

The international community should continue with its restrictive policies towards Hamas even after it has recorded huge victories in the Palestinian’s election. Hamas has in the past declared its open hostility principle towards Israel its interests especially in the Middle East. Unless it openly denounces such ideas, it should continue to be treated as a terrorist group. Hamas is also referred to as the Islamic Resistance Movement. It practices both party politics and militarism. It is its later mission that has seen its branding as a terrorist organization by nations such as United States, Australia, Canada, United Kingdom and Israel amongst others. The European Union has also blacklisted it for exhibiting terrorist tendencies. It is currently having its moment of glory in Palestine having recorded surprise wins in the parliamentary elections that astounded many especially across the western world (Levitt, Matthew, 2006). The history of Hamas dates back to 1987. Its formation is known to have been inspired the Muslim brotherhood, a group reputed to have committed countless terrorist acts towards the Israelis. Hamas is said to have been formed by Sheikh Ahmed Yassin with a sole objective of annihilating the state of Israel and forcing its total withdrawal from the disputed Palestine territory. This is what its charter stipulates. It is credited for having been the mastermind and perpetrator of violence against the Israelis and their interests all over the world, these acts are meted out with impunity only equaled to that of al Qaeda. Together with Al Qaeda, Hamas leads the list of the worst terrorist organizations in the world (James L. Gelvin, 2005). After winning the elections in 2006 and assuming power, it issued a 10 year truce to Israel and vowing to let go temporarily, its suicide missions if the later withdrew from the disputed territories of Gaza, Jerusalem and West bank. This however was not the first truce as again in 2004, it had offered a truce if Israel could totally withdraw from the territories it captured during the Six Days War. This truce however was not held for long as it attacked Israel later in August 2005. Hamas had opted out of the presidential election in 2005 running for the municipal ones where it took control of some important territories. In the parliamentary elections the following year, it was able to garner over 42 percent securing majority seats. Hamas has been accusing Israel of violating the stipulations on the road map that had posited the formation of a Palestinian state, its feud is not limited to Israel only but also to the United States and is ready to wage terrorist attacks against the U.S in 2006 for example, a statement issued by the Hamas officials but later denied, urged the Muslims to target America and its interests all over the world, accusing it of providing financial and logistic support to the Israelis. Hamas officials though, have never owned up to any attack against the United States or to any other country apart from Israel (Lynfield, Ben, December 27, 2004). Its Democratic election into power has thrown a spanner in the works complicating relations with major powers in the world as well as the neighboring countries in the Middle East. Major countries in the western world have always branded Hamas as a terrorist organization. Japan for instance froze all Hamas properties within its jurisdiction in 2005. Jordan has in turn outlawed it due to its terrorist activities. All this animosity is directed to a political and terrorist organization that according to polls conducted in 2007 enjoys over 65% of popular support of Palestinians. The wide public support it has received stems from how it has initiated reforms in morale dilapidated country. It is rooting out massive corruption entrenched in the bureaucracy and order is being restored in the disputed territories. The bloody counter retaliations between the Hamas and Israel however continue, with both sides maintaining their hard stance. With grim prospects for a peaceful co existence, the issue of Hamas leadership in the Palestine state remains a headache for the western countries. Hamas has initiated a number of attacks this year killing a handful and maiming many in the region. It has perfected the art of guerilla warfare employing it tactfully against Israel. It is also accused of executions within its file and rank and also against its key rival, the Fattah. The United States however has been categorical in its stand even in the face of possible political realignments in the Palestine state. One state department spokesman said that the United States still maintains Hamas in its terrorist organizations’ list. The election has not changed this unless Hamas denounces its atrocious acts (Michael P. Arena, Bruce A. Arrigo, 2006). It is more than apparent that the United States is dismayed by the results but was quick to praise the temporal peaceful coexistence of people in Palestine. It is interesting to note that the Bush administration was non committal of the elections in Palestine as the prospects of Hamas loosing seemed grim. All this however is in the midst of reports in the media that the United States government together with president Mahmoud Abbas had planned to oust the Hamas leadership from the government. This was in an effort to overturn the gains made by Hamas. Hamas has been largely blaming the United States for funding and arming the Fattah combatants in its bid to water down its recent reigns (Tiebel, Amy, 2007). Some nations in Europe are caught between a rock and a hard place. There is a need to legitimize the democratic process that brought Hamas to power but also these countries are wary of an organization that has been labeled a terrorist group. Europe is divided. Berlin and the United Kingdom are adamant that they will have no relations with the Hamas. Russia however on the other hand welcomed Hamas leaders in Moscow, Turkey has also followed suit. Since its formation in 1987, Hamas has grown massively and seems to have stricken a chord with most Palestinians as evidenced in the latest elections. The greatest supporter of Hamas and financial bankroller is Iran. This is its vocal supporter but it has always denied claims of providing finances as alleged by the United States. The coming to power of the Hamas was met with elation from President Mahmoud Ahmadinejad of Iran who vowed to back the country financially. The United States claims that Hamas is funded by some Arab countries as well as private businessmen. Most of these countries maintain anti United States stand and are in support of any group that is likely to maintain hostility against Israel. The elevation of Hamas into power legitimizes the relations that Hamas may have had with those countries (Andersen, Mark, 2004). Iran has vowed to commit funds to help the democratically elected government in Palestine. Most of those countries that support Hamas are doing so on the claims of strengthening democracy and seeing it as a solution to the disputes in Middle East. It is obvious that the coming into power of Hamas has complicated the relations that most nations have had with it. Many are in a dilemma on whether to initiate diplomatic contacts with its members or to deal with the president directly. However putting into consideration what Hamas has always stood for, the stand by America and Germany is the way to go, no negotiations of any sort or diplomatic relations should be instituted until Hamas denounces its acts of terrorism and its stand against Israel. References Levitt, Matthew, 2006. Hamas: Politics, Charity, and Terrorism in the Service of Jihad, Yale University Press. James L. Gelvin, 2005. The Israel-Palestine Conflict: One Hundred Years of War, Cambridge University Press. Lynfield, Ben, December 27, 2004. Hamas gains grassroots edge, Christian Science Monitor. Andersen, Mark, 2004. All the Power: Revolution Without Illusion, Punk Planet Books. Tiebel, Amy, November 27, 2007. â€Å"Analysis: Tough Mideast Bargaining Ahead†, Associated Press. Mark Weitzman, Steven Leonard Jacobs,2003. Dismantling the Big Lie: the Protocols of the Elders of Zion, KTAV Publishing House. . Michael P. Arena, Bruce A. Arrigo,2006. The Terrorist Identity: Explaining the Terrorist Threat, NYU Press.

Analysis of the Poem “Variations on the Word Love” Essay

The writer of the poem Margaret Atwood was born in November 18, 1939 in  Ottawa, Ontario, Canada. She is not only a poet, but also a novelist, a literary critic,  an essayist and an environmental activist. And she is an excellent writer, a winner of the Arthur C. Clarke Award and Prince of Asturias award for Literature. Her genres of writing include historical fiction, speculative fiction, science fiction, and dystopian fiction. The theme of the poem â€Å"Variations on the Word Love† by Margaret Atwood  is that there is a wide range of types of love that are expressed differently. The poem mainly composes of two parts. Firstly, she explores the word â€Å"love† and how widely it is nowadays used. And secondly, Atood related her own personal experience about love. In the first stanza, Atwood described the commercial side of love, making â€Å"love† seem insignificant. An example would be one of her line: â€Å"for those red heart-shaped vacancies on the page that look nothing like real hearts.† This line shows that how commonly that the symbol of love is used in commercial ways, thus depreciating the value of love. Later in the poem, Atood also described the patriotic feeling that soldiers in the battle fights upon in the line â€Å"they shout it. Love! Love! Sing the soldiers, raising their glittering knives in salute. This shows that there are other types of love exist beside the romantic ones. As well in the last stanza, Atood explored her relationship with her husband within the topic of the deep connection they shared with each other. Through the poem, Atwood had revealed several forms of love, and how love can take on different meanings. She portrayed the theme effectively through her outstanding writing. Many poetic devices were used in the poem include enjambment, repetition, and imagery. Enjambment is used throughout the whole poem. For example, in the last line, Atwood used line breaks abruptly and meaningfully to emphasize  the phrase â€Å"hold on or let go†. This invites the readers to focus on the struggles of love. Also, the poetic device, repetition is also used in the poem. The word â€Å"love† is repeated several times in line 11, 19, and 34. In line 23 and 24, â€Å"too† is also repeated. And in line 34, repetition is used through the word â€Å"again†. Some examples of imagery are used in this poem as well. Such as in line 19 and 20 of the poem, Atwood describes soldiers’ love for their country through a very vivid image â€Å"Love! Love! Sing the soldiers, raising their glittering knives in salute.† Another example would be in line 31 to 36 of the poem, the complicated feeling of love was described by Atwood as â€Å"Itâ€⠄¢s a single vowel in this metallic silence, a mouth that says O again and again in wonder and pain, a breath, a finger-grip on a cliffside.†

Critical Response Essay Example | Topics and Well Written Essays - 1000 words - 1

Critical Response - Essay Example Also, the author points out the similarity of the case to the inclusion of the phrase â€Å"In God we trust† in the United States dollar; however, Wilde distinguishes this similarity as inverted as she contends that the focus is absolutely different: the In God we trust in US dollar is employed for business undertakings while under God in the Pledge of Allegiance is used in recitation of loyalty. While the author makes manifold convincing points in her article, there are three most salient points that should not be overlooked: (1) the phrase â€Å"under God† is descriptive of something; and that description, while does not attempt to establish a religion, creates a link to the deeply-embedded Christian heritage of America; (2) that â€Å"under God† and â€Å"In God do we trust† are phrases that are used distinctively for very different purposes; (3) Many Americans do not believe in God; as a matter of fact, â€Å"70 or 80% of the Americans are atheistâ₠¬  (Wilde 2). Therefore, there is more reason for the rewording of the Pledge of Allegiance as not everyone is willing to identify themselves with the included phrase. â€Å"Under God† is descriptive of something and it is divisive Since 1954, the Pledge of Allegiance reads: â€Å"I pledge allegiance to the flag of the United States of America, and to the Republic for which it stands: one nation under God, indivisible, with Liberty and Justice for all† (Djupe 329). Wilde is persuasive in the fact that the phrase â€Å"under God† is descriptive of something; and that description is something ironical to the intention of the pledge: notice the phrases â€Å"with Liberty and Justice for all† – the First Amendment of the United States constitution strongly prohibits the establishment of religion in any law that the Congress would intend to create. In this regard, it can be observed every American citizen, whether an permanent resident or a citizen, sh ould be given complete justice and liberty, including religious liberty and the right to exercise their religious freedom; nevertheless, the fact that the Pledge of Allegiance is for every American citizen to recite, whether they are willing to do it or not, it breaks the intention of the pledge that there is justice and liberty for all considering that not everyone believes in God and yet everyone are deemed to recite it. Even if they choose to be silent in the phrase when reciting the pledge, why should they be silent in the first place? While Chief Justice Rehnquist calls the phrase â€Å"under God† as a â€Å"descriptive phrase†, he was not able to specify what the phrase is describing. Granting that the Chief Justice was right, for the sake of argument, it could then be inferred that the phrase is descriptive of monotheism - something that denies many non-Christian Americans to conform to the law; and thus, a political harassment of some sort. Since it is a pledge intended for the people of the United States of America, then no one is exempted from it, including atheists. By and large, the wordings have fallen short of the real character of America: a land that is free. How can a country that claims to be free, with â€Å"Justice and Liberty for all† would make an act that is discordant for its people? The solution may be just be a revision of the pledge itself and nothing more. â€Å"

Data Analysis & Research Methods Essay Example | Topics and Well Written Essays - 3750 words

Data Analysis & Research Methods - Essay Example 263). Apparently, ‘r’ is very close to zero, which means that the two variables have no relationship. In other words, support for the new waste policy has no statistical relationship with the volume of waste produced prior to the policy’s introduction. The other inference drawn from the analysis is that r is positive, meaning that â€Å"as one variable gets larger the other gets larger† (Conover, 1980, p. 263). However, since we have concluded that the two variables have no statistical relationships, then the positive relationship is spontaneous and hence has no scientific meaning (Croxton, Cowden & Klein, 1968). To better understand the correlation of coefficients, it is important to square them to get the proportion of the disparity in one variable that is associated with the variation in the other variable. In this case, the percentage is extremely small (0.00002%), which again adds evidence that the two variables have no relationship. These statistics r eveals that the volume of waste that the staff generated prior to introduction of the new policy does not have any influence in the manner in which they embrace the new policy. Embracing of the new policy, in this case, is determined by question six, which asks â€Å"How many times per week do you visit the central re-cycling bins to deposit waste of the central waste bins?† Question A (b) Assumption: 3 = yes, close enough, 1 = No, too far away (this means that a positive correlation should imply that support for new policy in positively related with convenience. respondent Question 4 Question 6 X Y X*X Y*Y X*Y 1 3 3 9 9 9 2 3 12 9 144 36 3 1 6 1 36 6 4 1 4 1 16 4 5 1 5 1 25 5 6 3 7 9 49 21 7 1 8 1 64 8 8 1 6 1 36 6 9 1 17 1 289 17 10 1 21 1 441 21 11 1 2 1 4 2 12 3 7 9 49 21 13 3 5 9 25 15 14 1 5 1 25 5 15 1 8 1 64 8 16 3 4 9 16 12 17 1 9 1 81 9 18 3 12 9 144 36 19 1 19 1 361 19 20 3 13 9 169 39 21 3 4 9 16 12 22 1 15 1 225 15 23 1 17 1 289 17 24 3 7 9 49 21 25 1 10 1 100 10 26 3 3 9 9 9 27 3 12 9 144 36 28 1 6 1 36 6 29 1 4 1 16 4 30 1 5 1 25 5 31 3 10 9 100 30 32 1 8 1 64 8 33 1 6 1 36 6 34 1 10 1 100 10 35 1 23 1 529 23 61 313 139 3785 511 N= 35 ?X = 61 ?Y= 313 ?XY =511 ?X2 =139 ?Y2=3785 Null hypothesis: there is enough evidence to show that support for the new waste policy was related to the convenience of the re-cycling bins’ location? Perform statistical tests to investigate these questions fully. Correlation(r) = [N?XY - (?X) (?Y) / v ([N?X2 (?X) 2] [N?Y2 - (?Y) 2])] r = [35*511-61*313/v ([35*139*3721] [35*3785-97,969)] r = -1208/790348.4 r = -0.002 r2=0.004 = 0.4% The coefficient of correlation between convenience of the re-cycling bins’ location and support for the new waste policy is -0.002, which means that when the location is more convenient, less people will support the policy. However, the coefficient is quite far from -1, therefore, the two variables are not closely related. The square of the coefficient is 0.4%, which mea ns that only 0.4% of the variance accounts for this relationship, while the rest 99.6% is due to sampling errors. In reality, it would be hard to find people failing to support the policy when it is more convenient, while they support it when it is less convenient. Therefore, we could conclude that the statistical relationship is largely because of sampling errors, and hence not a true representative of what could happen in the population (Rosner, 2000). Is there any evidence

LEGAL unit7 Essay Example | Topics and Well Written Essays - 250 words

LEGAL unit7 - Essay Example 1). This regulation was included in the Code of Federal Regulations as Title28 Code of Federal Regulations (C.F.R.), Part 25 (Federal Bureau of Investigation par. 2). This agency was selected because it is one of the most visible and renowned agencies given the paramount tasks of protecting and safeguarding the interests and welfare of the United States. The state administrative agency selected under the State of New York is the Office of Mental Health whose mission was stipulated as â€Å"to facilitate recovery for young to older adults receiving treatment for serious mental illness, to support children and families in their social and emotional development and early identification and treatment of serious emotional disturbances, and to improve the capacity of communities across New York to achieve these goals† (Office of Mental Health: New York State 4). One of the enacted and adopted regulations is â€Å"Part 578 - Medical Assistance Rates of Payment for Residential Treatment Facilities (RTF) for Children and Youth, (where) the rule amended 14 NYCRR Part 578 by freezing the rate of payments to RTFs licensed under Article 31 and issued an operating certificate in accordance with 14 NYCRR Part 584. The rate freeze is effective as of July 1, 2012, and continues the rate of payment in effect as of June 30, 2011. The rule was adopted as final on July 25, 2012† (OMH: Adopted par. 2). This state administrative agency was selected because one acknowledged that addressing the mental health condition of the local community is crucial for peace and order condition of the state. —. "Responsibilities of a Federal Firearms Licensee (FFL) Under the National Instant Criminal Background Check System (NICS)." n.d. fbi.gov. 16 August 2012 . Office

Modern women in modern songs Essay Example | Topics and Well Written Essays - 1250 words

Modern women in modern songs - Essay Example As it is, the song invites men to become insensitive to women and it gives men the right to treat women badly under the premise that women are liars and that they cannot be trusted. To give us a clear picture of the way the artist sees women, let us take a look at the lyrics of the song, the tempo of the music, the style, the phrasing and the tone. II. The Anatomy of the Song The song â€Å"Superman† is divided into three parts, namely the intro, the verses and the choruses. To put the song in context, the singer tells the listener about his experience with women and how his experience shaped his opinion about the female population. Although the singer did not really expound on what sad or bad experience he had with women, from the tone of his song, one can clearly see that this person does not trust the female specie and that he does not want to be in a serious relationship with any of them. The song starts with a woman’s voice moaning in the background and Eminem rapp ing in multisyllabic rhymes. Eminem rap along the beat of the drum as he delivers his lines in a rhythmic pattern. The voice of the woman moaning gives the intro of the song a sexual context which picture women as creatures who are meant to sexually satisfy the male. This personification of the female is rather disturbing as females are complex creatures and although they may have a sexual side to them, this sexual side does not define them as persons. Note that as complex creatures, women are capable of a lot of things and to box them in as sexually charged creatures moaning with pleasure is demeaning. The rhythm of the background music does not change much as the song graduate from the introduction and move into Chorus A. The voice of the singer goes with the beat of the drum as we move from the intro of the song to Chorus A and the woman moaning in the background fades away. In Chorus A, he describes how he might love the girl and how the girl might love him too so he comes to re scue the girl like superman does. If we take a closer look at the message of Chorus A, the singer implied that women cannot protect themselves and that they need men to save them. The song shows an even more blatant disregard of women’s potentials and capacities while trying to project men as the superior specie. Stereotyping women as â€Å"weak† creatures is not only grossly unfair, it is also demeaning especially when most women are actually more than capable of taking care of themselves. Verse 1 of the song pictures a woman as somebody who wants to trap the man in marriage. In an effort to get away from the grasp of the woman, the man tries to demean the woman by calling her a â€Å"slut† and saying â€Å"I would never let another chick bring me down.† The first few lines of Verse 1 are rather telling about the mental state of the man especially when he said â€Å"save it bitch, babysit†. Aside from fearing commitment, the singer seem to send a message to the listener that he sees women as homemakers who are only fit to do household chores and babysit. Asking a woman to babysit is not so bad but when you put babysitting in the wrong context, it can become quite offensive to the female sensibilities. Note that parenting should be a shared responsibility so both men and women have the duty to take care of the kids. Verse 1 of the

TESCO PLC AND THE NATURE OF MARKETS IN WHICH IT OPERATES Essay

TESCO PLC AND THE NATURE OF MARKETS IN WHICH IT OPERATES - Essay Example As one of the biggest players within the UK retail grocery industry, Tesco’s market share was 30.5% back in December 2009. In line with this, Tesco’s close competitor includes: Asda (16.9%), Sainsbury (16.9%), and Morrisons (12.3%). Having only four major players in the market, the market structure of retail grocery industry in UK is oligopoly. Within an oligopolistic market that targets many buyers, the industry is commonly dominated by only a very few numbers of sellers that offer homogenous products to its target consumers (Arnold 2008, p. 512). One of the very few factors that can trigger the development of oligopoly is the fact that a lot of companies are entering into merger and acquisitions as a result of tight market competition caused by globalization. The problem with oligopoly is that a very few number of competitors within the industry can enter into collusion making them able to dictate the market price of heterogenous products they are selling in the market (Gans 2005). Considering that market consequences of a few-firm concentration ration, a lot of economists believe that a market that is characterized by oligopoly is almost similar to the market consequences associated with anti-competitive domestic or international market activity. Although it is possible for players within an oligopoly market to dictate the market price of goods, this is not true in the case of Tesco and its competitors. Since grocery and merchandise retailers are selling homogenous products, its target customers will always have the opportunity to decide where to regularly purchase their weekly consumption of grocery items. In line with this, Tesco’s existing customers can anytime decide to purchase their grocery items from Asda, Sainsbury, Morrison, Waitrose, M&S, Somerfield, Aldi, Lidl, and Netto among other small-scale supermarket throughout the United Kingdom (Tesco 2010 b). There is a strong price competition within the grocery

Komodo dragons and their behaviour Essay Example | Topics and Well Written Essays - 3500 words

Komodo dragons and their behaviour - Essay Example Reptiles, belong to the class referred to as Reptilia, can be described as the evolutionary grade of those animals that comprise today’s snakes, tuatara, lizards, and crocodilians among others. It examines the life of their extinct relatives as well as the long-gone ancestors of the present-day mammals. Because of their diversity and evolutionary history, it is important to realize that the level of validity in this class has not been supported universally in various scientific circles. However, the practice has remained to be used by many laymen and biologists especially those in the media. Herpetology is the kind of study that specializes in reptiles, examining their history and evolutionary trends. It also examines the life of amphibians with the same motive as that highlighted above, for reptiles (Ariefiandy et al.67). Some of the earliest known reptiles originate from around 315M years. This happened, especially in the Carboniferous times. Some of the early examples of amphibians include Westlothiana and Hylonomus, Casineria, which according to history may be some of the only known land-dwelling amphibians (Ariefiandy et al. 70). Besides existing amphibians, many diverse groups have now become extinct due to many reasons including mass extinctions. However, the point of interest is to understand how the present day reptiles behave in their natural habitats, something that can help in the development of effective management and conservation approaches and strategies.

The Walt Disney Company Essay Example | Topics and Well Written Essays - 500 words

The Walt Disney Company - Essay Example "It complements legitimate power, but in a negative way because compliance is achieved not out of respect, but out of fear. Examples of coercive power include labour union strike threats, denial of promotion or pay raise and litigation." (Rasheed, n.d.). John Lasseter, for the big bosses and other employees, was a threat to their abilities and therefore could most likely surpass their creativity and eventually take the spot light away from them. Also, they thought that his creativity and innovative lines of attack will create a disagreeable encounter for a target. The second type of interpersonal power being applied on John Lasseters case is the expert power. An expert power may be defined as, "Having expert knowledge about a subject that others value and do not possess themselves can give someone the upper hand in communication." (Rasheed, n.d.). In this case, the expert power is being manifested by Lasseter’s profound knowledge regarding animations. Further, his expertise on animation was not limited to the traditional, obsolete forms of animation but he even initiated the incorporation of computers in the process of making animated movies, which totally changed the way animation in both Pixar and Disney work. His extensive control over the animation productions of both Pixar and Disney suggests the expert power that John Lasseter possessed. As mentioned earlier and as we can recall from the passages of John Lasseter’s case, there are two types of power involved: coercive power and the expert power. Coercive power is being manifested through the executive and other big bosses’ decision to terminate him because he jeopardizes the standing of those with higher positions. Because of their personal interests, they made sure to preclude a newcomer from overriding them; they took action in order to preclude the approval of his proposal. But because he was too artistic and very

Concept Analysis Paper Anxiety Essay Example | Topics and Well Written Essays - 1000 words

Concept Analysis Paper Anxiety - Essay Example In other words, the paper would provide basis for research and management of anxiety related disorders and at the same time acting as an educational tool in the nursing field (Bouras & Holt, 2007). The purpose of this analysis was to demystify anxiety as a clinical condition. It will give a several insight into various features of the concept and examine the different consequences of this condition on patients. Anxiety and other related conditions are some of the most common mental reasons for seeking medical help today. A recent study statistics indicated that 25% of the global population have exhibited signs of anxiety. This therefore is a serious worrying trend for nursing practitioners and medical profession in general as it signifies serious medical health problem. Consequently, the need for concept analysis in anxiety would act as an important tool through which nurses can enhance their management skills as far as anxiety is concerned (Hayes and Strosahl, 2004) Definition of co ncept In common usage anxiety is a defense mechanism that triggers in the mind. This state when blown out of proportion can result to a serious psychological problem. It can also be defined as thoughts or worrying about the future events which can either be good or bad, meaning that a person who is worried about is future can suffer from anxiety. In nursing usage anxiety is defined as a combination of several biochemical changes in the body, the patient’s memory, social situation and personal history. It is difficult to concretely describe this condition as it as many causes and degrees of intensity. Sometimes doctors describe it as emotion or an affect depending on the person describing it, whether it’s an outside observer (affect) or the person having it (emotion) (Ohman, 2000). Defining characteristics Anxiety can present itself in many ways. some forms of anxiety expressed themselves mildly, whereas others severely. This form depends on the stage of development. Mi ld anxiety occurs when the condition is still in its infantry stages. In most cases, the severe anxiety occurs when the anxiety is not managed during its early stages of development. The characteristics exhibited by mild anxiety are distinct from those exhibited by severe anxiety. Mild anxiety, for instance expresses in form of panic attack. The person is mostly likely to show mild signs as perspiration, and chills (Twamas and Bangi, 2003) In some cases, a patient may experience symptoms such as obsessive compulsive disorder. Such conditions imply that the condition is in middle stages of progression. For those with post-traumatic stress as a form of anxiety then it’s characterized by lack of sleep (Barlow, 2002). Late stages of anxiety disorder differ depending on the type of anxiety the patient suffers from. Patients with panic disorder then late stages are characterized by behavioral and cognitive traits. In this stage the patient may dread death or go crazy. Those who hav e phobia may also express certain strange characteristics at the late stage e.g. stop doing any activity at all. (Craske and Barlow, 2003). Additionally, it worth noting that cases of anxiety can present in different forms. There are model cases, contrary cases and the borderline cases. Model case of anxiety is a case where the patient depicts most of the general features associated with anxiety. Borderline case of anxiety is a product of neurological and psychological disturbances. The term

Anita Roddick (The Body Shop) Essay Example for Free

Anita Roddick (The Body Shop) Essay Inspiring profiles and best practices for entrepreneurs Twenty-six years ago the Brighton Evening Argus ran a story on a dispute between two funeral parlour owners who were upset about a new cosmetics boutique which had opened up next door. It wasnt the nature of the business they were getting hot under the collar about, but its name. They thought the green shop front emblazoned with the words Body Shop in gold leaf might put off prospective customers. They wanted me to change my shop front which I had just spent  £870 of my  £4,000 loan on, recalls Roddick. My smart move was to call the Argus and tell them I was being threatened by Mafia undertakers who wanted to close me down. The press loved it. The story of the beleaguered single mum with the house in hock trying to support her two kids with a bootstrapping start-up worked a treat. The small splash made Body Shop a cause celebre, won plenty of local support and won an important battle to get the business off the ground. The anecdote is a small aside, recounted with a chuckle and a hint of outrage in a long interview. But although the battles got much bigger as Roddick grew her business into the multinational retailer it is today, anyone with even a passing familiarity with the Body Shop story will instantly recognise the defining characteristics of its fiery feisty founder in those early days of the business: Ethical Anita versus the big bad world. There has never been any compromise in Roddicks views on how business should be done: this is why her husband Gordon was tasked with handling the City suits (they didnt like me talking about sexual tension at work) and why she stepped away from the business in 1998 when the shareholders said a campaigning chief executive was not what they wanted for Body Shop. You might think after thirty years of business and the comfort of a healthy shareholding and a wedge of cash in the bank Roddicks hunger for campaigning might have diminished. But little has changed since 1976. Her latest venture, a publishing start-up, produces books on ethical matters. It promotes her on the speaking circuit and all the profits going into campaigning. The only difference is now she occupies the position of an icon for women and female entrepreneurs: something I dont take lightly And there is still plenty to shout about when it comes to what she sees as an ethical vacuum in business today. Suffocation She rails against the suffocation of UK businesses as we outsource to cheaper countries; the failure to preserve the needs of shareholders in public companies; the lack of respect for the responsibility of business to the community at large; the ongoing need for women to conform to a male template in order to succeed; the lack of recognition of the value that employees bring to a business. Being ethical in business is not about giving stuff away Roddick is emphatic about what this means in practice: not sandals, beards and group hugs in the boardroom but the adoption of simple moral values. People use the excuse of business to leave their morals at the front door and I dont know how they get away with it. But can ethical business really fit in with the cut-throat world of today? Her business, she says, is living proof. She describes Body Shop as a great business experiment which is still proving a point: you can run an entrepreneurial business, provide a return to shareholders while campaigning on ethical issues and placing a high value on human capital. Being ethical in business is not about giving stuff away. Its about your relationship with your employees, its about the aesthetics of the workplace and its about communication, says Roddick. There is no reason why the workplace cant be a genuine creative place, why there cant be flexitime, why there cant be transparency and even good manners. If Roddick doesnt sound like a business woman its because she has never claimed to be one. She puts her success down to a need for a livelihood and sees herself as the accidental entrepreneur.

Bunraku Theater and Kathakali Dance Drama

Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. . Bunraku Theater and Kathakali Dance Drama Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. .

Homosexuality In Dead Dreams Of Monochrome Men

Homosexuality In Dead Dreams Of Monochrome Men In this essay I am going to look at the work Dead Dreams of Monochrome Men (Dead Dreams) by Lloyd Newson, performed by the Physical Theatre Company DV8. I will focus on the way homosexuality is represented within the piece. I will then look at the work of the playwright Oscar Wilde (1854 -1900) and the painter Francis Bacon (1909 -1992) in order to examine how homosexuality was represented within their art and make comparisons with Dead Dreams of Monochrome Men. I will try to show how the representation of homosexuality within art at different times reflects the prevailing attitudes towards homosexuality of the time. I will examine how each artist used their creativity to put forward ideas and messages about their personal experience of homosexuality, and the extent to which this was influenced by the society in which they lived. Although these artists lived in different eras I believe they shared a similar attitude to the pain, suffering and frustration that homosexuals were forced to feel when existing within a society which regarded their natural sexual orientation with prejudice and lack of understanding. Homosexuality was a criminal offence in the UK until 1967. Before this date homosexuals could be imprisoned gay males had to risk various punishments from society for their behaviour which was not condoned by the establishment. Because of this many homosexuals experienced conflict: either to not follow their natural sexual desires and live a lie, of follow them and risk exposure as a criminal and perhaps even prison. This forced homosexuals into a world of guilt and secrecy which is still resounding within homosexual culture today. Even though attitudes towards homosexuality can be said to me more liberal today, for many people homosexuals are still strongly associated with unnatural acts and perversion not just on an individual basis but also be institutions such as the Catholic Church. 2 Dead Dreams of Monochrome Men In 1986, Lloyd Newson formed the Physical Theatre Company DV8 and he is the main choreographer of DV8s work. Newson is renowned for exploring and attacking the forbidden in an attempt to challenge societys views of various issues and, in particular, homosexuality. Newson addresses the distance created by mainstream or straight society which pushes homosexuals to the fringes. (Hutera, 83, 2008) Newson has placed his sexualized politics into the body of his works. (Reynolds, 2009, online) Interestingly, before Newson made his way into the art world with DV8, he trained as a therapist. Perhaps in his therapeutic work he was able to identify with the struggles of the other minorities who experienced prejudice that he would have encountered: people who experienced great personal problems or behavioural addiction problems which may have made them feel like outsiders. Newson is obviously a highly political person who does not shy away from pushing the boundaries to achieve his artistic and political objectives. DV8 Physical Theatres work is about taking risks, aesthetically and physically, about breaking down the barriers between dance, theatre and personal politics and, above all, communicating ideas and feelings clearly and unpretentiously. It is determined to be radical yet accessible, and to take its work to as wide an audience as possible. (DV8, 2010, online) Originally premiered as a stage piece on 5th October 1988, Dead Dreams of Monochrome Men was the first stage piece by DV8 to be reworked and transformed for film (in 1990). My impressions of the piece are based on this film, directed by David Hinton, rather than the stage performance. Dead Dreams of Monochrome Men is divided into ten different pieces, involving a cast of four male dancers, (including Lloyd Newson himself), conveying the alienation of homosexual males and the deionisation of homosexual thirsts. (Hutera, 83, 2008) The work is said to be inspired by the serial killer Dennis Nielsen, a man sentenced to life imprisonment in 1983 after murdering fifteen male homosexuals. Newsons decision to use Dennis Nielsen within this piece could be regarded as surprising as Nielsen could be seen to represent the seediest, most violent and sadistic aspects of homosexuality rather than its more acceptable face. For me this shows Newsons honesty in not backing away from difficult issues. However while violence is always imminent in this work, the choreographer and director also focus on the unexpected tenderness of four men who are too desperate to control their needs to suppress their fear, (Ney, 2001, online) Through the choices made in terms of movement, camera, music and set in Dead Dreams, the fear suggested is of the sexual desire between the four dancers, who are battling with themselves and those around them. Newson is suggesting that homosexuals feel a need to try and suppress their desire, because of the harsh world they live in. Although homosexuality is treated far more openly within U.K. society than ever before, it is still tinged with danger and fear, perhaps echoing its past and the impact that prohibition and prejudice still have on homosexual culture. Newson made known that the production loved to assault middle England prejudices and use shock as a major tactic. (Brown, 2003, online) Newson was one of the first artists, not just in dance but across all art, to not feel the need to try and hide or tone down the homosexuality in his work. Newson was not afraid to use real male bodies, show you the real skin on skin contact and let you know that homosexuality is what you were being witness to. The use of camera in Dead Dreams of Monochrome Men brings the audience face to face with the gay relationships between dancers. Throughout the piece the camera zooms in on close-ups of skin to skin contact. For example a duet in the second piece blind shows us a moment where two dancers are stood one in front of the other. The dancer behind reaches around the dancers body in front and lifts his t-shirt (a popular item of clothing among gays) to cover his head. Using his hands he then slowly and lightly explores the surface of his skin around his abdominal and pectoral area. At the culmination of this, the camera slowly zooms onto the dancers stomach and all we can see is this hand to stomach contact. The use of close up by the camera gives us no choice but to be confronted with this idea of intimacy between the dancers, emphasising the importance of this imagery to the piece, and the overall work. Suddenly the hand slaps the stomach and the piece finishes. The slap communicates to me a feeling of forbidden, that the touching between the two is wrong. Whilst we are shown the close up camera shot of the hand to stomach contact, there are short snaps of another dancer who is positioned to the side of the duet. This dancer is crouched tensely over with this body, with his mouth pushed wide open, every limb, and finger to neck is stiff and contracted. The dancer appears anguished and frustrated. The fact that we are unable to hear any scream which you feel he is desperately trying to project, communicates that he may be a symbolic reference to the silent frustration felt by many homosexuals who feel they need to live in denial of their sexuality. There are many moments in Dead Dreams that contrast what we see on the outside of the dancers with what they are feeling on the inside. Newson has created moments which make us think there is more to the dancers than what is being portrayed on the surface, that an act is being put on. For example, in piece four I just want to be with you we have the only moment in the whole work where a dancer speaks. A man (perhaps representing Nielsen) is sat smoking, looking at us through the camera and speaking as though he were trying to chat us up in a bar. The smoke illusion and the steadiness of his voice communicate an impression of calmness. However, about five metres in the distance behind this man we see another male figure, squashed between two walls. As the dancer speaks the male behind moves in a fidgety manor within his small space, as if trying to find a position that is comfortable. As the conversation builds and the sentences become longer and more personal, the dancers movements becomes bigger and more frantic, suggesting that perhaps the dancers are actually different sides of the same person. This scene appears to be metaphoric. Newson may be trying to say that however comfortable gay men appear to be on the outside, there is still a lack of confidence inside. DV8 aims to connect the world outside with the world inside or, if you like, the personal with the political. Even though their focus is on the body in action, they use whatever means they need to achieve that connection dance, acting, circus, film, whatever. The message matters more than the medium. (2008, Roy, online) Silence is used very effectively throughout Dead Dreams. The use of silence at moments enables the audience to hear the breathing of the dancers. In Piece Four the dancers breathing speeds up as another dancer walks towards him, getting closer and closer. The breathing increases even more as that dancer then makes body contact with him, hand to his neck. By the intensity of the breathing we can sense a strong feeling of the nervousness and perhaps lack of trust he feels about the situation. This idea of trust between two dancers is bought up again later in the work, in a more symbolic and obvious way. Piece six called Falling Down involves a moment when one dancer is dropping himself from a ladder onto another dancer who is supposed to catch and break his fall. The dancer falls testing their trust, three times. First from a height of about two metres, the next as high as four metres, but then on the third drop, he is willing to fall from a height of about ten feet. The dancer beneath walks away, but the dancer drops himself anyway, perhaps suggesting that even those who you have grown used to trusting always have the capacity to let you down again echoing the Nielsen story as he first befriended his victims before killing them. Filmed in starkly lit, anguish- and muscle-enhancing black and white, Dead Dreams looks like a living George Platt Lynes photograph set in a fevered, prison like bar world, pulsating with wordless sexual narratives, twitchy erotic appetites and well-shorn, hunky men. (From Video Cover). Is this prison supposed to represent another world, homosexuality from which there is no escape? In Piece Five, Drum and Dance for the first time we see the outside of the prison. A protected barred window, through which a bright light shines through (as if suggesting a happier place) into the dark and eerie box in which the four males seem trapped. A desire to reach for this light is suggested as the three dancers each try individually to get out of the window, a teasing four metres above their heads. They soon think of using each other to help reach up to the window, and start co-operating to the point of climbing up one anothers backs to standing on shoulders. (An example of the physical skill demand in DV8s movement material). Perhaps Newson is suggesting that only if homosexuals work together can they fight prejudice and negativity? How there needs to be a strong sense of unity amongst homosexuals, based on their shared experiences of alienation and rejection. In the third piece The Pedestal Newson again seems to address the issue of denial. A male dancer is sitting on the shoulder of another male dancer. The dancer carrying the other walks non stop in a circle for about three minutes. Obviously the weight of carrying a whole males body, particularly on just one shoulder is very demanding, and so he struggles to walk around upright and soon becomes pushed to a crouch. The way the dancer fights for as long as he possibly can, could be taken to suggest the idea of a homosexual in denial. How the weight of going against what is such a natural part of you can been very hard, and will eventually crush (kill?) you. In an interview with the telegraph, Newson speaks about his beliefs and his position as a homosexual artist. He explains, I am a politician already. Battling with the politics of dance, and the politics of life. If I can carry on those battles with a loudspeaker- which you can do when you have company that gives public performances then I will. DV8 is my loudspeakerà ¢Ã¢â€š ¬Ã‚ ¦ The direct line between what we felt and what we showed we felt angry, we showed anger immediately. And it got to a point when we burned ourselves out. (Brown, 2003, online) Dead Dreams is a powerful work that draws you into the world of the homosexual and confronts you with your own prejudices. It has an integrity based on what one feels to be the gritty truth about the negative attitudes and insecurities regarding homosexuality which Newson obviously still feel permeate U.K. society today and the dangers that many homosexuals still face because of this. 3 Oscar Wilde Oscar Wilde was a successful poet and playwright who produced most of his work in the late 19th century. The Victorian society in which Wilde lived stressed the need for family values and a faithful religious way of life. Although everyone knew that homosexuality existed most pretended to not know anything about it and homosexuals were forced to live secret lives. Homosexuals came mainly from the upper and middle classes and had both the financial and social life to enable them to engage in homosexual activities. (Hilliard, 1982, online) Many were married and lived double lives and were flamboyantly dressed. During the 1880s and 90s societies attitudes towards homosexuality changed significantly. What before was thought of as sinful behaviour, views of homosexuality altered into believing it was nothing but a sickness. (Hilliard, 1982, online) However the Labouchà ¨re Amendment of the Criminal Law Act of 1885 criminalised all homosexual acts by males in private and public, and this legislation eventually led to Oscar Wilde being prosecuted. (Hilliard, 1982, online) Oscar Wilde was one of the many homosexuals who lived a double life. Wilde appeared to adhere to Victorian values by marrying and having two sons, prior to acknowledging that he was in fact a homosexual. However the pressures of living a lie eventually caught up with Wilde and when he left his wife he returned to Oxford and the company of his friends from the upper classes and began drinking heavily and living a more openly homosexual lifestyle, including a very public affair with a member of the British aristocracy (Lord Alfred Douglas). Shortly after he was arrested, tried and sentenced to two years had labour for his homosexuality. (Moonstruck, online) Through his work Wilde was able to secretly convey his views, by creating a somewhat coded language which laid as a discreet undertone to his work. When you were aware of the secret messages Wilde had put into his work (which had reference to homosexuality), messages that lay deeper beneath the rich colour and beauty, the public would be witness to a whole different play. (Coren, 94, 1997) Homosexual undertones in Wildes writings, particularly in his novel, were used against him and helped send him to jail. His play The Importance of Being Earnest Wilde directly addresses the theme of dual identities. The plays two main characters are seen to be engaged in bunburying, which in the play is seen to refer to having one identity in London and another in the country. This was shown in the play as allowing them to escape Victorian social mores. This was taken by many to be a metaphor for the double life many homosexuals were living at the time. (SOURCE: MENDELSHON, DANIEL; THE TWO OSCAR WILDES, NEW YORK REVIEW OF BOOKS, VOLUME 49, NUMBER 15  · 10 OCTOBER 2002). Some commentators have suggested that bunburying was a slang terms for homosexual sex and that earnest was often used as a code word for homosexual as in is he earnest? During his trials, Wildes own homosexual undertones in his writings, particularly in his I Wilde was also explicit in his only novel, Dorian Gray where the male writer says of his first meeting with the lead character: for the first time. I knew that I had come face to face with someone whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself. This description of one man falling in love with another was felt to be shocking at the time of the books publication. Oscar Wilde was forced to hide his homosexuality behind layers of inference and disguise. He was terrified of revealing his homosexuality because he knew that he would be alienated and ostracised from the society. (Rader, online) Oscar Wilde was a prime example of how the negative attitudes towards homosexuality lead to secrecy and denial and that this can ultimately prove to be personally disastrous for the individual concerned. 4 Francis Bacon Born in Ireland in 1910, living until 1992, Francis Bacon was voted the most important living artist in the world. His influence and popularity amongst society cannot be denied as during the early twentieth century he existed as the highest selling living painter. Bacon was a painter of figures, (mainly portraits studies), often using an easel and canvas to create a roughly textured surface of oil paints. Working only from photographs, Bacon would transfer the figure he sees in this stimulus, to a figure painted on canvas. Francis Bacon was an artist who never tried to flatter the sitters he painted, but rather reflected his take on human existence. (Peppiatt 233, 2009), (Fifield, online) There is a clear theme that runs through all of Bacons works, the theme of distortion, the breaking up of the human body. For example in Bacons Portrait of Michel Leiris (1976) and Francis Bacon Self Portrait (1978). Francis Bacons homosexuality was no secret in his career. The death of Bacon at the age of 82 in 1992 stands as a significant moment, a turning point, in our understanding not only of the concept of queer, but of how artists felt able to operate if they were to be both true to themselves yet find a measure of acceptance in a society by and large hostile to homosexual expression. (1996, Cooper, online) Francis Bacon considered himself to be a queer homosexual and did not want to be known as a gay, as he did not like the word. In the old fashioned sense when queer was a term of abuse, a recognition and disapproval by society of divergent sexual tastes. There is that suggests Bacon was moved by the ideas and theories of gay liberation, but rather that the movement brought an unwelcome intrusion in what he regarded as his private life. At the time of the Stonewall riots in 1969, he was nearly 60 and his lifestyle was resolutely pre-liberationist in style and attitude. To change this would have involved great effort on his part. Going public, would not have seemed the thing to do at a time when his international reputation was well established. (1996, Cooper, online) It is obvious that Francis Bacon addresses homosexuality in his work, with paintings such as Study for Nude (1951) which involves male naked bodies intimately entwined, but he never spoke directly about it, and in particular would never speak of his personal relations that he wanted to remain completely private in attempt to not influence or detract from him being seen as an artist. The label gay was seen by many like Bacon, as a term just as abusive as Nigger. There were many liberations around during the later part of his life and represented a shift in homosexual lifestyle and its public persona. Bacon did not want to change his image and face the consequences of this from the public towards his work. Bacon produced most of his best work in the period after the Second World War, with his breakthrough piece Three Studies for Figures at the Base of a Crucifixion being painted in 1944. The immediate post war period was when society was very much about returning to family life and this can be seen through British and American films of the time. At this time it was very risky to divulge your homosexuality to others not only because it was illegal but also because it was not accepted. This would have led to feelings of isolation for many homosexuals. Even though society was becoming more tolerant of homosexuality, there was still great reluctance by homosexuals to trust others and discuss their sexuality, even with their families. At that time, men in this situation often referred to their doctors for help, and this occasionally led to medication or even psychiatric referrals to change their behaviour. Bacons subject matter was often autobiographical, reflecting the intimate and often anguished relationships he experienced. Despite Bacons use of distortion in his works, it is clear to see that the great predominant sex of his figures were male, and naked. When these naked figures in his works are involved in very close bodily contact, with entwined limbs where they are almost painted as one body, it is hard to not see Bacons work as greatly personal and specifically relatable to his sexuality. Yet by the late sixties Bacon had completed some of his queerest paintings. The relatively straightforward image Study from the Human Body (1949), of a naked man behind a transparent curtain is sensuous and enticing, offering a glimpse of some quiet, personal moment. An interesting choice that Bacon makes when displaying his final art pieces, is he demands that a glass cover be placed on top of his work, and with all aspects of art, everything is done for a reason. Is Bacons aim to create a reflection of the onlooker into the paintings too? Are we meant to look at ourselves and think of how we see ourselves in the painting? Bacon was probably the greatest British painter of the 20th century, and although he did not like to talk about his homosexuality directly, there is no doubt that his work brought homosexuality into the daylight and it was because of artists such as Bacon and others that the Sexual Offences Act 1967 Act which decriminalised homosexuality was passed. 5 Comparisons and Contrasts Dead Dreams of Monochrome men is shot in black and white, with dim lighting, creating a set of eeriness and little distraction. Francis Bacons works have the same effect, from his use of mainly black and white and other deep shades in his work, for example Three Studies for Figures at the base of a Crucifixion (1944). Bacons figurative and portrait paintings lack strong backgrounds, and thereby bring the main focus of his works, the figures, through as the strongest and most powerful detail. For instance in Bacons famous Self-Portrait (1971) he uses just a plain black painted background. In effect the mixture of blue, red and white tones that he has used to create the face, really emphasise and draw you in to these unusual skin colours. Similarly to pieces in Dead Dreams of Monochrome Men, as an audience we cannot help but be put in the position of being face to face with the shockingly suggestive gay relations. These artists are not afraid to use the naked body in their work, and feel no need to try to cover up or tone down the intensity of their work in doing so, just because of the shocked, some maybe disgusted, reaction we may have. Although Bacon uses the naked body, through vague outlines of the figures, the use of distance and blending, the naked figures in his works are created in a way that they do not hit you as much as Newsons figures. For example in Two figures (1953), which involves two male figures lying on a bed embraced, Bacon has used vertical brushstrokes that blend the black background in with the figures heads and body. You can be pretty sure that these two figures are male, however by Bacons technique here there is a possibility that he could argue that they are not, and that it is just your interpretation. I wonder does Bacon want the society to see homosexuals firstly as human being and their sexuality second. Whereas Newson aims for society to understand that human beings cannot be separated by their sexuality? In Dead Dreams, Newsons choice of props have been used effectively in terms of representing or having symbolic meaning by being put into a very plain and simple background. The same effect exists in some of Bacons pieces. Because of his plain backgrounds which exist as a running style through his paintings, when he involves an object it stands out as significant, and it can only be being used for a good reason. In Bacons Study for Crouching Nude, an outline of what appears to be a glass-like box which stands around the figure is painted. Is this glass meant to create an enclosed space the figure is stuck in? Meant to separate us from the figure? Matched by how the figure is hunched over in front of us and positioned in a crouch, the figure almost become animalistic, monkey-like. DV8 use the same idea of an enclosed setting around their male dancers a prison which they try to escape from. It could be said that the DV8 figures push the boundaries of humanity by such challenging and original movement. Are Newson and Bacon suggesting that sex is, at its most basic level, an animal act? Maybe they believe gays that suppress their feelings about their sexuality can turn into animals? Newsom could also be suggesting a link to the reaction of society towards the Dennis Nielsen case, as many people described him as an animal. Bacon often aimed to portray the human body as meat. An example of this is in his painting George Dyer in a mirror created in 1963, where the reflection in a mirror which is painted next to Dyers face reflects a further distortion which looks like slabs of meat. Perhaps Bacon was suggesting that if you see the human body as a slab of meat you do not see it as having any feelings and this is further suggested by the violence that runs through the image, which is enhanced by Bacons use of harsh brushstrokes. I do not believe that Bacon was as interested in challenging or expressing his views on homosexuality as much as Newson, as he was never an activist. And perhaps because of his associations with queer or camp effeminate homosexuals, he did not feel the need to strive for an acknowledgement that would eventually lead to move fundamental changes in society, (such as the civil ceremonies and legal right). His association with the art establishment would also have provided him with many influential friends and he may not have felt he was in a minority or an outsider. However I do believe that they both were interested in making reference to the suffering and effects homosexuals experienced by the discrimination they receive, and strove to communicate their experiences honestly in their art. 6 Conclusions It is no surprise that both Lloyd Newsons, Francis Bacons and to some extent Oscar Wildes homosexual referenced work received objections from many members in society. For example, Margaret Thatcher, Tory Prime Minister, described Francis Bacon as that artist who paints those horrible pictures. A well known philistine Thatchers artistic interests seem to be limited to collecting pretty ceramic figurines the remark could be read as referring to both Bacons often violent style of painting and to his usual subject of the interaction between two men, which in Bacons view was neither affectionate nor relaxed but turbulent and traumatic. (1996, Cooper, online) Protests of the openness and public support of acknowledging homosexuality inside and outside of the arts have always occurred. DV8 are one of many to be the creators of art which has provoked these objectors. The Sunday Mirror gave DV8 a massive leg-up. Gay sex orgy on TV shrieked the headline for their story on the screening of Dead Dreams of Monochrome Men, prompting a flood of complaints to the TV network, angry questions in parliament by Tory MPs and a huge surge in DV8s viewing figures. (2008, Roy, online) This still exists today, only last year ago one of the dance works shown at the production of In the Spirit of Diagalev at Sadlers Wells, bought protestors both inside and outside the dance theatre, over its explicitness about sex, homosexuality and the involvement further with the Catholic Church. Conservative elements within society seemed to worry that if sexuality could be questioned then what else could? What could homosexuality lead to? Would control even break down? Although Newson has been more willing to discuss how life and work than Bacon or Wilde, they all shared a need to express their ideas without being restrained by societys reactions to their work. This took considerable bravery the bravery to create art which was so out there for its day meant risk. And without artists taking risks everything will stagnate. I SUGGEST FINISHING HERE NEW I believe that the fact all three of these artist were homosexual are of great importance to their work. I believe if they were not, these works would most likely never of been made, as I am sure it was their experiences as homosexuals, and the hitting of nerves by a harsh society, that encouraged their art. Art always has and I believe will always be a substance of the artists feelings, as what is so beautiful about art, is its ability to be an expressional form.