Desperation to help Catherine Essay Example for Free

Desperation to help Catherine Essay Manliness is a belief that you are a man, and for any one else to be a man too, they should be somewhat like you. Hostility is open hatred and enmity. These two are linked when a man believes that he is a true man, and he sees another man as not being a true man, and so he openly hates him as he is not a right person. This happens in the play as Eddie feels he is a man; however he doesnt think Rodolpho is a true man as he does not have the right priorities, and gets involved in feminine tasks. In this way, manliness and hostility are connected. This hostility can lead to aggression as aggression is hostile behaviour or actions. This hostility can lead to aggress as hostility is hatred, and if someone hates any other person, but this person does not react back with hatred, the person begins to get frustrated and angry; and his aggression builds up. This is shown in the play when Eddie continually tries to deprive and show Rodolpho down, yet Rodolpho never reacts back with hostility. We see there is only one time in the play, where Rodolpho tries to help Eddie to stop embarrassing himself; and tries to make Eddie stop insulting his going-to-be wife. He flings an attack onto Eddie through his desperation to help Catherine. This shows us that even Rodolpho has some aggression within him, and also shows us that when you are faced with hostility, you can also have a build of aggression within you. These two are connected in the ways shown. Manliness and aggression are linked by several strings. Manliness, as Eddie believes is power, and the only way for him to express his power is by using aggression. Due to his lack of emotions, he finds it hard to express what he wants to say, and so it is a natural instinct for him to use aggression to get his message across. Manliness is the belief that you are the dominant member, in any circumstance. However when we have more than one person fighting for this right, aggression becomes involved as it is the only way to show which is stronger and thus which one deserves that role. This is shown throughout Act Two, as Eddies power declines due to Marcos manliness. In each Eddie, Marco and Rodolpho, Miller gifts them with unique qualities which the audience can admire. In Eddie it is clear that Miller has given him the gift of self belief. Eddie did what he believed was right throughout the play, even though this led to his death. Miller uses Alfieris speech at the end to indicate this; but himself purely, for he allowed himself to be wholly known Eddie also cared very much about his family, especially his niece. He loved her so much, that due to his manliness, he could not resist his sexual desire for her; however he tried his hardest to do so, and he was successful, until Rodolpho arrived. The jealously within Eddie had reached such a high level along with his aggression shown by the stage directions, He looks at [Catherine] like a lost boy as he realised that all his life, he has loved someone very much, taken complete care of her. He even worked extra time to buy her stenography, because he wanted her to move up a class; but now a man who aint right has just stolen her from him. This quality, the quality of devotion to your family, and caring of everyone who is in it, even if they are not your own children, is one than should also be admired in Eddie. This quality is also significant in Marcos character. Marco loves his family very much and has sacrificed his home to risk his life to migrate to America in order to earn some money so that he can send back to them; who can live a happier life than before. This is shown when Marco says, what can I do? The older one is sick in the chest. My wife she feeds them from her own mouth they will never grow up they eat the sunshine. He also is protective of Rodolpho as he knows he is weaker than him, and as he is his brother, it is his duty to help him. When this scene took place, it was a key moment as Eddie understood that if he should pick on someone his own size. Another quality which would have been much admired would be Marcos politeness, as well as his straightforwardness and simplicity. This is shown, as mentioned before, when he says to Eddie, when you say we go, we go. This shows us that he has respect for them as they are letting his and his brother stay in their house, but as soon as they feel they need to have their house back he and Rodolpho will leave. It is also a symbol of politeness, and indicated his straightforwardness. Rodolpho has the quality of being unique. He was very different, appearance, character and belief wise compared to most men in the Sicilian era. A quality which should be admired is his persistent politeness even when other people mainly Eddie are rude to him. He always tries to uplift a dull conversation and he is the kind of person who always wants happiness. He does not change his uniqueness to be just like everyone else as like Eddie, he also things that what he believes in is right. As this is a play, I will discuss that several, very effective dramatic techniques used by Miller. He has created this play which in many aspects would have shocked a number of the audience members at the time it will performed. Certain stage directions would have indicated sexually attraction or desire at that time, however when read now; it may not strike any significance. For example when Catherine lights a cigar for him Eddie or when we hear of how she sits on the bath as he shaves and walks around in her slip, we are being told about their relationship. These actions tell us that even without being lovers; they have the kind of intimacy only lovers should have. This would have been an explicit piece of evidence that there was some sort of sexual relationship between the uncle and the niece, however depending on interpretation by the actors, this moment many have more or less sexual undertones. However, this is not of much importance, but the symbolism of other parts of the play is. If we look carefully at the ending of the play, we say a lot of minute dramatic effects which have a lot of importance. Earlier in the play, we see that Eddie pays a lot of attention to the story of Vinnie Bolzano. Miller uses this technique so that the audience are certain of how much Eddie hates betrayal, and also to show us his belief in loyalty to family and community. However Eddie does exactly the opposite of what he was preaching, and this enables the audience to see how much his manliness, hostility and aggression changed him and his beliefs. When the Officers arrive, and take all four immigrants away, including two other submarines who stayed with the Laiparis, on the apartment above Eddies , Miller shows us in his stage directions that Louise barely turns then walks off and exits down right with Mike, only Beatrice is left on the stoop. This symbolises that Eddie is now alone. Lipari and his wife, Louis and Mike, the stage representatives of the wider community, one by one leave Eddie alone, symbolizing his isolation. We then see another very important dramatic technique used by Miller. Miller makes Eddie remove the knife, and this is so that now Marco can justify whatever actions follow. This makes some people feel that Miller was slightly more partial towards Marco. When Eddie lunges the knife, Marco grabs Eddies arm and turns the blade inward. However this action has more depth that what it seems to have at first. It tells us that Eddie literally dies by his own hand as his hand holds the knife, and thus he is killed by his own weapon, however it can metaphorically stand for the gradual deterioration of himself throughout the play itself. We then read that Eddie falls to his knees before Marco. This technique shows the audience that the better man won, and also shows us Marcos manliness, hostility and aggression. It symbolises the downfall of Eddies authority and power, and the rise of Marcos. In certain cases, what Miller has written and instructed can be interpreted differently depending of different factors. This is mentioned above, where Catherine light the cigar for Eddie. Another thing the Miller puts in the play is the definite variation in the way each character speaks. I will briefly go through the syntax of each character. Eddie speaks in the syntax of Red Hook, generally like most men in Brooklyn a low class neighbourhood. It is clear that he is not very well educated as he uses a lot of slang words and his the way he says words is shown by Miller, for example he says, bowin, goin, slidin, stayin and so on; instead of the full words which proves the point. Beatrice and Catherine speak almost the same syntax, but the feminine type, which in some cases is very much similar. For example Catherine says to Eddie, we wasnt goin and Beatrice uses wanna several times. This indicates the similarity to Eddies syntax. Marco speaks relatively little throughout Act One and through most of Act Two. Miller tries to show the audience that Marco finds it hard to understand and speak English as fluently as Rodolpho. He may be insinuating the difference in intelligence between the two brothers one who is very similar to Eddie. Marco speaks very simply, but says what he wants to say straightforwardly this represents his general character as throughout the play we do not see he speak a lot but we understand his character just as well as the others. His English language is very basic but understandable which backs up the point that Marco is thoughtful, and that he is a man of action, rather than words. Rodolpho on the other hand speaks unnatural exactness. He uses a variety of words and all his words are English but the phrases are not always idiomatic. This is shown to the audience when he first recalls vivid details of his life in Sicily. He describes them with accurate words which give us the impression that he is well-educated. In some cases he also gives poetic comparisons, sown when he compares Catherine to a little bird that has not been allowed to fly. Alfieri is the only character in the play that we see speaks in formal American-English. This is probably as Miller has included him in the play as he said that he wanted to make this play a modern equivalent of classical Greek tragedy. If we look at ancient plays, an essential part or it was that of the chorus. These were a group of figures who would watch the action, comment on it, and address the audience directly. This is basically what Alfieri does. He introduces the action as a retelling of events already in the recent past. By giving details of place, date or time, he enables the action to move swiftly from one episode to another, without the characters having to give this information. This makes the play run much ore smoothly, and more effectively and if for some reason the audience did not understand what had just happened, Alfieri gives a summary at the end of each act. This is how Miller uses Alfieris American-English to help in the play, and it also shows us what role he had, apart from being a Lawyer.

Teenage Smoking in Canada Essay -- essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  In a society where it is not unusual to see a ten year old child smoking a cigarette in public, where large tobacco companies sponsor all big sporting events and where smoking advertisements are everywhere you look, how can it be understood that what is going on is a form of suicide. Smoking is comparable to a serial killer; a cigarette acts as the weapon used by tobacco companies and its victims subjecting themselves by their own free will to participate in the crime.   Ã‚  Ã‚  Ã‚  Ã‚  The governments of the United States and many other countries have chosen to regulate addictive substances, like cigarettes, via taxation; minimum-age purchase laws; restrictions on consumption in schools, the workplace, and public places; and stiff fines for driving under the influence of alcohol. The prices of these substances will rise because of taxation; other forms of regulation, and bans. Thus, measuring their responsiveness to price is important in determining the optimal level of taxation and the impacts of legalization. Contrary to conventional wisdom, studies find that the consumption of addictive substances is quite sensitive to price.   Ã‚  Ã‚  Ã‚  Ã‚  Teen smoking has been increasing since 1991. There are economic, psychological and sociological factors that play an important role in this increase.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Economically, cigarettes are highly advertised, extremely affordable and accessible to practically anyone. As for the advertisement aspect in the sale of cigarettes, tobacco companies spend billions of dollars per year to advertise their brands. This money is spent on the actual advertisement, and also on manipulating the subconscious minds of teenagers. (Reynolds, 1999) Billboards and magazines lure teenagers to smoke, by using teen idols and appealing photos in their ads. The Canadian Government has been attempting to put a stop to tobacco industries using teen idols in selling their products, by passing Bill C-71, a legislation that forbids tobacco companies from putting up signs for events in which they sponsor. The car racer and teen idol, Jacques Villeneuve can no longer be advertised in his car racing suit as Rothman's cigarettes advertisements are highly visible on it, as this would give off a negative message to teens who look up to him. The only exceptio n to this law however, is that the signs may be put up at the site of the event, in bars or in newspaper... ...by the behavior of their parents is central to many considerations of health and social behavior. Many teenagers begin smoking to feel grow-up. However, if they are still smoking when they reach 30, the reason is no longer to feel like an adult; at this point, they are smoking from habit. Goodwin, D. W., Guze, S. B. (1984).Young children who see older children or family members smoking cigarettes are going to equate smoking with being grown up. Patterns of both drinking and smoking, which are closely associated, are strongly influenced by the lifestyles of family members peers and by the environments in which they live. Minimal, moderate, and heavy levels of drinking, smoking, and drug use, among family members are strongly associated with very similar patterns of use among adolescents.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  To conclude, one can look economically at the cost of cigarettes, the accessibility of cigarettes, and the amount of money put into advertisements for tobacco. Also psychologically at the effects and real meaning of ads and at females ideas and misconceptions about smoking. And, finally sociologically, peer and family influence play a huge role in the increase of teen smokers.

Jung and Freud’s Theory of the Unconscious Essay

Jung’s theory of the unconscious sprang from the influence of disassociationist psychology, whereby â€Å"ideas and images tend to combine into complexes† that represent a measure of one’s personality. Thus, in his 1902 work, Jung theorized that the phenomenon called somnambulism might be an attempt of a future personality to break through. In 1935, Jung posited the existence of the collective unconscious, which represents complexes that exist apart from people’s intentions (Astor, 2002). Freud placed too much emphasis on the aspects of sexual and aggressive drives in his theory of the unconscious (Anzieu, 1986). On the other hand, Jung believed that the human unconscious is motivated by higher drives than these two, such as an inherent desire to seek self-development and religious fulfillment. Moreover, Jung deviated from Freud’s theory of the unconscious by positing that each person has a unique unconscious and that such unconscious may be accessed by a person voluntarily (Anzieu, 1986). Moreover, Jung carried his theory of the unconscious further by theorizing about the collective unconscious, which is composed of a universal set of ideas that belong to the entire human race, which passed from one generation to the next. Thus, Jung believed that a person’s personality is not only influenced by personal factors, but also by cultural influences that help build his personality (The New York Association for Analytical Psychology, 2008). Freud would have treated Mary Jones through his process called psychoanalysis, or simply, the â€Å"talking-cure. † Freud believed that the psychological problems that appear to underlie Mary Jones’ manifestations could be solved by talking about them. Psychoanalysis consists in the patient’s narration of his thoughts and feelings to the therapist. Meanwhile, the therapist is supposed to listen carefully to the client, and from the client’s narration formulate his analysis and help the client achieve some insight into the unresolved conflicts of the client, which are only embedded in the unconscious (Anzieu, 1986). On the other hand, since Jungian analysis aims to form a strong relationship between the conscious and the unconscious, Jung would not confine the process to a mere discussion of the patient’s thoughts and feelings. Jung believed that the unconscious is a â€Å"wellspring of psychic energy and healing;† thus, he would utilize images and symbols designed to spontaneously unlock the patient’s fantasies and dreams. These images help in the exploration of new possibilities and achievement of personal transformation (The New York Association for Analytical Psychology, 2008). Jung places more emphasis n the process that occurs during the therapy sessions, rather than the content of the therapy. Jungian analysis aims to help the patient achieve an understanding and awareness of the unconscious and thereby give relief to the patient’s symptoms (The New York Association for Analytical Psychology, 2008). The differences in the treatment styles of Jung and Freud illustrate the following differences in their views of the unconscious:

Profile of Charlton Heston, Gun Rights Movement Icon

As an actor, Charlton Heston appeared in some of the most notable films of his time. But he may best be remembered as the most visible president in the National Rifle Association’s history, guiding the gun lobbying group through a five-year period that saw gun rights take center stage in Washington, D.C. Along the way, his statements were responsible for igniting a phrase that would become a rallying cry for gun owners: â€Å"You can have my guns when you take them from my cold, dead hands.† Surprisingly, the man who hoisted a rifle above his head at the 2000 NRA Convention in defiance of the perceived anti-gun policies of Democrat presidential nominee Al Gore was once a staunch supporter of gun control legislation. Heston’s Support for Gun Control By the time President John F. Kennedy was assassinated in 1963, Charlton Heston had become a household name, starring as Moses in the 1956 film The Ten Commandments and as Judah Ben Hur in 1959’s Ben Hur. Heston campaigned for Kennedy in the 1960 presidential election and became critical of lax gun laws in the aftermath of Kennedy’s assassination. He joined fellow Hollywood stars Kirk Douglas, Gregory Peck, and James Stewart in support of the Gun Control Act of 1968, the most restrictive piece of gun legislation in more than 30 years. Appearing on ABC’s The Joey Bishop Show two weeks after U.S. Sen. Robert Kennedy was assassinated in 1968, Heston read from a prepared statement: â€Å"This bill is no mystery. Let’s be clear about it. Its purpose is simple and direct. It is not to deprive the sportsman of his hunting gun, the marksman of his target rifle, nor would it deny to any responsible citizen his constitutional right to own a firearm. It is to prevent the murder of Americans.† Later that year, actor-producer Tom Laughlin, chairman of the anti-gun group Ten Thousand Americans for Responsible Gun Control lamented in an edition of Film Television Daily that Hollywood stars had fallen from the gun control bandwagon, but listed Heston among a handful of diehard supporters who he said would stand by his side. Heston Changes Teams in the Gun Rights Debate Exactly when Heston changed his views on gun ownership is hard to pin down. In interviews after being elected president of the NRA, he was vague about his support of the 1968 Gun Control Act, saying only that he had made some â€Å"political mistakes.† Heston’s support for Republican politicians can be dated back as far as the 1980 election of Ronald Reagan. The two men shared many broad similarities: Hollywood A-Listers who supported Democrat Party policies early in their careers only to become stalwarts of the conservative movement. Reagan would later appoint Heston to co-chair a task force on arts and humanities. Over the next two decades, Heston became increasingly vocal in his support of conservative policies, in general, and on the Second Amendment, in particular. In 1997, Heston was elected to the NRA’s Board of Directors. One year later, he was elected president of the organization. Heston was vocally opposed to virtually any proposed measure of restricting gun ownership, from a mandatory five-day waiting period on handgun purchases to a limit of one gun purchase a month to mandatory trigger locks and the 1994 ban on assault weapons. â€Å"Teddy Roosevelt hunted in the last century with a semiautomatic rifle,† Heston once said in regards to proposals to ban semiautomatic firearms. â€Å"Most deer guns are semi-automatic. It’s become a demonized phrase. The media distorts that and the public ill understands it.† In 1997, he lambasted the National Press Club for the media’s role in the Assault Weapons Ban, saying reporters need to do their homework on semiautomatic weapons. In a speech to the club, he said: â€Å"For too long, you have swallowed manufactured statistics and fabricated technical support from anti-gun organizations that wouldnt know a semi-auto from a sharp stick. And it shows. You fall for it every time.† ‘From My Cold, Dead Hands’ During the height of the 2000 election season, Heston delivered a rousing speech at the NRA Convention in which he closed by invoking an old Second Amendment battle cry as he raised a vintage 1874 buffalo rifle over his head: â€Å"So, as we set out this year to defeat the divisive forces that would take freedom away, I want to say those fighting words for everyone within the sound of my voice to hear and to heed, and especially for you, (presidential candidate) Mr. (Al) Gore: From my cold, dead hands.’† The â€Å"cold, dead hands† saying did not originate with Heston. It had been around since the 1970s  when it was used as a slogan for literature and bumper stickers by gun rights activists. The slogan didn’t even originate with the NRA; it was first used by the Washington-based Citizens Committee for the Right to Keep and Bear Arms. But Heston’s usage of those five words in 2000 made them iconic. Gun owners across the nation began using the slogan as a rallying cry, saying, â€Å"You can have my guns when you take them from my cold, dead hands.† Heston is often incorrectly attributed with coining the phrase. When he resigned from the NRA presidency in 2003 due to his declining health, he again raised the rifle over his head and repeated, â€Å"From my cold, dead hands.† The Death of an Icon Heston was diagnosed with prostate cancer in 1998, an illness he defeated. But a diagnosis of Alzheimer’s in 2003 would prove too much to overcome. He stepped down from his position as president of the NRA and died five years later, at the age of 84. At his death, he had appeared in more than 100 films. He and his wife, Lydia Clark, had been married 64 years. But Heston’s lasting legacy might be his five-year stint as president of the NRA. With the peak of his Hollywood career well behind him, Heston’s work with the NRA and his fierce pro-gun rights rhetoric earned him legendary status with a whole new generation.