Tuesday, January 28, 2020

Defining the Concept of Voice Through an Assessment of Shakespeares “Twelfth Night” Essay Example for Free

Defining the Concept of Voice Through an Assessment of Shakespeares â€Å"Twelfth Night† Essay Defining the Concept of Voice Through an Assessment of Shakespeares â€Å"Twelfth Night† Introduction   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Literary voice is a multifaceted subject that involves both linguistic and stylistic aspects. The readers and editors often significantly demand the involvement of originality and creativity. The level of creativity is required in the development of lasting and satisfactory understanding of the development of the voice. According to Hunter College Reading/Writing Center common characteristics of ‘voice’ is â€Å"Distinct from the terms persona, narrator and tone, voice is associated with the underlying vision of a writer, her general attitude toward the world. † This paper is a fervently articulates the definition of voice through the linguistic choices of Shakespeare’s in his famous play Twelfth Night in evident through his passion for drama and poetry.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The voice when applied in rhetoric it demonstrates the clarity of the visions and thoughts of the writer. Voice is specific to every individual more artistically conveyed in the works of writers. The uniqueness of every piece of writing as a piece of artistic work is subject to the distinct figurative role or a unique commentary of the creator â€Å"writer†. Plays are composed of literal and allegorically unique to develop individuality for the play that is meaningful and captivate. Voice is defined as the distinctive tone or style identifiable of literary work or author.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Twelfth Night demonstrates a tonal play written out to sound like a poem, where there is rhythmic balance in the pronunciation of the lines. Most importantly, the content reflects a unique commentary that speaks beyond what is given in the play. Any individual who is accustomed to the work of William Shakespeare would be able rapidly to detect that Twelfth Night is one of Shakespeare’s works through his techniques of writing. Shakespeare uses a unique combination of writing techniques such as twisted iambic pentameter and soliloquies. At the start of Twelfth Night, Orsino, a Duke, demands if music creates love, then â€Å"Give me excess of it, that, surfeiting† (1.1.2). If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   That strain again! it had a dying fall: O, it came oer my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odour! Enough; no more: By using iambic pentameter, Shakespeare defines Orsinos character to be different from those of different social class. Here, Shakespeare uses iambic pentameter in a distinct way by switching the tones around to create a different tonal pattern. Instead of the regular iambus of one stressed and one unstressed beat (ba-BUM) for ten syllables straight, he makes a modification to some syllables in order to emphasize certain words.SIR TOBY BELCH Approach, Sir Andrew: not to be abed aftermidnight is to be up betimes; and diluculosurgere, thou knowst, In act 2 scene 3, The syntax and the preceding semicolon on the first line direct the stress on give at the beginning, but the resulting pattern is choppy and almost dactylic in its meter. He often uses this technique on characters tha t had a higher social status in his plays. On the contrary, those characters of a lower status were deemed not to have the leisure to experiment with literature speaking in regular prose or verse. For example, Malvolio, a butler, attempts prose in the beginning but changes to speak in verse like, â€Å"Daylight and champain discovers not more: this is open. I will be proud I will read politic authors,† (2.5.155-157). Iambic pentameter shows control and yet the emphasis here is on the instability and the intensity of class difference. Thus, Shakespeare’s manipulation of regular iambic pentameter to create differential approach to the field of play each character has. This inherently configures a reflection of his unique voice, and this leads readers to think that, in literature, voice is distinct and unique to develop a persona.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Another literary device that commonly found in Shakespeare’s Twelfth Night is soliloquy, which involves a character speaking his or her thoughts aloud. The ideas conveyed by the actor are a way providing information from Shakespeare own point view on certain situations. In 2.2 of Twelfth Night, Viola, disguised as Cesario, conveys her realization of the mistakes she caused due to her disguise: Disguise, I see, thou art a wickedness, Wherein the pregnant enemy does much. How easy is it for the proper-false In womens waxen hearts to set their forms!   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Alas, our fraility is the cause, not we, For such as we are made of, such we be. How will this fadge? My master loves her dearly,And I, poor monster, fond as much on him,And she, mistaken, seems to dote on me.What will become of this? As I am man,My state is desperate for my master’s love.As I am woman, now, alas the day,What thriftless sighs shall poor Olivia breathe! (2.2.26–38)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   This soliloquy serves a purpose of developing context outside of the literal play. In real life, people don’t typically speak their thoughts aloud when alone. Shakespeare’s use of soliloquy is a active interpretation of what the audience does not yet understood. Thus, the conscious choice to use a soliloquy is representative of Shakespeare’s voice because, it develops Shakespeare’s style of presenting mental or non-visible information to become visible to the audience. Soliloquy adequately conveys the strength of Shakespeare to back audience into the scene of play through understanding of the event. Secondly, it develops in a way where Cesario is aware of the whole plot and takes on a role in knowledge as an audience. Furthermore, this foreshadows of how there will be a conclusion to untie this lie, and chaos Viola has created through her disguise. These complex ideas are voices for Shakespeare’s readers to notice through his voice beyond the literal sound of the play.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   A complex idea beyond the authentic voice of the play also develops the style that is distinct to Shakespeare. In the same scene, Shakespeare also personifies the concept of a â€Å"disguise† to render a style of narration. Shakespeare uses apostrophe, and aside or address inanimate objects as though they are alive. For example Cesario concludes that â€Å"Time,† which she addresses as a character, must unravel this madness, as she cannot undo Olivias confusion, â€Å"O, Time, thou must unravel this, not I† (2.2.39). In this soliloquy, Caesario highlights the weakness of women, the subjectivity of love and the conflicts presented by appearance versus reality. The use of monologue, apostrophe and iambic pentameter in combination create Shakespeare’s voice. It sets his writing apart from other writers who present a similar plot. For example, Ewon Leslie’s She’s the Man incorporates scenarios from Twe lfth Night but is written in an entire different voice and style. Both presenting a story plot of a woman in disguise of men creating a chaotic love web, She’s the Man, is different as the literal voice was of modern English. Which does not use poetry, soliloquy, nor personification. Through examining Shakespeare’s use of personification and soliloquy, audiences can see that idea of voice is unique on its own and cannot be imitated.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In fact, it is not only a unique concept to developing a figurative voice for Shakespeare, but also a voice in writing. â€Å"It is one of the last of the Elizabethan comediesreflecting the anxieties and uncertainties of its historical moment,† and â€Å"first seventeenth century comedy, and is in many ways a beginning -of-century play, inaugurating a new poetics: some commentators have been it as the first of the ‘ dark comedies’† (Elam 2). This explained through his scene, which prepares us for dramatic irony when Maria, Sir Andrew, and Sir Toby write the letter to Malvolio, under the pretence of Olivia.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Maria   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   I will drop in his way some obscure epistles of love; wherein, by the colour of his beard, the shape of his leg, the manner of his gait, the expressure of his eye, forehead, and complexion, he shall find himself most feelingly personated. I can write very like my lady your niece: on a forgotten matter we can hardly make distinction of our hands. As we, the audiences are aware of the deception, because Malvolio himself is not aware of it when he finds and reads the letter during Act 2, Scene 5. Presuming the letter is for him, and from Olivia, he proceeds to embarrass himself. This structure of the voice develops as Shakespeare style in dramatic irony where the audience becomes important to the play. Voice here holds a distinct figurative role to incorporate audience into understanding voice of Shakespeare. A further technique that is commonly used by Shakespeare and is, therefore, representative of his voice concerns the way in which he in corporates the audience into play. According to Keir Elam, Twelfth Night, â€Å"pleasures and trials of spectatorship† (Elam 3). By having spectatorship and asking audience for appraisal, establishes the use of dramatic irony. Audience is present and indulging in the same space as the characters through the lines: Sir An. Here comes the fool, i faith. Look, here comes a fool. Fes. How now, my hearts! Did you never see the picture of ‘We Three’? Hello, my friends! What a pretty picture, three fools all together. Sir To. Welcome, ass. Now let’s have a catch. (2.3.12-17) Taking this even further, Shakespeare typically uses a fool to breaks the fourth wall. The fool is present in this piece as he is in many of Shakespeare’s plays; for example, Puck in A Midsummer Night’s Dream invites the audience to be with them. This analysis of the way Shakespeare uses tone, mood, style and figurative techniques through the fool to demonstrate his thinking and logic provides further insights reflecting his personality and ability to manipulate what is perceived. However, in She’s the Man, a movie that â€Å"relate only to the plot of the work, the poetry and character being all his own† (Hudson 8), the fool is the audience (not a character). The story presented in She’s the Man has every potential to be another copy of Twelfth Night because it shares a similar plot. Referencing stories outside set Twelfth Night apart from She’s the Man, such as that Twelfth Night’s â€Å"setting of the play, Illyria , as an exotic and unfamiliar location associated with literary romance, lyricism, and illusion,† (Entland, 149). However, the way it is written, its voice, sets it aside from Twelfth Night, which was very much a play written for characters to perform.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   This leads the audience to form the conclusion that voice is something that is expressed and received by the initiator and a receptor. As such, it was important for Shakespeare to develop a style that was unique to him as, through his writing, he expressed himself: his voice was an extension of his thoughts, feelings and emotions. Through using a combination of technique and language, Shakespeare’s voice conveys his opinions, likes, and interests to set up the mood.In fact, the place cannot be found because it is a myth. Thus, voice become unique in bringing the reader to notice outside information that interests the author. Another interesting concept that is presented through the voice of Twelfth Night is the social classicism turn around and move to talking about Shakespeare’s voice of who he is.. In Twelfth Night, the characters fail to adhere to social expectations: â€Å" how community diagnoses madness when a person f ails to perform his known identity member of a particular class as well†(Schiffer 234). Rise of people who will form the bourgeoisie class matter due to crumbling of aristocrats.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The play contains a trick on a set of individuals who think they are exercising power and control. Malvolio, a mere butler, perceives himself to be superior to Toby, an alcoholic aristocrat and Maria, a servant. Toby, though an aristocrat, does not exhibit much power initially, but in the end does have most of the power. Toby and Maria’s letters ultimately drive Malvolio out of control. This demonstrates the modernist revolution in the arts during the late Renaissance in the service of the avant-garde. And possibly reflect Shakespeare’s stance in studies was open to movements such as structuralism and feminism.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In addition to the literal elements of Shakespeare’s voice that are described in the lines of Act 2 Scene 2, there are also figurative aspects that set his work apart from that of other playwrights and authors. According to Christine Ashby, a language researcher, the production of voice and its use as a tool are separate from the thinking of the individual. Figurative voice represents the voice of the person expressed through their idea, concept or logic. Twelfth Night is a play about the â€Å"dramatization of currently fashionable issues such as gender and sexuality† (Elam 2). This adheres to the famous recurring plot that is typical of Shakespeare’s plays as expressed through the idea of a love triangle, star-crossed lovers, where women is deemed to be powerless when it comes to love. For example, Act 2 Scene 2, Viola expresses how women are subjects to love for men. This derives from a larger social commentary outs ide of the play. Conclusion   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Through assessing the work of Shakespeare, voice can be both literal and figurative. It reflects the author’s thoughts, desires and provides insights into what the author would like the audience to think, or how he or she would like them to receive the play. Shakespeare’s voice is reflected in his unique style and techniques. The aspects of his work that sets him apart from others work in combination to give his work his voice. Examining Shakespeare’s work has refined definition of voice as an accurate literal sound of the writer, distinct figurative role, a unique commentary. References Ashby, Christine. Whose Voice Is It Anyway?: Giving Voice and Qualitative Research Involving Individuals That Type to Communicate. Disability Studies Quarterly. Syracuse University, 2011. Web. 06 Dec. 2014. http://dsq-sds.org/article/view/1723/1771. Glossary of Literary Terms. HUNTER COLLEGE READING/WRITING CENTER WRITING FOR ENGLISH COURSES. Ed. Anna C. Rockowitz. Hunter College Reading/Writing Center, 1998. Web. 5 Dec. 2014. http%3A%2F%2Frwc.hunter.cuny.edu%2Freading-writing%2Fon-line%2Flit-terms.html. Hudson, Henry N., Rev. Shakespeares Twelfth Night; Or, What You Will. Boston: Ginn, 1895. Print. Schiffer, James. Twelfth Night: New Critical Essays. Abingdon, OX: Routledge, 2011. Print. Shakespeare, William, and Elizabeth Story Donno. Twelfth Night, Or, What You Will. Cambridge: Cambridge UP, 1985. Print. Shakespeare, William, and Keir Elam. Twelfth Night, Or, What You Will. London: Arden Shakespeare, 2008. Print. Shakespeare, William. Twelfth Night; Or, What You Will. New Haven: Yale UP, 1954. Print. Shakespeare, William. Twelfth Night, by William Shakespeare. London: J. M. Dent, 1935. Print. The New Temple Shakespeare. Shes the Man. Dir. Andy Fickman. Prod. Lauren Shuler-Donner and Ewan Leslie. By Ewan Leslie. Perf. Amanda Bynes, Channing Tatum, and Laura Ramsey. DreamWorks Distribution LLC, 2006. Voice. Merriam-Webster. Merriam-Webster, n.d. Web. 07 Dec. 2014. http://www.merriam-webster.com/dictionary/voice. Source document

Monday, January 20, 2020

Cell Phone Use Should be Prohibited While Driving :: Argumentative Persuasive Argument Essays

Cell Phone Use Should be Prohibited While Driving A small sedan is crawling through an evening of rush hour traffic on I-65. Aware of the huge SUV attempting to merge into the lane, the driver slows in an effort to allow the vehicle to claim a space in the horde of eager business men and women fleeing from offices and pushing towards typical Friday night destinations. The driver of the SUV is unaware of the tiny car beside her and smashes into the automobile and curses into her cell phone. A witness a few cars behind quickly dials 911 on his cell phone. Unable to pay attention to traffic and dial the phone at the same time, he crashes into the truck in front of him causing a pile up of several cars. Because of the distraction they provide to motorists, cell phones should be banned from use by drivers of moving vehicles. According to the Cellular Telecommunications & Internet Association (CTIA), nearly 168 million U.S. citizens used cell phones in August 2004 (Cell Phones and Driving). Without a doubt the number increases daily. Cell phones are becoming as American as baseball and apple pie. The insane amount of cell phones in the hands of distracted drivers can only mean one thing: a higher chance for an accident and that is exactly what is happening. ?A 1997 article published in the New England Journal of Medicine [stated]?the use of cell phones in motor vehicles?quadrupled risk of collision? (Cell Phones?on Highways?). This is a large increase considering accidents are being cause by a wireless device being used for meaningless phone conversations while sharing an interstate with other distracted drivers. Removing cell phones, an obvious distraction, is one way to reduce the number of traffic accidents. Simply not answering the persistent ring or allowing a passenger to dial and make the p hone conversation could save many lives. Life in America has become so fast paced that the separation between work and home is not apparent?especially when major business deals are being made by business men and women who are making left turns and sitting at four-way stops. As stated in the Electronic Engineering Times, ?Harvard?s Center for Risk Analysis?[shows]?2,600 people a year are killed and 330,000 are injured in car crashes involving cell phones? (1). With these statistics it would be expect that police officers responding to car accidents would document the proper information and ask if a cell phone was involved in a car accident.

Sunday, January 12, 2020

College Is It Worth It Essay

Right now in our society university education is no longer an option or privilege, but rather a necessity. We are practically raised and conditioned to believe that one needs higher education in order to succeed in life. There is a saying that says â€Å"if you think education is expensive, try ignorance. † But as technology is constantly advancing and computers are running almost anything, is a college education really necessary? There are people who have never set foot in a college and are doing better than people who have their master’s degree. There are views from both sides that contain a valid argument. The main reason why people go to college is not because they want to but because they have to. Most 11th and 12th graders are pressured by their parents to go to college because it is â€Å"the right thing to do. â€Å"† In the essay that Caroline Bird wrote â€Å"College is a Waste of Time and Money†, she states that students go to college because † . . . Mother wanted them to go, or some other reason entirely irrelevant to the course of studies for which college is supposedly organized. † The student may have different ideas about what he or she wants to do in life, but because they think that their parents know what is best for them, they probably end up doing something they do not want to do, resulting in being miserable and resentful. Let’s face it, going to college is socially prestigious. Most people go to college only for the title of being called a college student. For some young people, it is a graceful way to get away from home and become independent without losing the financial support of their parents. They do not want to be looked down upon so they do what would look â€Å"best in the eyes of society†. It is practically beat into our heads that in order to be a respectable citizen of society, you should have some sort of university education. Being a college student is perhaps a more respectable role than being, for example, a clerk or a garbage man because of the negative connotations such jobs receive. Going to college and getting a degree does not necessarily guarantee that an individual is going to get a job right after graduation. It is hard out there for recent graduates to find a good job since there is so much competition due to the insanely increasing numbers of our population and a wildrace for the lions share in every field. Even if they do get a job, it is usually not in what they got their degree for. Many college students would feel that college is a waste of money because they do not learn what they want to. Instead they have to take classes that have close to nothing to do with their major but are only taking these classes in order to fulfill a general educational requirement. Upon graduation, some feel that they are at a disadvantage because more time could have been spent on learning more within their field of study and less on irrelevant materials. Now for the pros of having a professional college education. The major reason of going to college is, of course, to get a good job. College prepares us with academic knowledge in order to succeed in the future. According to Ernest Boyner higher education is essential for preparation for one’s future. He states that: In spatial terms, teaching and learning may begin in a classroom, but course work also spills over into the life of the campus and the community. Students engage in experimential learning and co-curricular activities that take abstract ideas and anchor them in real-life problems. As the competition to get a decent job is increasing, it is close to impossible to obtain a high paying job without at least a bachelor’s degree. Many jobs that only used to want their workers to have a high school diploma now require some college education due to their extremely complicated nature. Another way college is worth the money, however, is because it is one of the few institutions that often contains people of different ethnic and racial backgrounds. Such a situation allows one to develop their social and communicative skills because they are exposed to unfamiliar cultures. This is necessary for the fact that a person does not want to come across as ignorant towards a certain culture. This only, however, comes in handy when you are being educated abroad. College is like a stepping stone to becoming a responsible adult because for the first time most people are practically on their own (that would definitely include me). It is completely different from high school in that not only that school has to be dealt with, but you have to juggle your personal time and financial state as well. They go away to college and face circumstances that they would most likely come across when they finally do go on their own. Bills have to be paid, time has to be managed efficiently, and deadlines have to be met, just like in the â€Å"real world. † College is not only about getting a good job ‘but about acquiring knowledge and broadening one’s horizon. A lot of courses that are at school are not needed for a certain major but are just there for interested people who want to learn more about a certain subject. Bowen explains this by breaking it down into three aspects: †¦ the specific goals for the education function are derived. This function†¦ is intended to help students develop as persons in three respects: cognitive learning, by expanding their knowledge and intellectual powers; affective development, by enhancing their moral, religious, and emotional interests and sensibilities; and practical competence, by improving their performance in citizenship, work, family life, consumer choice, health, and other practical affairs. It is sometimes just as good to be an intelligent person and know about a lot of things instead of being someone who makes a lot of money. My admission into an arts college after a lifetime of struggle of being an a-grade science student, had led me to seriously consider the complexity of this topic and what i have learned is that college definitely has its pros and cons. But I think that college is what you make of it. It can be the best time of your life, but only if you want it to. You can take the pessimistic view about it and think that college is a waste of money, or it can be looked at as a challenging and exciting new frontier that basically will set the precedent for the rest of your life. No matter what i learn in this environment that has been setup on an organised platform to produce strong and self assured individuls that will help make this deteriorating world a better place to live in ,even if we do’nt do it conciously, what I know for sure is that the education I recieve in this college will always be of invaluable worth once i step out in the ruthless fish-eat-fish world.

Saturday, January 4, 2020

Expectations Of Characters In Shakespeares The Scarlet...

â€Å"Doodle was just about the craziest brother a boy ever had.† Page 1 paragraph 2 Doodle was an ordinary boy with something special that not everybody had- a heart condition. It prevented him from doing most things an average boy could. Doodle and his brother would spend most of their time at Old Woman Swamp or outdoors. They are always together in some way. The author of â€Å"The Scarlet Ibis† uses foreshadowing, similes, and imagery to show that others expectations of one can impact themselves and take a toll on their life. The first main character in the story is Doodle, also known as William Armstrong. When he was born, no one had faith in him of surviving, except his Aunt Nicey. He is born with a heart condition that interferes with†¦show more content†¦The major conflicts in the story are man vs. man, man vs. self, man vs. society. First, man vs. man because Doodle has conflicts with not living up to what Brother wants. Although Brother develops a bo nd with Doodle, his love and greed pushed Doodle to learn how to walk and doing more than what Doodle can. Doodle has already gone too far by learning how to walk, while the doctor says to be careful. On page 3, according to the doctor, the instructions are, â€Å"... he mustn’t get too excited, too hot, too cold, or too tired†¦ must be treated gently.† Disobeying these instructions can come with consequences. The doctor then goes on saying some movements could strain his weak heart and possibly kill him. Secondly, man vs. self. When Brother first proposed the idea of Doodle walking, Page 4 Doodle responds with, â€Å" I can’t walk, Brother,...Mama, the doctor-everybody,† He doesn’t have a desire to learn how to walk because he’s been influenced by everybody around him that he can’t. Lastly, man vs. society because society is what caused Brother to help Doodle. According to the narrator, he was embarrassed, Page 4 paragraph 4, à ¢â‚¬Å"When Doodle was five years old, I was embarrassed at having a brother †¦ couldn’t walk, so I set out to teach him.† These 3 conflicts help guide the theme and moral of the story. The author uses similes to show, others expectations of one can impact themselves. The narrator compares Doodle