The Dunedin Public Art Gallery - 1147 Words

The Dunedin Public Art Gallery is currently showcasing the ‘Private Utopia’ exhibition. It holds 85 works by 25 artists of Contemporary Art from the British Council Collection. The exhibition displays artistic production from the last two decades, by artists who came to prominence in the mid-1990s and also emerging artists of the present. Such as Sarah Lucas, Cornelia Parker, Marcus Coates, Laura Lancaster, Tracey Emin, Roger Hiorns and many more. These artists contribute to the five threads that are presented in the exhibition. These practises include humour and the uncanny in the everyday, storytelling and narrative, identity and society, real and imagined landscapes and the appropriation of styles, subjects and ready-made materials. Overall the exhibition prevails a wide range of confronting and reflective themes. It shows the nature of Modern Art in Britain today and also includes aspects of music culture, social history and anthropology. Roger Hiorns prominently contributes to the themes showcased in the ‘Private Utopia’ exhibition and demonstrates the broadening definition of what art can be. Hiorns was born in 1975 in Birmingham, England and currently still lives there. He studied at University of London Goldsmiths College and Bourneville College of Art. He was also nominated for a Turner Prize in 2009. Hiorns is sculpture and instillation artist. His primary interest is to manipulate materials or to make them react in unexpected ways. By using materials he createsShow MoreRelatedJacques † Joseph Tissot s Waiting For The Train1842 Words   |  8 PagesThis essay will argue that Jacques†Joseph Tissot (later James Tissot) depicts modern life through Waiting for the Train (Willesden Junction) (1871-1873, Dunedin Public Art Gallery) by painting the interaction of a young middle-class woman and the modern environment of a London train station. Tissot (1836-1902) was a French Realist who broke a way from the traditions of religious and classical painting through the style of rigorous naturalism which was common in the nineteenth century. He paints lifeRead MoreDirect Elements of the Tourism Industry4282 Words   |  18 Pagesairlines, bus companies, tour operators and rental car companies) 2. those sectors which are part of the product at the destination (for example, accommodation, facilities and attractions) 3. the human component of tourism (the labour force) 4. public sector or government agencies, regional tourism organisations, professional associations and industry training organisations. Direct elements of the Tourism Industry  - Those areas of the tourism industry which come into direct contact with touristsRead MoreA Postmodernist/Posthumanist Reading of Kazuo Ishiguro’s, Never Let Me Go Using Fredric Jameson’s Theory of Postmodernism and Late Capitalism.4659 Words   |  19 Pagestime frame is parallel to what Jameson states about the break away from modern movement, rise in existentialist philosophy and the final forms of representation in the novel. In the late 60s early 70s in Britain, new things were happening such as Pop art and pop music, making the whole era ‘pop’ with new ideas and new thought processes. What Ishiguro does is take this idea of reinvention to create a science fictional setting of a new era of medicine. As Jameson describes architecture as a founding andRead MoreExploring Corporate Strategy - Case164366 Words   |  658 Pages11:54 Page 599 Guide to using the case studies The main text of this book includes 87 short illustrations and 15 case examples which have been chosen to enlarge speciï ¬ c issues in the text and/or provide practical examples of how business and public sector organisations are managing strategic issues. The case studies which follow allow the reader to extend this linking of theory and practice further by analysing the strategic issues of speciï ¬ c organisations in much greater depth – and often providing

The Tragedy Of Macbeth By William Shakespeare - 1205 Words

The play of Macbeth is a tragedy which led to his demise. Macbeth was an honorable solider whose life became one of a traitor and a coward. The conflict of light and darkness within Macbeth began after he receives a prophecy from three witches that one day he will become King. This prediction without a doubt consumes him with ambition and greed. In order to fulfill the three witches prophecy Macbeth is led down his treacherous path by his wife, Lady Macbeth who urges him to murder King Duncan and seize the throne without hesitation. Macbeth struggle with his conscience and it was often difficult for him to differentiate between the illusion of ghost and what is real. Shakespeare uses the contrast of light and dark to provide readers a better understanding of good and evil within the play. The contrast of light and dark allows readers to understand characters morals and characteristic quickly and effectively. A glimpse of evil is first seen at the beginning of the play, â€Å"Fair is foul and foul is fair† (1.1.11). The darkness plays an important role in developing the conflict to understand Macbeth train of thoughts and what lead him to commit such heinous crimes. The darkness reveals his character or true self. We are all born with the choice to be good or bad and whatever opportunities are presented to us to further our ambition we will choose base on our morals. If an individual is able to get away with evil, then an attempt is made to do so as in the story of Macbeth.Show MoreRelatedThe Tragedy Of Macbeth By William Shakespeare1205 Words   |  5 PagesThe first tragic story created in ancient Greece. Tragedies were written as a form of catharsis or purgation of emotions. In these types of plays, the audience finds characters in which they can relate to w hich is a tragic hero. The tragic hero creates his own failures based upon their own actions and produces a detrimental fate for himself. The process of the protagonist’s fall is based upon the tragic structure. The structure of a tragedy consists of the exposition, exciting force, hamartia, theRead MoreThe Tragedy Of Macbeth By William Shakespeare892 Words   |  4 Pages‘The Tragedy of Macbeth’, written between 1599 and 1606 by William Shakespeare, has been reinterpreted in the 2010 film ‘Macbeth’. The 2010 film successfully takes its own reading of Shakespeare s play; by changing the setting, the director, Rupert Goold, effectively conveys many of the key themes and issues found in the original text. Whilst transforming some on the underlying meanings to correspond to the alternative readings contemporary audiences might take from Shakespeare s Macbeth. The objectiveRead MoreThe Tragedy Of Macbeth By William Shakespeare1724 Words   |  7 Pages As humans we are attracted to tragedy in our everyday lives. For the horror, understanding and contemplation of human nature what else can offer a better summary than Shakespeare? In the play the Tragedy of Macbeth by William Shakespeare the story progresses through the vision of the protagonist, Macbeth. Throughout the story Macbeth aspires to obtain more power than his original position, as sergeant, provides. With many dastardly deeds he achieves the position of king, although he becomes a tyrantRead MoreThe Tragedy Of Macbeth By William Shakespeare1023 Words   |  5 PagesWilliam Shakespeare is one the greatest writer of all time. Writing hundreds of books and scripts, Shakespeare founded his most success in his plays in the 1589-1613. One of his most popular plays is the Tragedy of Macbeth. The Tragedy of Macbeth was a turn from glory to tragedy. A story of a true tragic hero. Macbeth is a brave soldier in a war for Scotland. A tale of a great soilder that was highly prais e in his kingdom turn to a tragic murderous sinful king. 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His ambition to gain a higher status as king ends with consequences to himself and the others in his path. Shakespeare adds dramatic irony, verbal irony, and situational irony to keep the readers at the edge of their seats as well as engaged in each lie and mishapRead MoreThe Tragedy Of Macbeth By William Shakespeare739 Words   |  3 PagesIn William Shakespeare’s play, The Tragedy of Macbeth, the Death of King Duncan of Scotland occurred at Thane Macbeth’s castle, Inverness, at around four in the morning in about the year 1300. Before the murder, Macbeth imagined seeing a bloody dagger floating before him, making it appear as if he was not totally sane. The reason the murder happened was because Macbeth had met three witches in the woods that prophesized to him that he would become king of Scotland. 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What Moral Purpose Was Charles Dickens Trying to Put Across in His Novel free essay sample

He later turns from rags to riches with help from his mysterious benefactor Abel Magwitch; the convict that he had saved from starvation at the beginning of the novel. As he progresses to the upper class, and gains wealth and power, he loses his kindness and becomes a little ignorant of the plight of the poor. Dickens has highlighted this to show that money does not always make you a better person or always make you happy, as Pip still struggled miserably to win the heart of his first love Estella. On a bleak evening, Pip is sitting in the churchyard by the grave of his family surrounded by people who have failed `the universal struggle. ` At the period that Great Expectations was written, life was a constant challenge for the many orphans in England and many resorted to child labour, begging or stealing until the end of their short lives. The name Pip suggests that the novels narrator is small and week but throughout the novel, the seed that is Philip Pirrip grows and flourishes. The grim evening reflects Pips own mood – made worse when the escaped convict, Abel Magwitch, seemingly resurrected from the grave shouting â€Å"keep still you devil or ill cut your throat†. The word â€Å"and† is repeated over and over when the scene is being described to create the feeling of isolation; of Pip being all alone in the world. The same word â€Å"and† is alliterated again producing strong and distinct mental images of Magwitches major struggle on his run from the law. Magwitch manipulates pips vulnerability to get what he needs but then eases off when he finds out that his parents are deceased showing that he is not completely heartless. Pip is terrified at the man standing before him threatening to literally eat him and he believes every word. As the confrontation nears its conclusion, Pip is tilted back against a tombstone – â€Å"after each question, he tilted me over a little more, as to give me a greater sense of helplessness and danger† Dickens has done this to build tension and show that Magwitch was fully in control. Pip is forced to say â€Å"say lord strike you dead if you don’t† which petrifies him further as in the 19th century the church played a more important role in life and he genuinely believed that he would be struck dead on the spot if he didn’t comply after swearing to God! In the eighth chapter, Pip is requested to â€Å"play† at Miss Havishams mansion; a total strangers house – were he is greeted with an icy reception from Havishams adopted daughter Estella. As she leads him through the dark dismal passages, she insists on calling him â€Å"boy† to show that a person of lower class than her is of no value and does not deserve to own a name. This was common in the Victorian era, as the rich and the wealthy (higher classes) often looked down their noses to the poor. When they approach Miss Havishams dressing room, Estella leaves him, â€Å"and even worse, took the candle with her†. Pip is left in the dark in both terms, as he is now standing in the shadowy hallway alone, and he is unsure about what he will face on the other side of the door. Pip meets and eccentric old women who was left humiliated and heartbroken at being jilted at the alter in her youth. She has let her past experiences consume her and had all the clocks stopped at the exact point at which she had learnt of her betrayal, attempting to freeze time and appearing to be existing, rather than living with no goals or relevant future. From that day on, she imprisoned herself in her decaying mansion, never removing her now withered and yellowed wedding dress which had gone sour like her mind that has turned bitter and cruel. He is asked to call Estella – â€Å"she answered at last, and her light came along the dark passage like a star. Dickens has used this language to symbolise social class differences; of Estella being angelic and pure as a star (that will grow to be Pips light), and Pip being common and insignificant. Havisham seems to revel in Pips discomfort saying â€Å"well, you can break his heart. † Making sure that Estella would not have to suffer as she had at the hands of a man, was Havishams only goal in life casting about for boys who could be a testing ground for Estella’s education in breaking men’s hearts as vicarious revenge for her own pain: â€Å"I stole her heart away, and put ice in its place†. When Pip feebly requests to leave, Miss Havisham replied â€Å"you shall go soon†Ã¢â‚¬ ¦Ã¢â‚¬Å"play the game out†. Making the point that she owns everything in her property, including Pip. The title of the novel suggests a bright future for Pip and as he started on a low – being threatened by an escaped convict at an isolated graveyard and scrutinized by a crazy deranged women in her dark and dingy mansion, there seems nowhere else to go but up, hence the name ‘Great Expectations’. The next time Pip and Magwitch meet in chapter 39, the tables have turned. When Magwitch reveals himself to be Pips benefactor, he does not feel gratitude towards him but rather disgust and repulsion as he discovered where his money had come from – â€Å"The abhorrence in which I held the man, the dread I had of him, the repugnance with which I shrank from him† Dickens has purposely made Pip the narrator so that the novel is told from his understanding of it; when Pip believes that Havisham was his benefactor the reader believes the same, until the truth is exposed to both Pip and the audience simultaneously. We develop knowledge of the story at the same pace as Pip and the reader shares his surprise when Magwitch turns up showing Dickens’s impressive skill as a writer. In Magwitch and pips first encounter, Pip is receiving death threats and is being hurled around by the same man that is now saying â€Å"I wish to come in master† This is one of Dickens major skills as a writer showing circular structure; the poor becoming rich, and the poor dying out as the process is repeated over and over again. However, Pip feelings towards Magwitch improve when he learns the history and he takes part in hatching a plan to get him out of the country and into safety, marking the end of the second stage of Pip’s expectations. Magwitch is caught at the hands of his old enemy, Compason after a frantic getaway attempt and awaits trial in a court of law but becomes very ill in prison. The trial in which Magwitch is proved guilty is described as having a â€Å"broad shaft of light between the two-and-thirty-and the judge†, symbolising God being the light that separates the good and the righteous from the evil sinners. Magwitch is given the death sentence but he dies at Pips side before it can come into place Between the first and final meeting the master and the beggar switch places as, as Havisham is now at the mercy of Pip. There is a total character change. She now has â€Å"a new expression on her face, as if she were afraid of me and her movements are tremulous† which is repeated over and over to show what a fragile and desperate state she was in. When Havisham finds out that Pip has found out about her hidden motives, she tries to bribe him – â€Å"If I give you the money for this purpose, will you keep my secret†? This shows how low she is prepared to stoop to keep her secret hidden. Havisham owns a once grand mansion, and great wealth, but she breaks down completely at loosing the one and only precious thing to her – Estella. â€Å"She dropped to her knees† at Pips feet symbolising them literally switching positions as Havisham is now below Pip in both sense of the word. She â€Å"hung her head of it and wept† repeating â€Å"what have I done, what have I done! as she wrung her hands and crushed her white hair â€Å"as if she was reliving the pain of the day she was left at the alter and finally realising her blindness to what was most valuable to her all her life. Dickens uses words such as â€Å"grievous, â€Å"diseased† and â€Å"monstrous† to describe Havisham and her dark past, showing just how emotionally scarred she was from her past experiences. Pip seems almost to be interrogating Havisham, ordering her to answer direct questions – â€Å" who’s chid is Estella’s† which is an extreme change from the first meeting when Pip had said little more than two words. He has now grown confident enough to talk to her as an equal. The time of day is described as â€Å"twilight† which is Dickens using a form of pathetic fallaway symbolising the approach of the end of the day, the end of Havisham and the end of the novel. When Pip examines the brewery, he notice that â€Å"the damp wood had started and swelled† symbolising Havisham weeping and â€Å"the hinges were yielding† referring to Havisham confessing to Pip. In the brewery, Pip has a premonition of Miss Havishsam hanging to a beam, as she has clung to the past almost all her life. Near the end of the chapter, Havisham dies horrifically, as she is burnt alive after getting too close to the fire. The event â€Å"disturbed beetles and spiders, running away over the floor and the servants coming† Showing that the moment Havisham is gone, life returns back to the house. Pip fails to notice his hands were burnt until after the encounter, symbolising him playing with fire to try to win the love of Estella. Pip did not bear any grudges towards Havisham, as he was kind enough to pay for the funeral expenses, and he had â€Å"I forgive her† written under her name. I believe that Dickens moral purpose for Great Expectations to teach us that although money is a good thing, it can also make us act out of character and change us for the worse. It can make you arrogant and can even blind you to the feeling of others. Money can change your personality, enabling you to treat others as if you were a common criminal. Dickens teaches us that we should treat everyone as equal regardless of class or background. We never know if or when the tides may turn, and we may find ourselves one day at the mercy of the very same people that we treated badly. Dickens wants us to use feel compassion for Magwitch, as he is a good person, but has been labeled as a criminal, therefore he dies peacefully. Whereas Havisham, who has lived a bitter and twisted existence, dies horrifically for her sins, which refers to divine justice this is highlighted by Pip and Havishams, Magwitch and Pips relationship during the novel. I believe that Dickens has put his point across clearly and successfully.

Othello Essay Research Paper In his play free essay sample

Othello Essay, Research Paper In his drama Othello, Shakespeare uses many elements to heighten the calamity of the piece. He uses Desdemona as the ultimate inexperienced person victim and he uses true love to elicit our commiseration. However, most of import is the manner in which he uses the journey from order to chaos to let us to follow how the calamity progresses. He uses the physical journey from Venice to Cyprus, Othello s emotional decomposition, and the autumn of Iago s program to demo how the drama falls into pandemonium and from at that place into calamity. The alteration of puting from Venice to Cyprus brings the characters physically from order into pandemonium. Venice is a metropolis ruled by jurisprudence and authorities ( Desdemona s male parent is a Senator ) . Iago attempts to do problem for Othello but fails because no 1 takes action against Othello, instead the instance is settled in a tribunal of jurisprudence through weighing the grounds and passing judgement. We will write a custom essay sample on Othello Essay Research Paper In his play or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Another illustration of Venice s order can be seen in what Brabantio says to Iago and Roderigo. What tell st thou me of robbing? This is Venice. ( I.i.102-3 ) Brabantio is stating that in Venice pandemonium has no topographic point. When the characters move from Venice to Cyprus, they are no longer ruled by order. Cyprus is non every bit secure as Venice. It is an outstation to the metropolis, surrounded by H2O and vulnerable to assail. There are no tribunals or senators. The lone authorization is vested in Othello, the governor. ( Bradely ) Therefore, in traveling from Venice to Cyprus, the characters are physically traveling from order into pandemonium. This sets up the more abstract or emotional journeys into pandemonium. Othello is the most obvious character to undergo this alteration or journey. He is the governor of Cyprus and his importance in Venice is clear ; he can name officers, converse with head citizens, and get married the girl of a Senator. This is the footing of Othello s paradox- as a epic officer of the armed forces, he is powerful. But as a black adult male in a white adult male s society, he is vulnerable. Roderigo- Signior, it is the Moor. Barbantio- Down with him. [ They draw their blades ] Othello- Keep up your bright blades, for the dew will corrode them. Good signor, you shall more bid with old ages Than with your arms. ( I.ii.289-96 ) Othello is able to prevent a conflict merely with words, demoing his power and importance. However, the manner in which others speak of him shows the deficiency of respects for his race, and the resulting exposure. Often, he is non Othello but is instead The Moor. This exposure allows for Othello s autumn into pandemonium. He is the prototype of order, but when Iago workss the seeds of uncertainty sing Desdemona s fidelity, his emotions become helter-skelter. He says to Iago, I do non believe but Desdemona s honest # 8230 ; And yet, how nature mistaking from itself- ( III.iii.265-7 ) His emotions have risen beyond control when he hits Desdemona in forepart of Lodovico. Othello- [ striking her ] Satan! Desdemona- I have non deserved this. Lodovico- My Lord, this would non be believed in Venice, Though I should curse I saw t. Tis really much. Make her damagess. She weeps. Othello- O Satan, Satan! If that the Earth could pullulate with adult female s cryings, Each bead she falls would pr ove a crocodile. Out of my sight! ( ) We see that Othello is so helter-skelter emotionally that he doesn t cognize how to carry on himself in public. Finally, at the vertex of his internal pandemonium, he kills his married woman, who in world he truly loves. He does this because his uncertainty ( triggered by Iago ) has made his one time organized emotions so disorderly that he can t happen his true feelings. Othello s race is slightly of an index of his decent into pandemonium. Moors in Elizabethan theater were stereotypically harsh, violent, lubricious, and cunning scoundrels. ( Al-Amin ) As Othello s decent begins, he is facile, the hero instead than the scoundrel. As the drama progresses, he becomes the stereotyped Moor, violent and governed by his passions. His linguistic communication, antecedently so baronial and facile, is reduced to phrases like caprine animals and monkeys! ( IV.i.265 ) Indeed, as Iago says to Lodovico, He is much changed. ( IV.i.270 ) Iago plots his retaliation against Othello, but even the best laid programs can fall into pandemonium. Iago s program goes incorrect in two ways-two ways that meet up and do Iago s ruin. The first manner that his program becomes helter-skelter is in his prevarications. Honest Iago at first exacts retaliation by simply adding insinuations to the truth and go forthing out certain facts. Although it is unreliable, it is a simple and orderly program. As he begins to trust on prevarications to foster his program, it becomes helter-skelter. After Cassio and Roderigo s bash, Iago recounts the incident truthfully, simply go forthing out the fact that he was the 1 who got Cassio rummy. Montano and myself being in address, / There comes a fellow shouting out for aid, /And Cassio following him with determined sword/ To put to death upon him. After he and Othello see Cassio with Desdemona, Iago workss seeds of uncertainty in Othello s head with minimum falsity. He says was it Cassio, my Godhead? No, certain, I can non believe it/ that he would steal off so guilty like, / Sing your coming. ( ) However, after he has the hankie stolen, he sinks into straight-out prevarications, stating things like She gave it him, and/ He hath giv n it his prostitute. ( IV.i.195-6 ) As his program begins to trust more on prevarications, it becomes helter-skelter and more hazardous for Iago. The 2nd manner in which his program slips into pandemonium in in regard to luck. His program was simple and slightly good organized, so it becomes entirely dependent on fortune. When Othello observes Cassio and Iago s conversation, it is pure fortune that he merely sees and doesn T hear. In this and other cases, his program could easy hold been revealed. One such case is when Roderigo about sees through his secret plan. Roderigo comes near to impeaching Iago, stating I do non find/ That 1000 cover st merely with me. ( IV.ii.203-4 ) In the concluding helter-skelter scene, full of confessions and confrontati ons, Iago s prevarications and luck run out. He is taken off and anguished. As a kind of katharsis, when Iago is taken off, it is an act of the jurisprudence, and therefore a return to order. In decision, Othello contrasts order and pandemonium in order to stress the calamity. As Othello begins to abandon ground and linguistic communication, pandemonium takes over. His universe becomes ruled by helter-skelter emotions, with order pushed to one side. This pandemonium rushes him into calamity, and one time he has sunk into pandemonium, he is unable to halt his destiny from taking him over. Iago suffers a similar destiny and the scene of the drama emphasizes both of their falls.