Should We Become Hardened And Strong. The Industrial...

need to become hardened and strong. The Industrial Revolution was ultimately when man made fossil fuels became a problem for the environment. Before it, about 98% of Earth’s coral reefs were surrounded by waters with adequate aragonite saturation stats, which helped them maintain a healthy ecosystem (Oceana, 2014). However, now almost 60% of coral reefs are in waters that have less adequate aragonite saturated stats (Oceana, 2014), meaning that maintaining their hardened exterior has become increasingly difficult for coral across the globe. Researchers say that if the carbon dioxide concentration increases to 450 parts per meter (ppm), which it will if carbon dioxide emission is not controlled, over 90% of coral reefs will be in waters that cannot sustain the aragonite they need to survive (Oceana, 2014). Due to the rapid increase of carbon dioxide emissions, scientists believe that this is not far off. In fact, they fear that the concentration may double that of what it was p rior to the Industrial Revolution, which would result in stopping coral growth entirely, and all existing coral reefs will begin to erode (Oceana, 2014). A prime example of some of the major damage being done to coral reef habitats is the Great Barrier Reef itself. The Great Barrier Reef is home to almost 400 types of coral, one of the biggest collections in the world (Iacurci, 2014). It is also home to over 1,500 species of fish, as well as 4,000 different types of mollusks (Iacurci, 2014). The GreatShow MoreRelatedThe End Of The Civil War1228 Words   |  5 Pagesand later the political conflict between Johnson and the Radical Republicans, and lastly, the political struggle between Republicans and Democrats. It all resulted in the ever-changing policies toward the freed people. These different policies had strong effects on the society, especially the freed people. 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Concealment in the Twelfth Night Free Essays

British Literature: Concealment in Twelfth Night Throughout Twelfth Night, concealment influences each character’s life because it’s essential to portray how falsehood can be amusing or agonizing before they can discover their identity in life. Therefore, the concept of concealment not only affects the characters’ mistaken identities and abilities to express true love, but it gives the story comedic and entertaining qualities. Furthermore, concealment portrayed throughout this story makes each character develop an identity with either showing cleverness or madness, while it also makes each character realize the principles towards obtaining love and truth. We will write a custom essay sample on Concealment in the Twelfth Night or any similar topic only for you Order Now For instance, Viola’s disguise as Cesario and Feste’s costume as Sir Topas shows that they are both clever and amusing which causes characters to experience deception and confusion until their identities are revealed. With this in mind, concealment not only deludes characters from reality, but it exposes the abundance of true love among Viola, Orsino, Olivia, Sebastian, Maria and Sir Toby, which leads to three marriages within the story. Nevertheless, concealment causes the people to experience deceptions and illusions, but also provides humor concerning the morality of human behavior. Moreover, the first example of concealment during the Twelfth Night is Viola’s disguise as Cesario. Viola’s concealment is central to the plot because it is clearly evident that the fluctuation in attitude to the dual role and the situations and tribulations imposed upon the character Viola/Cesario, ends up creating a better understanding of both sexes and thus, allows Viola to have a better understanding of Orsino. For instance, at the end of the story when Orsino finally realizes who Cesario is, he professes his love to Viola by saying: â€Å"When that is known, and golden time convents, A solemn combination shall be made Of our dear souls. Meantime, sweet sister, We will not part from hence. Cesario, come- For so you shall be, while you are a man; But when in other habits you are seen, Orsino’s mistress and his fancy’s queen† (5. 1. 352-358). Consequently, Viola learns that in the role of Cesario, she had to be quick on her feet and defend the probing questions and statements as to her love and others love for her. Also, she acquired the skill to bide her time, until the time was right, in case she reveal her true self or intentions. The disguise also prevents Viola from expressing her love for Orsino, it contributes to the dramatic ironies by causing complications of mistaken identity. Moreover, Viola cannot show her love for Orsino, the only way she can express them is in her soliloquies to the reader, this contributes to the dramatic ironies. For example, when Viola conveys to Orsino what Olivia told her concerning love by saying: â€Å"A blank, my lord. She never told her love, But let concealment, like a worm i’ the bud, Feed on her damask cheek. She pined in thought, And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief. Was not this love indeed? We men may say more, swear more, but indeed Our shows are more than will, for still we prove Much in our vows, but little in our love† (2. 4. 108-115). There are many examples of concealment concerning Viola alone, which enables her to work for Orsino as a messenger: it causes Olivia to fall in love with her and it causes both of them to disguise their feelings from each other until Orsino becomes aware that Cesario is Viola. Concealment also causes mistaken identity. For example, Sir Andrew goes looking for Cesario, strikes him, finds out later it is, Sebastian. Sebastian hits him in return, but sevenfold, and Sebastian having been in Illyria only a few days is proposed to by a beautiful lady and is hit by a man he had never seen before, † Why, there’s for thee, and there, and there! Are all the people mad? â€Å"(4. 1. 16-17). This is a funny series of events started by the disguise of one single woman. It is evident therefore, that the disguises of Viola / Cesario as an example are very important and central to the plot. Also, it portrays how some characters are deceived about their true nature. An example of this is when Orsino sees himself becoming Olivia’s sweet perfections, fulfilling her sexual desire, thought and feeling. He naively believes that he is in love with Olivia when he has never really spoken with her. Another example is Olivia adopting the pretence of mourning and the puritanical Malvolio is tricked into the role of Olivia’s suitor and becomes a smiling courtier. As a result, oncealment contributes to most of the comedy because there is the occasion when Feste dresses up as Sir Topas and Sir Toby brings the joke to an end out of self interest than any concern for Malvolio. Feste uses a black parson’s gown, which is, ironically, the color normally associated with Malvolio, who in contrast is dressed in bright colors. This reversal provides a visible symbol of just how thoroughly his pride has been humiliated. Feste says, â€Å"There is no darkness but ignorance† and Malvolio’s ignorance has been ruthlessly exposed, although he was ignorant to think that Olivia loved him in the first place (4. . 33). It is the verbal and character comedy of Sir Topas, showing how humor comes from the rapid switching of roles and, if rather uneasily, from the deception of Malvolio. There are also more subtle examples of concealment in the Twelfth Night, the nature of characters as well as their identities are disguised. In the letter to Malvolio, Sir Toby Belch disguises his real motives behind his show of friendship for Sir Andrew. Illyria could also be a disguised England, not many people had traveled in Shakespeare’s day and so perhaps he ma de up Illyria to be a fantasy England. This place could be where all stereotypes of English people get up toimg src="http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png" / a variety of things, creating familiar stereotypes in a slightly different setting. Perhaps also, Shakespeare wishes to show his audience how ready humans are to disguise themselves: Orsino and Olivia are both disguising their feelings, Malvolio’s vanity and illusions about himself and his mistress help in his humiliation. The irony is that Orsino and Olivia are led to face reality by the characters Viola and Sebastian, who are at the center of the confusion over identity. Disguised characters were a stock convention of comedy, but Shakespeare uses the device to give it wider significance. The play makes us consider what our beliefs are about ourselves and others based upon. Therefore, in conclusion, it can be seen how very important and significant the theme of concealment is. Many forms of concealment featured in the play portray how  emotions and intentions are disguised behind an outer appearance, pretence or an attitude in which the characters possess within each situation. Concealment connects the story, the characters and the different scenes in the play. However, if there wasn’t concealment in the Twelfth Night, there wouldn’t be any humor reflecting the conflicts or problems, which influences the characters’ lives with understanding the truth about love and what causes illusion/deception. Bibliography Shakespeare, William. Twelfth Night. The Longman Anthology of British Literature. Ed. David Damrosch et al. 4th ed. New York: Longman, 2009. Vol. 1B. pp. 1217-1272. How to cite Concealment in the Twelfth Night, Papers

Adaptation by Spike Jonze free essay sample

After watching Spike Jonze’s 2002 Adaptation comic film I cannot help but demonstrate empathy towards certain characters, specifically, Donald and Charlie who are twin brothers. For example, I am greatly saddened by the failure of the conventionally successful Charlie to produce a sufficiently impressive script for the Adaptation movie. Such an outcome, which demonstrates a defeatist attitude on the part of Charlie, also points out that with passion, persons can attain almost any feat that they set out to accomplish. On his part, Donald records success in his script writing endeavors basically owing to his intense passion in his undertakings. The good relationship between the 2 brothers, despite their obvious differences, thus makes me proud of their originality and accommodative powers. Further, I marvel at John Laroche’s great efforts to adapt Susan Orlean’s The Orchid Thief article into film. Through this undertaking, Laroche demonstrates intense determination as he attempts a very difficult undertaking. Laroche’s strong willpower thus motivates me to always put forth my best efforts in all activities. Another poignant incidence in Jonze’s film is the instance whereby after experiencing the double tragedy of losing both his wife as well as his wealth, Laroche is hired by Seminoles to aid in orchid collection. This development acts as a much needed reprieve for the obviously troubled Laroche. The man who has been recently rendered destitute secures a source of income. This event thus makes me to poignantly reflect on how humanity is usually a sad victim of circumstances with regard to natural catastrophes like the hurricane that destroys Laroche’s possessions. I thus hold that mankind is a very feeble creature in the wide universe. Related to the aforementioned concept, although Laroche benefits from the Seminoles’ assignment, the Indians are essentially abusing Laroche, a fact that later lands him into trouble. It looks as though Laroche does not bother to investigate how the Seminoles are using the orchids he collects for them. This aspect makes Laroche to ultimately be at loggerheads with the authorities. He is accused of acquiring orchids that the Seminoles use to manufacture illegal drugs. This development also illustrates how desperation can lead people to engage in unthinkable activities. Laroche’s needy status does not allow him time to seek further clarification as to how the Seminoles use the orchids. I therefore greatly empathize with Laroche for his unfortunate situation. Ultimately, towards the end, Jonze transforms the otherwise slow-paced movie to become a fast-paced action-packed film. This changeover is symbolic for it not only heralds doom, but also brings the movie to a poignant halt. For instance, Jonze’s sad victims of circumstances Donald, Laroche, and Susan die, with Charlie the hero being left intact. I am thus made to feel sorry for the three characters who die as the film ends. How would you differentiate Charlie Kaufman from his twin brother Donald? Obviously they both look exactly like Nicholas Cage, but does Cage portray both twins identically? If not (and not is the way to go here), whats different? I dont want you to state your overall impressions or opinions or conclusions here, as much as I want to know what made you draw those conclusions. What does each of these characters do or say on the screen that makes you conclude Thats not what his twin brother would do or say? Nicholas Cage does not completely succeed in making Donald and Charlie similar because both characters are presumably identical twins but behave differently throughout the film. For instance, at one point, Charlie points out that the direction that McKee gives regarding scriptwriting is unnatural. Conversely, Donald seems to accept McKee’s advice as good. This disparity makes the 2 brothers to openly disagree regarding McKee’s script writing counsel. Where does Charlie Kaufmans script end, and his brothers (or some sort of Charlie/Donald collaboration) begin? Charlie terminates his script after he discovers that he cannot confidently approach Susan for script writing advice. It is at this time that Donald comes to the rescue of his brother. Donald thus approaches Susan on behalf of his brother. The 2 brothers thus join efforts and begin working as a unified team. Similarly, where does Meryl Streep stop characterizing the real Susan Orlean, and begin characterizing the fictional Susan Orlean? As with the Kaufman twins, find specific scenes and actions and dialogues that differentiate the one from the other. When Donald and Charlie are strategizing on how to trick Susan into giving out crucial script writing information, Meryl Streep fully metamorphoses into the fictional Susan.   Specifically, the interview session that Donald has with Susan marks her full changeover from the real Meryl Streep. Was this movie an adaptation of Orlean’s work? Did it try to make the same or similar points to the ones she was trying to make? Was there any of her work? The sprawling New Yorker stuff? That Charlie Kaufman complains about to his agent that you felt had been omitted to the movies detriment? Or did the movie go in a completely different direction (and thus not even qualify as an adaptation at all)? The Adaptation movie initially follows the course of Susan’s The Orchid Thief story but later changes into an entirely different creation whereby the relationships and personalities of the Kaufmann brothers are explored. The question of whether or not the film qualifies as an adaptation of Susan’s story is thus muddled. Explain the pun in the title ‘Adaptation’. Adaptation is an ironical title for the movie because it essentially has to do with Kaufman’s inability to adapt Susan’s story into a movie. Further, no real adaptation of the story occurs through the movie’s events. Read all of these responses to it, and write your own response to any specific point that interests you. (You can respond to more than one source if you like, as long as it addresses the same general point youre discussing.) This is another opportunity for you to display your documentation skills. (You may need to do a little library work to discover how to document these sourcesI DONT want to see Professor Goldleafs assignment listed as a source, although thats technically what your source is. I want you to document these sources as if youd found them on your own, and your paper will be read by someone outside of this course who has no idea how to find your assignment.) Again, this DB will be eligible for full credit (3 points) only if its submitted on time, in exceptionally clear prose, with a colorful title, good paragraphing, superb documentation form, and is at least 300 words. David Denby’s 2002 the New Yorker post titled Hothouse Adaptation and Solaris has a number of significant points. For example, the author makes a number of questionable generalizations through the article. On the other hand, Denby presents some arguments that are laudable and that demonstrate his wit through the article. To begin with, Denby controversially employs the success that Donald demonstrates in the movie making industry as a testimony to the fact that conventional moviemaking requires more than intellectual knowledge (Denby). To demonstrate, Donald is not famous as a script writer. Despite this deficiency, Donald however emerges as being more effective in script writing as compared to his self assuming brother. This development stuns not only Donald himself, but also Charlie his brother as well. Academic knowledge is thus shown as not being the only significant factor as to whether or not one succeeds in movie making. It is as if Denby seeks to argue that natural artistic talent plays a bigger role in enabling one to succeed in the arts. This is a concept that is conventionally acknowledged in the contemporary world. Denby is thus spot on in mentioning and analyzing this peculiar quality in Donald that sees him triumph over Charlie. I should however mention that through the movie, it is not evident that Laroche has the hidden agenda of scientifically multiplying the orchid to benefit himself as he accepts the Seminoles’ assignment. Denby would thus be required to provide substantiation for his idea that Laroche seeks to breed the orchid in vitro so as to gain financial benefits from its sales. This clarification would not only provide an additional angle for analyzing the motive from, but also establish Denby as a critical and sensitive thinker. All in all, Denby has developed a very intuitive and informative article about the adaptation movie. The article offers deeper insight and analysis of the motive, both explicit and explicit, behind Jonze’s development of the movie. His efforts are thus laudable despite the aforementioned unclear points. Work Cited Denby, David. Hothouse: The New Yorker. 9 Dec. 2002.7 Aug. 2010. http://www.newyorker.com/archive/2002/12/09/021209crci_cinema.