Analysis of two different film interpretations of Macbeth Essay Example

Analysis of two different film interpretations of Macbeth Paper The famous Shakespearean work of Macbeth deals with issues that are relevant to any society in any age. It explores the far reaching effects of one mans ambition, from the total transformation of Macbeths character. From a national hero to a nation-wide terror in his pursuit of power. Although Macbeth is set in Medieval Scotland, the issues that are dealt with, the supernatural, Ambition and Tyranny are still just as relevant in our society now as they were in Shakespearean England. The relevance to todays society was displayed in the modern interpretation Macbeth on the estate. Where contemporary ideas of the work was but across while still using the Shakespearean backbone. We compared this version to a far more traditional interpretation directed by Roman Polanski, filmed in the 1970s The modern version of Macbeth Macbeth on the estate opens on a desolate wasteland. In the background we can make out the large shadows of desolate tower blocks. Through the mist we can see a dark shadow walking toward us. The shadow emerges out of the mist. It is Macduff. Immediately we notice the changes the director has made to this opening scene. The first difference from the original play is the use of Macduff opening the play instead of the three witches. To understand the directors decision we must remember that four hundred years ago witchcraft was a major part of life and each year hundreds of witches were being burnt at the stake for practising the dark arts. We will write a custom essay sample on Analysis of two different film interpretations of Macbeth specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Analysis of two different film interpretations of Macbeth specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Analysis of two different film interpretations of Macbeth specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Nowadays witchcraft does not have the same appeal to the audience who would watch this version and we a forced to conclude that Macduff was used to grab the audiences attention. A factor that was used to grab the audiences attention was the colour of Macduffs skin, black. The directors decision to make Macduff black is purely and simply to captivate the audiences mind. The use of Macduff as a leading character could stimulate people from ethnic minorities to show an interest in the film. By giving these people a major film character they may be able to understand the relevance of the play to themselves. The directors decision could have also been due to the large number of African and Jamaican immigrants living in the council flats on the estates such as Ladywood where this film was made. Towards the end of Macduffs speech the ghostly music and the foggy atmosphere lifts and we are catapulted into a violent robbery at the Thane of Cawdors house. At the house we get a glimpse of what the Thane is watching on television, the lottery. The directors use of the national lottery shows the social hardship and poverty that many families have to go through on the estate. And it seems as though, by playing the lottery and winning a fortune it is the only way out of the hardship. We only get a short glimpse of the fight scene, but from what we see and the accompanying fast paced music the director chooses to use gives us the impression that the fight is both brutal and savage. Once the robbery is complete, Macbeth reports back to Duncan in the local pub. Macbeth greets Duncan with a friendly pat on the back, this very informal relationship between Macbeth and Duncan symbolises their friendship and trust of one another. Duncan too is very informal, his loud, colourful beer stained shirt is only fastened by a couple of buttons, revealing his bloated stomach, from the beginning of this scene we are meant to dislike Duncan. This is very different from the much-liked Duncan in the original play. Although we the audience dislike Duncan. The crowd in the pub appears friendly with him. They all laugh when he tells them a joke. Although it is not clear whether the crowd show genuine respect for him personally or are forced to show respect to him due to his immense power and influence over the estate and the people living there. This power and influence that Duncan has is also abused, later that night, a party is held over at Macbeths house to celebrate his new position as Thane of Cawdor. Duncan, Banquet, Macduff and his family turn up late evening and bring a large amount of beer. Duncan immediately shows his dominance over females, defiantly not by charm but perhaps by strength by pinning her up against a wall he starts to pet and stoke her. Lady Macbeth turns away and forces Duncan to realise he cannot charm Lady Macbeth by using brute force. The directors decision to make Duncan appear possessive over women makes the audience feel more bitter towards him, and the decision by lady Macbeth prompts us to think she is a very strong willed character. Something she needs later on in the play. At the end of the night, Duncan is very obviously drunk. He is helped up, and taken to bed by Lady Macbeth. Duncan flops into bed next to a young black girl, probably in her early twenties. A contrast to Duncans age of middle to late thirties. The directors decision to make Duncan sleep with a young girl highlights the problems of prostitution on the estate, and Duncans desire to posses a women by sleeping around. Moments later he his murdered. Duncans funeral is very small. Only Macbeth, Lady Macbeth, Banquet, Macduff and a few others attend. The large crowd of supporters seen at the pub have all disappeared. And there are only a few onlookers. The directors decision for the crowd of supporters to disappear is a social issue in todays society. Nowadays society seems to have a lust for money. Wherever that money is, thats where the crowds are, and when the money disappears the crowd does as well. This is what happened to Duncan; he was lulled into a false sense of security by the large crowds at the pub that appeared to protect him from the outside world, which may have been true. But they could not protect him from a man inside who he trusts, Macbeth. Macbeths crime, murdering Duncan could have been classed as a crime of passion. Macbeth was certainly very jealous of Duncans position as king, and with Macbeths wife, Lady Macbeths Charms it is not long before Macbeth is convinced to kill Duncan. We first see Lady Maceth in her house; she is listening to an answer machine message of Macbeth telling her he is now Thane of Cawdor. The decision by the director to make Lady Macbeth get the message by answer phone instead of messenger is purely society based, nowadays, nearly every household in Britain has a telephone. And it is now commonplace to send E-mails or talk to someone on a telephone rather than talk to him or her face to face. Just after receiving this message, Lady Macbeth walks to another part of the house, a small childs room. We are not entirely sure why she enters the room; it may be that Macbeths phone call has stirred up some forgotten memories. The room is clean, and appears regularly cleaned. But as soon as Lady Macbeth enters the room, the music changes. All of a sudden we hear a lullaby played on a childs toy, this tune. This tune, although very simple, stirs a lot of emotion, as we the audience imagine a young child in that room, there is no child in this room, only Lady Macbeth. The use of a wide angel lens is effective. As Lady Macbeth is in the centre of the picture, the camera captures a large angle of the room. And it is as though no one belongs in this room, as it seems so unused. The bright colours of the wallpaper and the bed make it contrast with what Lady Macbeth is wearing, and it makes it look as though Lady Macbeth does not belong here. The importance of children to Lady Macbeth is portrayed in a number of scenes in the play. At the kareoke, Lady Macbeth is holding a child. Also, the quantity of pregnancy testing kits she owns show that until a short time ago, she and Macbeth were still trying to have a child of their own. Lady Macbeths influence over Macbeth in this version is different to the original play. In the original play, Lady Macbeth does influence Macbeth through her appearance. But in Macbeth on the estate her influence over Macbeth is far more sexual. The main scene where this is most obvious is in Lady Macbeths and Macbeths Bedroom, during the party. Downstairs while everyone else is drinking themselves stupid, Lady Macbeth is busy convincing Macbeth to kill Duncan. Lady Macbeth is wearing a very low and revealing top. She is talking to him in a very low voice, all the time; she is making him agree to her plans to kill Duncan, by wooing him with her appearance. It works, Macbeth agrees to her plans. But at the last minute, Macbeth forgets a vital part of the plan, to wipe the guards knives in Duncans blood. Macbeth is a psychological wreck, so Lady Macbeth goes on her own and wipes the blades. This shows she is a very strong willed character, and as previously, she said the famous line unsex me now she now supposedly now has the strength of a man and is able to do more demanding tasks and is more prepared for them. This mental readiness does not last long, as soon Lady Macbeth turns insane. Convinced she can see blood on her hands. To rid herself of the guilt, she repeatedly washes her hands, trying to rid herself of the guilt. At one point, she also believes she has a child, and we can also see her tucking it up into bed. This was not used in the original play. But the director of Macbeth on the estate decides to use it in the film. The use of this makes Lady Macbeth appear more insane, as she has always wanted a child, and now she is imagining it. Soon, the once psychologically stable Lady Macbeth turn suicidal, and throws herself off the top of a tower block, the directors use of cameras comes into play here. As Lady Macbeth jumps, time appears to slow down and she falls much slower. I believe the director did this to make the audience reflect on Lady Macbeths life. When she finally does hit the ground, she is surrounded by onlookers of small children. This is another social issue of the estate. That young children are subjected to the horrors of death when they are as young as eight years old. It seems somewhat odd that Lady Macbeth wanted a child so much when she knew it would be subjected to such hardships on the estate. The end of this film was, to sum it up disappointing. For a film as fast paced and action packed I expected more. There was also no army and no mention of Birnam wood. The film ends with Macduff killing Macbeth with a single shot from a pistol. The directors decision to end the film with a bullet and not a sword or knife is another social issue, as it is now possible to kill someone without getting your hands dirty. The decision could have also been for suspense. As the last thing we expected was Macduff to walk in with a gun. I for one expected a fight between Macbeths supporters and Fleances supporters. Having said that I thoroughly enjoyed this film although I did think the end was disappointing. I will now compare the contemporary version of Macbeth, Macbeth on the estate with the more traditional version of the play. This version of Macbeth was directed by Roman Polanski. This version was produced in the 1970s when special effects were lacking. I will compare four parts and characters of this play, with Macbeth on the estate. These parts will be: the beginning, the character Lady Macbeth, the character Duncan and the end of the play. In each case, In each case I will try to compare: the use of camera angles, costumes, surroundings, sound and lighting. This version of Macbeth is very traditional and the contrast to Macbeth on the estate is shown in the opening scene. As Macbeth on the estate opened on a desolate urban wasteland with Macduff, instead of the witches speaking. In this version the three witches are on the wasteland, burying a hand, a noose and a dagger. The three witches are very stereotypical views of witches, old, wrinkled skin and dark clothes. That hobble out of the mist. This stereotypical view of the witches is common in Shakespeares time. When one of the ways in telling one was a witch or not was by appearance. Although witches are no longer as important to us today as they were back in the Middle Ages. The director uses them to produce a sense of mystery and uncertainty. Another of the directors tools of making the viewer fell emotion is lighting. In this version, the director uses lighting far better than the director of Macbeth on the estate and his well lit scene. In Polanskis version, the lack of lighting is used very well. As the darkness hides the witches faces and makes them appear more mysterious. Another lighting effect is the use of fog and mist. Again this helps the audience to relate to the witches more. As the fog and mist helps to block out most of the light on the set. This improves the atmosphere. The music too creates an atmosphere of uncertainty and confusion. As the sounds of the low instruments played to a very disorganised tune creates confusion and the wasteland. In fact, the only thing the director has changed is where the scene is set, on a beach. The directors decision to set the opening scene on a beach is rather baffling, as there seems to be no justification for his decision. I myself am forced to conclude that the only viable reason the director had, to set the scene on a beach was due to the fog effect, as early morning, the sea produces a mist that can be used to make the atmosphere more still and eerie. Towards the end of the scene, the fog thickens and the witches hobble off into the distance. The fog then slowly turns red. This is very effective, as the colour of the fog and the sound of battle make us think the battle was very fierce and bloody. We first see Duncan in his castle; he is overseeing the execution of the previous Thane of Cawdor. He is being hung. This is a contrast from Macbeth on the estate where the Thane was killed by a petrol bomb being thrown into the car in which he was sat. Being hung is a more traditional way of executing a traitor, rather than blowing them up. This traditional style is reflected in where Duncan is and what he is wearing. As this play is more formal and traditional, Duncan is in a castle rather than a pub. And is wearing clean, posh robes and a crown. A crown is a symbol of a kings power and wealth. And Polanskis decision to make Duncan wear a crown is purely tradition, as a pose to Macbeth on the estate where Duncan is very informal and dresses casually. In this version, Duncans clothes are very traditional. In this version. Duncans clothes are more subdued and calm than Duncans clothes from Macbeth on the estate where he wears. Loud and bright clothes. The directors decision is purely social. In medieval Britain, the king was a social icon, someone who you could look up to in times of need. And because of this, the King needed to look presentable. Nowadays though, society has become much more laid back in its approach. And in accordance with the rest of society, the King, in this case Duncan has changed his image to be more inline with the rest of society. Another difference between the two versions is the use of friendship. And in particular, the difference between the friendship of Duncan and Macbeth. In Macbeth on the estate the relationship is very informal, as when Macbeth meets Duncan, he gives him a hearty pat on the back. Whereas in Polanskis version of Macbeth, the relationship is much more formal, as when Macbeth meets Duncan, Macbeth bows. An effective use of camera angles is use of camera angles is in a scene of Macbeth and Duncan. The director positions the camera so Duncan appears much higher than Macbeth does. This shows Duncans power and hierarchy over Macbeth and his people. Another difference in Polanskis version compared to Macbeth on the estate is Duncans behaviour around women. In Macbeth on the estate Duncans behaviour around women is very poor and he often treats women with little or no respect. As in one scene he presses Lady Macbeth up against a wall. But in Polanskis version, Duncan shows much more respect, and in the dance held at Macbeths castle to celebrate his promotion to Thane of Cawdor. He is seen dancing with numerous women who seem happy to be in his company. The directors decision to make Duncan appear popular among women is there top make us like Duncan as a person and not only as a King. But later that night Duncan is murdered. Although we do not see Duncans funeral, we imagine it to be a very sombre affair. And we do actually get a glimpse of the funeral Procession, we can see it is very fitting for era. A carriage, pulled by horses along a windswept path, surrounded by a group of soldiers marching into the distance. In this version of Macbeth as well as Macbeth on the estate. The first time we catch a glimpse of lady Macbeth is in her house, or in this version in her and Macbeths castle. She has just received a letter from a messenger from Macbeth informing her that he has been made Thane of Cawdor. The decision by the director to make Lady Macbeth receive the news by horseman rather than by telephone or E-mail is purely because telephone and electricity had not yet been invented. Also, receiving letters by messenger was a symbol of your wealth and prosperity in society. As normal citizens could not afford messengers, they relied on word of mouth. Another difference in Lady Macbeth are the clothes she wears. As in Macbeth on the estate she wore very low cut, revealing outfits, that were used to charm Macbeth into doing her deeds more than anything. But in this version, Lady Macbeth wears very concealing, traditional clothes. Her clothes were also dull colours, such as greens and dark blues. A sharp contrast to the sometimes bright clothes worn by Lady Macbeth in Macbeth on the estate. The decision by Polanski to change the clothes worn by Lady Macbeth is to, historical. As in the era that Macbeth was set, women took a sidelining role to the men in society. And what a mans wife wore indicated many things, such as income. As a man with a wife who wore expensive clothes was obviously far richer than a man whose wife wore cheap, tatty clothes. The styles of clothes she wears are also far more traditional. A long green or blue dress is also very fitting for this period of time. After Duncans murder has been carried out, Lady Macbeth gradually turns insane. As she is constantly cleaning herself and walking around naked. This madness is very similar to that of the madness shown by Lady Macbeth in Macbeth on the estate. This idea of her cleaning herself continuously to remove the guilt she has engraved in her conscience is a very good point. And is picked up by each director. But very soon, Lady Macbeths insurmountable guilt turns suicidal and she finally commits suicide. Although we do not see Lady Macbeth take her own life, we hear her. The scream that she emits as she plunges, presumably from a top floor window is heart rendering. The light is very low, and this is there to create atmosphere and tension, before our thoughts are confirmed that she has killed herself. The end of Polanskis version of Macbeth is virtually identical to the ending that Shakespeare wrote. And the difference in endings is a big difference between this version and that of Macbeth on the estate. In Macbeth on the estate. The ending was very sudden, and there was no long, drawn out fight as Shakespeare intended. As, in fact, Macbeths death is very sudden. The end of this film is rather disappointing. And there is also no mention of Birnam wood, which I believe is a very important part of the end, as it was in the witches predictions. Whereas, on the contrary to Macbeth on the estate Polanski Plays by the book At the beginning of the battle. English and Scottish troops are camouflaging themselves into Birnam wood, and then begin to march towards his castle. Macbeth is not the first man to see them, but one of his guards does see them. He turns to Macbeth and shouts to look towards Birnam wood. When Macbeth does see Birnam wood marching towards him. We can imagine the terror he feels. Macbeth cannot believe the witches prediction has come true. The camera angle that Polanski uses is very effective, in relaying this fear to the audience. The camera is focused directly at Macbeths face. And the dramatic qualities shown by the actor who plays Macbeth is excellent, as he stares into nothing we can imagine the shock he is in. When the English and Scottish soldiers enter the castle, they encounter little resistance. As the only defender, other than Macbeth is Seyton, Macbeths loyal armourer. Although he is dispatched by a crossbow bolt to the forehead. But that special effect is rather crudely done, but we must remember that this film was made in the 1970s before High performance computers were around. Especially the ones used to create the special effect laden film, The Matrix. The fight scene between Macbeth and a group of soldiers is rather unusual, and a little confusing, because there are approximately 5 to 10 soldiers against the lone Macbeth. But instead of going in all at the same time, they only go in one at once. This may be chivalry where you gave your opponent a fair chance. But I dont think thats what Polanski meant. We all know that Macbeth can only be killed by Macduff. This is not very well done by the director, as we think it is daft that the soldiers only go in one at once. Once Macbeth finally does get mortally wounded by Macduff, he hobbles around aimlessly around the courtyard with a sword stuck through his chest, Until about 3 minutes after he is stabbed he dies. This is too create suspense before death, but we all know its just a bad case of bad acting. Although I think this ending was better than Macbeth on the estates ending which was rather disappointing due to what a good film it was. I felt there were certain parts of Polanskis ending that was very god, such as the moment Macbeth sees Birnam wood approaching him, and there are other parts that are terrible such as the killing of Seyton by a crossbow bolt, where the special effects were lacking. Overall I think this was an average end to a below average film.

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Edward Hallet Carrs Arguments In What Is History? Introduction This essay attempts to review Edward Hallet Carrs (1892-1982) arguments in his book What is History? According to Carr, history is a continual process of interaction; a dialogue between the historian in the present and the facts of the past and the relative weight of individuals and social elements on both sides of the equation. Advocating the adoption of a suitable philosophy to the approach of writing history, in terms of selecting, distinguishing and interpreting historical fact, Carr elucidates that great history is written when the historians view of the past is illuminated by insights into the conditions of the present. In addition to continually asking why, the historian also needs to project into the future. This essay attempts to understand Carrs views on objectivity, truth and narrative in the arguments put forth in his book What is History? and the assessment of his arguments by other historians. H.E. 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History according to Carr contains a corpus of ascertained facts and these are available to the historian in documents. He however asserts that fact without accurate interpretation is ineffectual. To understand this, one has to first distinguish historical fact from other facts in the past. Carr discusses historical fact in light of the Empirical or Common Sense View of History. There are certain basic facts that are the same for all historians and which form the backbone of history. These facts, however, form the raw material for the historian, rather than history itself. The necessity to verify the truth of these basic facts rests on a priori decision by the historian. Whilst accuracy of such facts is a necessary, a historian must also rely on the auxiliary sciences of history archaeology, epigraphy, numismatics, chronology amongst others. A historian like any other scientist must continually ask the question why. 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However, none of this means anything unless the author has actually deciphered and processed the facts found in these documents before making use of them. Carr defines the method the historian makes use of facts as the processing process. The Stresemanns Vermà ¤ch tnis volume is one such illustration of the selectiveness of historians. Sometimes mere fact about the past is transformed into history. For example while the Battle of Hastings 1066 is an important historical event, it is the historian who decides the whether the inclusion of Caesars crossing of the Rubicon is a relevant historical fact. Or the mention of the murder of a ginger bread vendor at Stalybridge Wakes in 1850 is equally relevant. Their status as historical facts will depend on their interpretation. Correct and truthful interpretation of historical fact is equally important stresses Carr. Facts are like fish swimming about in a vast and sometimes inaccessible ocean. What the historian catches will depend largely on which part of the ocean he is fishing and what fish he intends to catch. The ancient or mediaeval historian may be grateful for the large winnowing process which has over the years put a manageable corpus of facts at their disposal. The modern historian on the other hand has the dual task of discovering a few significant facts and discarding the insignificant ones as unhistorical. Each historian belongs to his own age and is bound to it by the conditions of human existence. An understanding of the past can be achieved by an insight into present conditions. The choice of words for example democracy, empire or war, are connotations linked to the historians specific time in history. Similarly, over the years, a change in the balance of power, world wars and other movements have also influenced historical writing. French history in the latter twentieth century was deeply affected by the Russian Revolution of 1917. Carr advises historians that equal importance should be given to the date and publication of writing as the name of the author when commencing on a study. Carr states it is imperative that the author should neither dwell solely on the past nor disassociate totally from it, but master and understands it, as the key to understanding the present. The reconstitution of the past in the historians mind is dependent on empirical evidence, but is not in itself an empirical process as facts do not speak for themselves. The process of reconstitution governs the selection and interpretation of facts. This indeed is what makes them historical facts. The facts of history are never handed down to us in a pure form clarifies Carr. They are always refracted through the mind of the recorder. When a historian takes up a work of history, the authors first concern should not be with the facts, but rather an understanding of the historians who wrote it and their back ground. To appreciate the work of the English Liberal Historian, Trevelyan England under Queen Anne, one must interpret it against the background of his traditional Whig historian lineage. To appreciate the thoughts behind peoples action, Carr exhorts historian to cultivate an imaginative understanding of the minds of people they are dealing with for a correct interpretation of historical fact. Historians must necessarily cultivate an objective approach to history asserts Carr. The duty of the historian to respect fact cannot be overshadowed by the obligation to see that the facts are accurate. The historian must seek to bring into the picture all known or knowable facts, relevant in one sense or the other to the theme and the interpretation proposed. History is meaningless in a static world affirms Carr. History in its essence is change reveals Carr. It is meaningless in a static world. A society which loses its belief in its capacity to move into the future will quickly cease to concern itself with its progress in the past. History can be accurately written by those who find and accept a sense of direction in history itself. Whilst writing history, two processes must go hand in hand input and output, states Carr. Working historians must stop and reflect what they are doing. The historian can thus effectively mould facts to his interpretation. Speaking from his own experience, Carr reveals that the process of reading and writing are simultaneous exercises for him. The writing is added to and subtracted from as he goes along. He found that his reading was more guided and directed by the writing as he went along. Assessment of Carrs Arguments Since its publication in 1961 E.H. Carrs What is History? the book established itself as a classic reference on the subject.  [1]  Yet despite its widespread recognition, many inner flaws and contradictions have surfaced, sparking several debates on Carr supposition of What is History? Whilst rejecting the crude and rigid re-constructionist stance of the empiricist, Carr as a political constructionist historian has failed to visualise the post modern challenge to the distinction between fact and fiction in historical narrative and the influence of root metaphors.  [2]  His epistemological position is revealed through his scepticism about the nature and status of historical knowledge and sociology of knowledge. (Alan Munslow). Over the years there have been disagreements about Carrs contribution to the analytical philosophy of history, shadowing the distinction between re-constructionism and constructionism.  [3]   Authors Anders Stephanson and Rendall Germain in their appraisal conclude that Carrs answers to the questions he has set about history are in themselves unsatisfactory. Another writer, Keith Jenkins underlines the futility of Carrs empirical-analytical concept particularly in light of the post modern challenges.  [4]  Carr devalues his currency of re-constructionist theory, by his ultimate acceptance of the epistemological model of historical explanation as the best method to create and evaluate historical thought.  [5]   Exploring Carrs epistemological claim to radicalism and his insistence that a historian cannot divorce himself from the outlook and interests of his age, Historian Alan Munslow, highlights the fact that today with greater awareness of the weakness of representation, reference and inductive inference, a larger part of historical writing is based on the supposition that we cannot know any absolute truths about the past. Whilst acknowledging Carrs attention to the discursive nature of historical facts, Historian Alex Callinicos refutes Carrs opinion that the importance of empirical evidence diminishes since the facts of history are refracted through the mind of the historian.  [6]  Rather this premise gives rise to the question of the historians subjective bearing on the facts. Carr drops his objectivist anchor when he argues that Historian Collingwoods logic of sceptical position leads to the idea that there is no certainty in historical meaning and that the discourses of historians, or what Carr termed as total scepticism, like something spun out a human brain, suggests that there could be no objective truth in historical writing.  [7]  Supporting his own belief in the power of empiricism, Carrexplicitly rejected Nietzches notion that historical truth is defined by fitness of purpose. This misguiding percept excludes the possibility that one interpretation is as good as another.  [8]   While confirming the necessity of a continual interaction between the historian and his facts, Carr was unwilling to acknowledge that the written historical fact could possibly be a work of fiction.  [9]  He overlooks the reality that new evidence and new theory can offer new interpretations. Carrs epistemological theory of knowledge argues that the past is known from its evidence and remains so whilst being introduced in the historical narrative.  [10]   For example, Carrs argument that facts are a priori decision of the historian, and that the historians influence on and the arrangement of these facts is what constitutes historical meaning. However, this gives rise to the risk of subjectivity and the outcome may not be an accurate representation of the evidence.  [11]   Carr pulls back from relativism which his own logic has thrust him into. Aware that he is running a post empiricist wind, he rejects Collingwoods demand for the emphatic and constructive approach and cites another historian who accepts the model of dialogue between past and present, while keeping an objective point of view. This profile of a historian is affirmed by the American Commentators Joyce Appleby, Lynn Hunt and Margaret Jacob who repacked Carrs position as practical realism.  [12]   Carr uses his objectivist angle to underplay the problems of historical form.  [13]  He does this by arguing that the standard for objectivity in history is the historians sense of the direction in history, which means the historian selects facts not on personal bias, but on the ability to choose the right facts, or, in other words, that he applies the right standard of significance.  [14]   Carrs objective historian is one who has the ability to see beyond the inadequate vision of his own position in society and history and at the same time has the ability to visualise the future to give him a more in depth and enduring understanding of the past.  [15]   The objective historian is also one who penetrates most deeply into the mutual method of fact and value, who recognises that facts and values are not necessarily in opposition to differences in standards emerging from disparity of historical fact, and vice versa. An objective historian also understands the boundaries of historical theory. Carrs insists that the objective historian should develop the habit of reading and interpreting the evidence at the same time. However, appropriate social theory precludes presumption or series of connected presumptions, of how people in the past acted intentionally and related to their social contexts.  [16]   Conclusion In his book What is History? H E Carr lays out the premises for conducting a correct approach and philosophy to writing history. History according to Carr is a continuous dialogue between the past and present and a continual interaction between the historian and the facts, for a correct interpretation and accurate recording of facts. It is constantly changing. It is important therefore for the historian to develop a proper philosophy of history before undertaking a study, where historical fact, the criteria for selection of, and their factual interpretation are of vital importance. Carrs arguments about objectivity and his epistemological theory of knowledge have been widely criticised by empiricist as well as the social theory historians. His failure to visualise post modern challenge to the distinction between fact and fiction in historical narrative and his inclination towards post-empiricism despite his claims to radicalism have reduced the currency of his re-constructionist theory.

Satirical Patterns in Jonathan Swifts Gullivers Travels Essay

Gulliver’s Travels:   Satirical Patterns  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Jonathan Swift wrote a novel in 1776 called Gulliver’s Travels.   This novel along with all of his other writing followed a satirical pattern.   Because of Swift’s vast knowledge in politics he was capable of creating a masterpiece completely ridiculing the government found in England.   In Gulliver’s Travels, Swift brings us, the readers, to join him on journeys to worlds of complete nonsense.   These worlds are different ways that allow for Swift to mock the old European government.   In our reading, we followed him to a land called Lilliput, and then later to a land known as Brobdingnab.   Swift uses humor and knowledge to completely ridicule European politics in these two imaginative worlds.   Although Swift wrote this novel to satirize politics in his time, we are able to understand the matters presented because of their over-abundance in today’s governmental world.     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Political divisions have been taking place all through history, no matter where, or when.   In the first book, Swift describes two types of Lilliputians, those who wear high heels, and those who don’t.   In the text it describes how the high-heeled Lilliputians are very much in favor of absolutely no change in the constitution.   And accordingly, the low-heeled favored change in the constitution.   This type of situation is still going strong in America.   We are blessed with two types of people as well, those who favor donkeys, and those who favor elephants.   Now those elephant lovers go right along side those who wore the high heels in Lilliput.   Both of the high heels and republicans had achieved dominance and wanted to preserve their position.   They didn’t want anything to do with a change in their go... ...any holes in the scheme that make it impossible to support a so-called perfect government.     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Swift successfully completed his goal in completely and utterly belittling the political aspects of government in his day.  Ã‚   He has proven to us that the government has gone unchanged (except for a few bills here and there) for some two hundred years or so.   The same problems back then are still present now which causes for the same ideas as Swift.   The reader is able to leave his or her seat after reading the novel and understand all of the little annoyances there were about the political scheme in society in those days and compare them to today’s world.   After those comparisons, the reader finds that the problems are the same as they were in Swift’s time. Works Cited Swift, Jonathan.   Gulliver’s Travels.   New York: The new American Library Inc., 1983.

Heroin and Pretty Good Book

Jude by Kate Morgenroth is a story about a fifteen year old named Jude. It’s a pretty good book about a kid who struggles in a drug and murder world. Jude’s mom abandoned him when he was young. His dad was drug dealer that mainly deal with heroin. Sadly his dad was murdered and he was a witness. He can’t go to the police or his life will be in danger. This is the story of a fifteen year old named Jude. When his dad dies of an overdose he is alone. Till his mom with open arms lets him in her life. The fact that his mom has a boyfriend didn’t make his stay easier. On top of that he is a police officer named Harry. Harry is a good guy but a stereotype towards Jude cause of his history with his dad. His mom thinks it would be best if he went to a private school. Jude didn’t like it and didn’t have many friends. One day a classmate dies of a overdose and Jude is the first person everyone looks at. Cause of his history with his dad he is held for trial for murder. Jude has a court date for his murder trial. Though innocent, he has no evidence to prove otherwise. His mom is worried and Harries trying to get the evidence to prove him not guilty. Jude is pretty much in his own world. This fifteen year old boy with a worried mother and died dad. All he can do is blame his dad for this horrible history he is left with. Then his mom’s boyfriend goes to his room to give him the news. He tries to explain the risky scheme he has came up with. Jude thought it was either the plan or jail so he decides to go through with it. The plan that Harry came up with was risky but it was all they got. He explains how he has to get his friend Anna elected for an anti-drug campaign that would clear his name and his history. He got news that he was going to be tried as an adult for his trail. It worried him that if the plan doesn’t work he could do up to 5 years. So he helps Harry on his plan to prove his innocents. It worked, he got Anna elected for the anti-drug campaign. When trail was up the biggest twist I have ever read. Harry double crossed him and got him sent to 5 years of hard labor. The plan was for finical gain towards the campaign and getting Jude out of the way. This story about a fifteen year old boy named Jude. About his drug, murder, and jail filled life. His life started with a dead drug dad and a mom that didn’t even want him. Now he is jail doing 5 years cause of his mother’s boyfriend. This is a story of a boy and his messed up world. This is probably the best book if u likes twist and action. I recommend this book to older teens like 15+ but a really good book.

Analysis Of A Cosmetics Advertisement

Analysis Of A Cosmetics Advertisement Free Online Research Papers Question: Select a full page advertisement from either a newspaper of a magazine and do a semiotic analysis of how the representation ‘works’. To whom is the advertisement addressing, and the whom is the message directed? Advertisements are a rich source for semiotic analysis. The term semiotics derives from the Greek word semeion meaning sign. The birth of the science of semiotics can be attributed mainly to the work of two men, the American philosopher Charles Peirce, and the Swiss linguist Ferdinand de Saussure. The meaning of a sign is not contained within itself, or as Daniel Chandler says, the message is not the meaning but arises in its interpretation and context (Chandler, 1998: WWW). Semiotics therefore refers to a kind of social interaction between the individual as a meaning maker and the sign offering different interpretations. The semiotic analysis of advertising believes that meanings of adverts are to move out from the page, to lend significance to our experience of reality. We are encouraged to experience the advertised, in terms of the mythic meanings on which adverts draw (Bignell, 1997: 33). Successful advertisements commonly combine textual and visual images to produce a maximum effect of persuasion on the directed audience. However, these effects will predominantly materialize with individuals who identify with and share the same cultural knowledge. Nonetheless, cultural knowledge is more than simply comprehending what the codes signify; it is developing and maintaining an awareness of the things that might be suggested by the code through systems of difference, denotations and connotations (O’Shaughnessy Stadler, 1998: 82). What follows is a semiological analysis of a Clarins advertisement for a fragrance in women’s magazine, Harper’s Bazzaar, Australia. This Clarins advertisement reveals values and standards, as well as ideological attitudes present amongst women in contemporary Australia. Language is linear; we select from groups of similar terms (paradigms) and chain the selection together in an ordered sequence (syntagm). In the Clarins ad, the paradigm for the word ‘tranquillity’ may include; silence, unconsciousness, coolness, composure or even the after effects of drugs. However, the connotations of ‘tranquillity’ are associated with peacefulness, freshness, serenity, contentment, harmony, soothing; words which create and establish pleasant feelings. Saussure suggests that each instant of communication (parole) is drawn from a total system (langue) which must exist for possible performance. Hence, in order to communicate, we must be competent in the general language system to associate signs to meanings. Furthermore, colour signs contribute to effective communication. The Clarins ad is composed largely of light blue, selected from a paradigm of colours. Like all signs, these colour signs work at two different levels: denotations and con notations. The ad denotes a rounded bottle sitting on a water surface, whilst the light blue affect emphasizes the theme of ‘tranquillity’. Research reveals that colours have subconscious psychological significance, accordingly â€Å"Dark Blue represents ‘Depth of Feeling’ and it has emotional correspondence with tranquillity, calmness, recharging, contentment, tenderness, unification, sensitivity, love and affection† (Chandler, 1998: WWW). Consequently, the Clarins advertisement is a form of propaganda designed to appeal to the audience by means of establishing a sense of pleasure. The colour red is used effectively to pursue its purpose. Blood red is associated with vibrancy, rage, passion, stimulation, excitement, desire and liveliness. The contrast of the red against the light blue disrupts viewers from the position and ambience created by the blue. The red connotes the trendiness of the fragrance, as well as promoting the make Clarins. Viewers ’ acknowledge that although the fragrance is ‘cool’, the product is ‘hot and in’. Furthermore, the demeanour of the fragrance can be semiotically analysed. The bottle appears to be floating on blue surface, connoting water. It is lying back in a relaxed motion. This suggests the ease and freedom of the fragrance. Signs communicate through a system of difference, for example, if the bottle of perfume was presented lying flat down onto a brown surface, the entire meaning would change. Instead of tranquillity and cleanliness, the perfume would look dirty and unattractive. Hence, text, colour and demeanour are all carefully selected and combined. These paradigmatic and syntagmatic dimensions of language are crucial operations of communication, in that they structure its possibilities. Subsequently, the signifier and the signified are culturally shared and arbitrary; they depend on cultural knowledge. Further research shows that this knowledge is influenced by all sorts of social forces such as traditions, fads, politics, cultural norms and so forth. As aforementioned, the colour blue in the Clarins advertisement connotes water. However, the audience are not told that the blue surface is water. An interpretation of it as water is dependant on the context. The audience are not consciously aware of this ‘natural’ association. Roland Barthes refers to this naturalised cultural knowledge as a myth (Barthes, 1977: 32). According to Barthes, myths are powerful messages circulating in society. They appear to be natural, inevitable and normal when they are particular beliefs that circulate as a type of social maintenance. Myths work with pre-existing denotative language, distorting and stressing certain language and beliefs (Barthes, 1977: 32). In exemplificat ion of this, in the Clarins ad, the perfume denotes a certain fragrance in a rounded blue bottle, while its connotations are of beauty, remembrance, freshness, pleasant aroma, identity and stylishness. Hence, the sign ‘perfume’ is also part of an older set of myths which might include class, status, courtships, gender relationships, identity and remembrance. â€Å"The basic denoted meaning is greatly embellished and interrelated with other social value systemsA mythic method is superimposed on the ordinary meaning† (Chandler, 1998: WWW). Each image contains an implied view of society, of the world and our roles in it. These images reveal sets of values, beliefs and feelings that together offer an ideological view of the world (O’Shaughnessy Stadler, p.96). Ads often present ‘ideal’ situations to create pleasure. The Clarins ad offers us an image of a stylish yet relaxed fragrance. These feel-good feelings present the ideology of happiness and contentment. This image is conveyed through the signs and signifiers whose connotations are discussed earlier. Each instance (parole) of communication shows us parts of the implied whole. This is described as metonymy in semiology (O’Sullivan, 1994). â€Å"Metonyms are signs in which one part or element stands for something larger†. For example, the physical bottle of perfume in the Clarins ad can be interpreted as metonym for a woman. The implied narrative is: any woman using the perfume will feel a sense of contentment, balance, tranquillity and in essence, beauty. The bottle is lying back connoting any freedom and relaxation. The shade of the lid is cream, which may connote the woman’s facial skin colour. Hence, women viewers will spontaneously identify and empathize with the fragrant bottle. Due to the reason that the advertisement is located in the social context is of a leading woman’s magazine, relaxation and personal pampering proves to be a winner. Also, Clarins is a French brand and the French are world leaders in fashion. The ad connects to ideologies of happiness and ideologies of being a successful and modern (‘new’) woman. The ad connects to contemporary values through its use of signs and how their paradigmatic meanings are multiplied up syntagmatically through the selection and combination of those signs and codes. Finally, the Clarins ad proves to be successful because the signifier is effectively signified. The context of a women’s magazine is suitable in organizing what the ad ‘implies’ to its most predominantly female audience. Viewers spontaneously decode the ad because the signs used are culturally recognized which incorporate social influences such as tradition, fashion, economics and what the advertisement perceives and strives to persuade us as the audience to perceive as cultural norms. REFERENCES Bignell, Jonathan (1997): Media Semiotics: An Introduction. Manchester: Manchester University Press Barthes, Roland (1977): â€Å"The Rhetoric of the Image.† Image, Music, Text. Ed. and trans. Stephen Heath. New York: Hill and Wang Chandler, Daniel (1998): Semiotics for Beginners URL aber.ac.uk/media/Documents/S4B/sem07/ (Accessed 3rd September, 2004) O’Shaughnessy, Michael (1999): â€Å"Semiology†, â€Å"Reading Images.† Media and Society: and Introduction 2nd Edition. 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How to Use Italian Adjectives

How to Use Italian Adjectives The big piazza, the clear sky, and the  handsome Italian man are all examples with an adjective, or something that gives more information about a noun. Oftentimes this is a description. In Italian an adjective agrees in gender and number with the noun it modifies, and there are two groups of adjectives: those ending in -o and those ending in -e. Adjectives ending in -o in the masculine have four forms: Maschile Femminile Singolare -o -a Plurale -i -e Singolare il libro italiano la signora italiana Plurale i libri italiani le signore italiane Singolare il primo giorno la mesa universitaria Plurale i primi giorni le mense universitarie COMMON ITALIAN ADJECTIVES ENDING IN -O allegro cheerful, happy buono good, kind cattivo bad, wicked freddo cold grasso fat leggero light nuovo new pieno full stretto narrow timido timid, shy Adjectives ending in -o have four forms: masculine singular, masculine plural, feminine singular, and feminine plural. Observe how the adjectives nero and cattivo change to agree with nouns they modify. Note that when an adjective modifies  two nouns of different gender, it keeps its masculine ending. For example: i padri e le madre italiani (Italian fathers and mothers). If an adjectives ends in -io, like vecchio - old, the  o is dropped to form the plural. labito vecchio - the old suitgli abiti vecchi - the old suitsil ragazzo serio - the serious boyi ragazzi seri - the serious boysUli à ¨ tedesco. - Uli is German.Adriana à ¨ italiana. - Adriana is Italian.Roberto e Daniele sono americani. - Robert and Daniel are American.Svetlana e Natalia sono russe. - Svetlana and Natalia are Russian. Adjectives ending in -e are the same for the masculine and the feminine singular. In the plural, the -e changes to an -i, whether the noun is masculine or feminine. il ragazzo inglese - the English boyla ragazza inglese - the English girli ragazzi inglesi - the English boysle ragazze inglesi - the English girls ENDINGS OF -E  ADJECTIVES SINGULAR PLURAL il ragazzo triste - the sad boy i ragazzi tristi - the sad boys la ragazza triste - the sad girl le ragazze tristi - the sad girls ITALIAN ADJECTIVES ENDING IN  -E abile able difficile difficult felice happy forte strong grande big, large, great importante important intelligente intelligent interessante interesting triste sad veloce fast, speedy There are quite a few other exceptions for forming plural adjectives. For instance, adjectives that end in -io (with the stress falling on that ) form the plural with the ending -ii: addio/addii; leggio/leggii; zio/zii. The table below contains a chart of other irregular adjective endings you should know. FORMING PLURAL ADJECTIVES SINGULAR ENDING PLURAL ENDING -ca -che -cia -ce -cio -ci -co -chi -ga -ghe -gia -ge -gio -gi -glia -glie -glio -gli -go -ghi -scia -sce -scio -sci Where do the adjectives go? Unlike in English, descriptive adjectives in Italian are usually placed after the noun they modify, and with which they agree in gender and number. 1. Adjectives generally follow the noun. È una lingua difficile. - It is a difficult language.Marina à ¨ una ragazza generosa. - Marina is a generous girl.Non trovo il maglione rosa. - I cant find the pink sweater. TIP: Note that adjectives of colors that derive from nouns, like â€Å"rosa†, â€Å"viola†, or â€Å"blu† are invariable. 2. Certain common adjectives, however, generally come before the noun. Here are the most common: bello - beautifulbravo - good, ablebrutto - uglybuono - goodcaro - dearcattivo - badgiovane - younggrande - large; great TIP: When you place â€Å"grande† before a noun, it means â€Å"great†, like â€Å"una grande piazza†, but if you place it after, it means â€Å"big†, like â€Å"una piazza grande†. lungo - longnuovo - newpiccolo - small, littlestesso - samevecchio - oldvero - true Here are some examples: Anna à ¨ una cara amica. - Anna is a dear friend.Gino à ¨ un bravissimo dottore. - Gino is a really good doctor.È un brutto affare. - Its a bad situation. But even these adjectives must follow the noun to emphasize or contrast something, and when modified by an adverb. Oggi non porta labito vecchio, porta un abito nuovo. - Today he is not wearing the old suit, he is wearing a new suit.Abitano in una casa molto piccola. - They live in a very small house. Click here, here and here  to get practice with adjectives.

Why are tropical Countries so poor Essay Example | Topics and Well Written Essays - 500 words - 1

Why are tropical Countries so poor - Essay Example As a point of clarity, in this case the term Institutions are in reference to establishments such as hospitals, schools, the military, as well as civil and media services that have been set up usually by the government to help in the everyday activities of the nation. Having given these examples, one can see how development cannot be achieved without the presence of proper institutions in place (Komives, 2005). For example, a country without efficient medical facilities would be hindered in the process of development as they fought against diseases that would no doubt attack and ravage their nation as a result (Blastland, 2009). Tropical countries are a good example of how poor institutions have hindered the progress of certain parts of the country and as a result left many of the members from that area languishing in poverty (Ravallion, Chen & Sangraula, 2008). The lack of well ground institutions such as schools especially of the higher learning category (that is, colleges and universities) in rural areas have left the members of those societies unable to match up to their counterparts in the cities and thus as a result they are unable to get well paying jobs and are limited to minimal career roles that hardly have a valid future in their prospects such as janitors and messengers (Greif, 2006). Their inability to climb up the professional ladder due to a lack of sufficient education ensures that they are not able to get higher paying jobs and better their lives in the process all as a result of a lack of proper institutions for education. The lack of proper institutions in these tropic countries have led to only a chosen few (being the financially wealthy) being able to get ahead and better their lives (Kristof, 2009). In a country like Haiti, for example, statistics show that over half the population live below the poverty line, this can be said to be because of lack of properly set up institutions in the country (Solley, 2005). The establishment of good

Mehmed the Conqueror Annotated Bibliography Example | Topics and Well Written Essays - 250 words

Mehmed the Conqueror - Annotated Bibliography Example The article talks about early reign, Constantinople conquest, Asia and Europe. Additionally, the author covers administrative actions, personal life and the legacy of mehmed. Babinger focused on the successes of Mehmed that resulted into fear for people of Europe. He has been called as the greatest architect of victories in the history. Career of Mehmed as a conqueror is full of death, murder, battle and perfidy. In this secondary source, Turkish people regard Mehmed as a great conqueror like Ataturk. The author has covered Mehmed historical background which is useful to the research. This is because it will assist in enhancing the authority of the game. Kritovoulos covers the history of Mehmed conquests has been revealed. This is an important because it will assist in covering the imperativeness of Mehmed as a historical figure and his accomplishments. This is a secondary source relates with the conquests of Mehmed and provides description of Mehmed family including his wife, sons and daughters. The source is important because it will help in covering the family history, as well as, enhancing the research. Levy, Avigdor. The Structure of the Jewish Community. In The Jews of Ottoman Empire. Princeton: Darwin Press. 1994, pp. 42-70. Print. Web. 28 October, 2014. In this secondary sources, Mehmed’s ambition of converting the Istanbul into a metropolis and role of Jews in his plan have been discussed. He considered that administration of Jewish people was important for the Ottoman Empire. He brought Jewish culture, language, and customs to Istanbul. This is a secondary source which covers Mehmed’s early days of conquest, he transferred a number of Byzantine buildings into mosques, madrasas and lodges for dervish people. The author also covers the building of the mosque complex in Istanbul to transform