Modernism Art Essay Example for Free

Modernism Art Essay As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an  array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa  Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his today and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning,  organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques, 2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and  geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the  technologically savvy society. The architectural advertisement method Vegas seemed to have adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the  historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience. As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion  the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of  familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and  contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of  clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his t oday and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning, organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques,  2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a  modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the technologically savvy society. The architectural advertisement method Vegas seemed to have  adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the  traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing  with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience.

Part-time Employment Undermines Students Commitment to School :: Summary Response Working School Essays

Part-time Employment Undermines Students Commitment to School by Laurence Steinberg   Ã‚  Ã‚  Ã‚  Ã‚  Summary: In the essay, â€Å"Part-time Employment Undermines a Student’s Commitment to School† by Laurence Steinberg, it explains how studies show that teenagers that work while attending school are more likely to loose their commitment to school. Steinberg tells the effects on students when they work more than twenty hours a week. His theory was that students are more susceptible to losing their interest in school, while working. They may have to work in the evening time, which can interfere with homework, sleep and diet. Steinberg also elaborated on how these students that work receive money that can make school seem less desirable. Also because they do receive money, they can use their extra money to become associated with drugs and alcohol.   Ã‚  Ã‚  Ã‚  Ã‚  Steinberg’s review of this subject shows the affects of what can happen if adolescents work while going to school and how this can engage them in drugs and have less engagement in school and other related activities.   Ã‚  Ã‚  Ã‚  Ã‚  Response: I agree with Steinberg that working affects adolescents that are going to school. I believe that teenagers should concentrate on their studies and not become overwhelmed with the added stress of work. There is plenty of time for them to learn the â€Å"real world† of working, so why not let them be kids and have them worry about their homework and after school chores, rather than trying to make the almighty dollar.   Ã‚  Ã‚  Ã‚  Ã‚  I like the way Steinberg explains how a simple job can lead to so much more. Parents do not always realize that yes, it is good for a teenager to learn responsibility, but getting a job at that age is not always the right thing to do. Each child is different some may be able to handle it, but most can not. This study shows the effects of how good students can change by working and going to school and how students that already have lost interest in school can loose even more interest and even drop out completely.

People of different races, immigrate to a different country Essay

What are the feelings of those exiles? Many people immigrate out of their country of origin to a different country everday. Whilst some may feel excited at the prospect of discovering a new World, others may feel alienated and strange about their new environment. In the poems ‘Search for my Tongue’ and ‘Island Man’, the poets Sujata Bhatt and Grace Nichols talk about their feelings towards immigration and what they felt when they experienced a great change of culture and environment in their lifes. This essay will analyse how both poets make their feelings apparent throughout their poems. The first poem is Grace Nichols’ ‘Island Man’, her use of colours can show what she feels about both the Carribean and London. Nichols uses colour to reflect Island mans feelings in the poem ; she uses the words ‘dull’ and ‘grey’ to describe London. But in contrast she calls the Carribean Island Mans ‘small emerald island’, to show how precious the island is to Island Man, like an actual emerald diamond. She compares Island Mans life in London with his life in the Carribean. She also makes clear where Island Man would rather be. This is shown through Nichols’s choice of words ‘ defiantly’ and ‘heaves’. It suggests the difficulty in which Island Man has to drag himself out of Bed after dreaming about his Homeland. How angry he feels when the ‘sun surfaces defiantly’ to disturb his dreams. Another word that proofs shows how Island Man feels about london is ‘another’, its is used in the context that it suggests a never ending chain of days which are routine to Island Man. It aslo suggests a growing sense of boredom Island Man feels with his daily ‘dull’ and ‘gray’ surrounds. These colours bring up an image of grey concrete floors, a ‘surge of wheels’, a metaphor which refers to the small compact cars of today in the ‘grey metallic soar’, another metaphor used to describe Londons futuristicness. Nichols also used repetition on the words ‘come back’ to add emphasis on how island man always returns to the harsh reality of London. The effect Nichols is trying to create of her imagery of both ther Carribean are so that she can illustrate an image of London and an image of the Carribean, in which the differences are greater than the personalities. The Carribean is described as the ideal place to live, quiet fishermen ‘going out to sea’ the sounds of ‘wild seabirds’ and the sound of the gentle ‘breaking and wombing’ of the sea in his head. Usually, for many people the sounds of steady sea is associated with calmness and serenenity, relaxing and quiet. It is apparent which Island Man would choose. When the image contrasts are that of a ‘dull’ and depressing London Day surrounded by more ‘dull’ and ‘grey’ concrete buildings, and the bright and beautiful Caribbean Island, it is clear that Island Man, and therefore Nichols prefers the Carribean, and feels happier living in the Carribean. Another poem in which the theme of immigration, culture and identity is apparent is the poem written by Sujata Bhatt, ‘Search for my tongue’. In this Poem, Bhatt spoke of her struggle to fit in, in her new Home in America. She also speaks of her fear of losing her roots in India. ‘Search for my tongue’ is a personal and emotional poem about losing ones language and identity. It is about her own experience and her initial grief of having lost a part of herself that was a key of who she saw herself. In the first part of the poem, the writer explores the idea of having two tongues in your mouth. The word ‘tongue’ can refer to both the body organ which we use for speech, and the language we speak with it. She includes this ambiguous word in her title, suggesting that she lost her ability to talk the language she used before her arrival in the new country. ‘I ask you, what you would do if you had two tongues in your mouth’ is used to include the reader in her poem, to make the reader feel empathetic of her situation. She talks about how problems arise when speaking her mother tongue in an environment where the ‘foreign tongue’ is used so frequently that the mother tongue will ‘rot and die in your mouth’ from no use. The third part of the poem is an extended metaphor, written in Gujurati. This can be to show how hard it is living in a country where you couldnt speak or read the language. She uses the words ‘rot’, ‘die’ and ‘spit’ frequently, to emphasise how negative Bhatt felt about having lost her ‘tongue’. Bhatt uses these strong words to show the strong feelings of loss she felt at that time of identity crisis. She also adds an anglicised transcript to indicate sounds of the gujurati words, to help you read it. It also shows how the two ‘tongues’ are different. Which adds more emphasis on how Bhatt felt because it shows the great difference between the languages. This explains what she ment when she had said ‘ you could not use both of them together even if you thought that way.’, because their difference would make it hard for people to speak both languages together. The last part of the poem is by far the most interesting part, it is the part where Bhatt describes her dream in which her mother tongue ‘buds out of her mouth’ and ‘pushes the other tongue aside’. This fact is also supported as the Gujurati is positioned at the core with English either side of it. This demonstrates that the English and Gujurati language are able to function together in the poem, and therefore are able to function together in her life. She put the Gujurati language in the core of the Poem to show that it is the center of her culture, and as if the gujurati really did push the english language ‘aside’. She did this show that both tongues can work together, contradicting her earlier statement about how they couldnt work together ‘even if you thought that way’. As Bhatt describes rediscovering her lost tongue, feelings of Joy are very apparent. She describes her tongue to ‘bud’ out of her mouth, like a Flower, she talks about how it ‘grows strong veins’ that will help it implant itself in her mouth. Her mother ‘tongue ‘blossoms’ out of her mouth, after re-growing from a stump. Her ending, ‘Everytime I think I’ve forgotten, I think I’ve lost the mother tongue, it blossoms out of my mouth’, leaves a positive imprint on the readers minds, because at the end, she did find that even when she felt she was losing herself, she knew she can never really forget her culture. As comparison to both, in each poem, alienation and cultural identity is the main theme. Both poets use startling imagery to illustrate their point and get their feelings across. In ‘Island Man’ Nichols talks about how he seems to dream of his ‘small emerald island’, and in ‘Search for my Tongue’, Bhatt discovers her true culture is brought alive in her dreams. This suggests that even though both writers felt that they have lost their culture completley, in their subconscious dreams it always returns. The similarities occur in both poems. To conclude, both Bhatt and Nichols have clearly shown their feelings about immigration and about their new and strange surroundings they have to live in, and how they have to change to adapt to them. This change ment to Bhatt that her mother tongue slowly dwindles until she feels she cant speak it anymore. Nichols’ Island Man being forced to spent his live in a country he doesnt like, after dreaming of his homeland the Carribean. In my opinion, both poets semi-autobiographies tell alot about all the negative feelings people may harbour towards immigration. Since such a big part of this Country has at some point of their or their Parents live have lived in a whole different country. It shows the people who have lived here all their life how it felt to lose something so precious, it is described a ‘tongue’ in Bhatts poem and an ’emerald’ in Nichols’s. The themes of cultural and personal identity were apparent throughout both poems and both poets had put their feelings across for the reader to understand. The idea of identity crisis is also beautifully potrayed by both writers, and in the end the motive of the poems was put across to show the reader how it really feels to lose something that identifies you with yourself.

The Hubris of Oedipus in Oedipus the King Essay - 1865 Words

Hubris is defined by the Webster-Miriam dictionary as â€Å"Exaggerated pride or confidence† (Miriam-Webster Dictionary) in Oedipus the King, by Sophocles, In Oedipus The King, by Sophocles, the onslaught of pain assailing the protagonist is a result of his tragic flaw. Sophocles often used a characters’ flaw to alter or influence the outcome or future of the hero. Oedipus hubris influences him to fulfill the oracle and further intensify his punishment from the Gods. Oedipus pride is an essential characteristic throughout the play. Even before Oedipus came into power as the King of Thebes he allowed his arrogance to control his judgment and reign over his actions. Oblivious to his knowledge, Oedipus fulfills Apollos oracle when he†¦show more content†¦621 ln. 149-150) after Creon tells him why they stopped searching for Laius’s killer. Dramatic irony is present when Oedipus tries to skirt the horrible prophecy of him killing his father and coupling with his mother, because in fleeing Corinth to avoid murdering Polybus, he is actually taking the correct path to fulfill the prophecy. Again his overconfidence and pride contributes to his impending doom; in believing that he has outwitted the gods he challenges his fate. Although he has enough reverence to the deities not to assume himself to be an equal with the gods, but greater than them it is clear through the word usage that Oedipus perceives himself to be of a greater importance than the lesser mortals that surround him â€Å"One of you summon the city here before us, tell them I’ll do everything. God help us, we will see our triumph-or our fall† (p. 621 ln. 163-165). He is conceited to think that he can shape his own destiny and the gods punish him for this arrogance. Once Oedipus is made aware of the dire situation in Thebes he responsibly, but paternalistically assumes to be the savior, even though as David McDonald states, â€Å"The Messenger’s attem pt to bring good news brings disaster†¦Ã¢â‚¬  (McDonald, pg. 148) Oedipus dialogue, Oh my children, the new blood of ancient Thebes, why are you here? Huddling at my altar, praying before me†¦ (p. 617 ln. 1-4) suggests that Oedipus feels highly regarded, almost a divinity. In addressing hisShow MoreRelatedEssay on Oedipus the King: The Hubris of Oedipus1681 Words   |  7 Pages Oedipus the King written by Sophocles, is a powerful Greek tragedy story. The protagonist, Oedipus is a heroic mythical king who had it all. Oedipus pursues to find the true answers to his identity and destiny, while at the same time trying to avoid fulfilling his destiny. Oedipus the King was introduced around 429 B.C.E. in Athens. This was Sophocles most celebrated play. It is recognized by many titles, such as its Latin title Oedipus Rex and Oedipus Tyrannus. SophoclesRead MoreThe Characters Of Hubris In Oedipus The King1032 Words   |  5 PagesHubris is one characteristic of humans that leads to people committing evil deeds. In the play Oedipus the King, Oedipus struggles with facing the truth about his fate. His hubris leads him to be an arrogant and ignorant person throughout the play. Hubris also leads Oedipus to lose control over his emotions on multiple occasions in the story. In Sophocles’ play, Oedipus the King, Oedipus’ character flaws clearly outweigh his positive qualities. Oedipus’ rage, pride, and ignorance are the main characterRead MoreEssay on Hubris in Oedipus the King by Sophocles766 Words   |  4 Pages There are many historic and fictional figures where hubris led to their downfall. Hubris is defined as being arrogant and having pride for your self. There are many people that are led to their downfall because of hubris. People that are hubris are blinded and can’t see what they did wrong. Those who contain hubris only think about themselves and can’t see the big picture. They think the world revolves around them and think they are the best. They are always going to be successful but suddenlyRead MoreOedipus Downfall Essay example774 Words   |  4 PagesPrompt: In a well-developed essay, consider whether hubris, fate or both are the use of Oedipus’ downfall. Use evidence from the text to support your support. Hubris is defined as excessive pride or self-confidence, while fate is defined as the supposed force, principle, or power that predetermines events. Ancient Greeks believed in Hubris, or pride. Pride may have been seen as good or bad. Many people that exhibit pride may come off as being proud of their achievements or lives; however, prideRead MoreThe Tragic Downfall Of Oedipus The King By Sophocles924 Words   |  4 Pageshave flaws that lead to a tragic downfall. One of these tragic flaws is hubris, which is defined as â€Å"exaggerated pride or self-confidence† (Merriam-Webster). This trait is most commonly found in characters who come to power and allow themselves to be consumed by their newfound hierarchy. The play Oedipus the King by Sophocles embodies the trait and displays it in different ways throughout the story. Oedipus is a victim of hubris as seen when he disregards the prophecy given to him, challenges a groupRead MoreCompare Odysseus and Oedipus Essay1739 Words   |  7 PagesOdysseus and Oedipus There are many legendary epic stories have been passed on from generation to generation in the Greek culture. Even though each story has different outcomes, every epic character has certain features in common. Odysseus in The Odyssesy and Oedipus in Oedipus the King are great examples of epic heroes with a variety of similarities. Odysseus and Oedipus are similar in which they both god-like men who are considered heroes because of their cautious ways and relentless tenacityRead More Oedipus and Creon in Sophocles Oedipus the King Essay1128 Words   |  5 PagesOedipus and Creon in Sophocles Oedipus the King   Ã‚  Ã‚  Ã‚  Ã‚  At first glance, Oedipus and Creon are two very different people. But as time progresses their personalities and even their fates grow more and more similar. In Sophocles’s play â€Å"Oedipus the King†, Oedipus and Creon are two completely opposite people. Oedipus is brash and thoughtless, whilst Creon is wise and prudent. In â€Å"Oedipus the King†, Oedipus effectively portrays the idea of the classic â€Å"flawed hero†. He becomes arrogant and brash.Read MoreEssay on Oedipus Versus Creon1141 Words   |  5 PagesOedipus Versus Creon At first glance, Oedipus and Creon are two very different people. But as time progresses their personalities and even their fates grow more and more similar. In Sophocless play Oedipus the King, Oedipus and Creon are two completely opposite people. Oedipus is brash and thoughtless, whilst Creon is wise and prudent. In Oedipus the King, Oedipus effectively portrays the idea of the classic flawed hero. He becomes arrogant and brash. He accuses Creon and Tiresias ofRead MoreTheme Of Irony In Oedipus The King913 Words   |  4 Pages and knowledge, from their audience. In Sophocles’, Oedipus the King, Oedipus’ power and knowledge are unparalleled by man as he is the only man able to solve the Riddle of the Sphinx and save Thebes. Yet after receiving an unpleasant reading from the Oracle at Delphi during a quest to find his true self, Oedipus directly challenges Apollo, and his hubris ends up preventing him from finding out who he really is; The murderer of his father, Ki ng Laius, and husband of his own mother, Jocasta. ThroughoutRead MoreThe Perfect Aristotelian Tragedy: Sophocles Oedipus the King918 Words   |  4 Pagesconsidered Sophocles Oedipus the King to be a nearly perfect example of Greek tragedy. His reasons were based on the structural perfection of the play, in which the protagonists recognition of his circumstances (anagnorisis) comes at the same moment as his reversal of fortune (peripeteia). But the terms whereby Aristotle defines character in Greek tragedy are slightly harder to work out where is the hubris of Oedipus? An examination of the plot will demonstrate that Oedipus hubris is manifest in the