...1) Yes, they were believable and realistic. The interaction and chemistry between mother and daughter were believable because of how they were coping and responding to one another, it seemed like real emotions. How the volume of their voice would go higher and lower depending on the mood and their hand gestures were accurate to their emotions. For example, when Edna Turnblad was angry with Tracy Turnblad, her daughter, Edna’s hand gestures would move a lot, be raised up or even pointing to her daughter, as if Edna was really mad at Tracy. Facial expressions in this play made it easier to believe the characters were real because when certain characters would be angry, their facial expressions would be eye squinting and nose crunching and other characters would react and respond to these expressions so well that really drove me to believe that they were real. The reaction of other characters would differ from the emotions given by another character, whether a character is being funny, fierce, serious, joyful or angry. 2) All the characters were related to one another, and it did seem like they were related in real life with real relationships. They all listened and responded to every character and their reactions would be as accurate as mine would be if those situations were to happen to me. They came together powerfully as an ensemble because out of all the songs and dances in this musical, I did not see a single mistake or error. The choreography and melody were perfectly...
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...would just give their children the opportunity to be who they wanted, this world could be a much better-off place through the act of music and dance. “Light-hearted, humorous stories involving people in love with a twist of craziness in a screwball, teen gross-out comedy” (Goodykoontz & Jacobs, 2010). This film is based with “character Actors who specialize in playing a wide variety of characters, most often supporting or minor roles rather than their leading roles” (Goodykoontz & Jacobs, 2010). The Hairspray’s cast of actors is a very diverse group of people, also varying in the category of wild-card acting. Actors that range from the mother of Tracy Turnblad and the Governor of Maryland in the film were played by a drag-queen (Divine). The parents of Amber Von Tussle played by (Sonny Bono) and (Debbie Harry), down to some of...
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...play // father hood // identity // other kingly characters In keeping with Jacobean thought, Lear is portrayed as having a divine duty to rule. This is echoed by King James belief of the divine right of the Kings, and both him and Elizabeth saw it a sin to either abdicate the throne, or divide it up – both of which Lear is guilty of. To a Christian audience therefore, he was clearly failed his divine duty in acting as “God Lieutenant” (as King James I phrased it). Whether his failure was necessary in his duty as a father or in finding his identity can be explored. The start of the play is imperative it setting up Lear’s duty and role as King. He enters the kingdom as an absolute ruler, with an air of grandeur about him, and he was highly respected – as highlighted by the fact he was referred to as “my lord” and “my liege”. His word was never challenged; it held a divine authority evident through the use of imperative such as “Attend the lords” and “Speak first”. Shakespeare deliberately, therefore offers us the perfect painting of a dutiful king. The consequential break down in society is therefore unexpected, and is summarised in the horrific irony that Lear wishes to “divide our kingdom into three” so that “future strife may be prevented”. Lear is blinded by his selfish wish to “crawl unburdened toward death” that he neglects his role as a divine ruler by selfishly dividing the kingdom. The view that the division is selfish however is rooted in the Jacobean idea of...
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...1. One factor influencing Divine Chocolate Ltd’s pricing decisions is the fact Kuapa Kokoo owns 45% of Divine Chocolate Ltd and influences the company’s decisions and receives a share in the profit. This means that the company will have to think about what price to make the chocolate bar in order to still receive a good amount of profit after Kuapa Kokoo takes their share of it. If they don’t consider this, they make not make much profit, if any at all, and their business will be unsuccessful leading to loss of sales and no profit. A second factor affecting their pricing decisions is the competition they have with Cadbury’s. Cadbury’s bars of chocolate cost 82p and Divine Chocolate Ltd’s chocolate bars are 81p. They have to consider their pricing because Cadbury’s is a well known brand which is very popular so if they had their chocolate bar more expensive than Cadbury’s then customers are more than likely going to purchase the Cadbury’s bar because not only is it more popular but it is cheaper too. So in order for Divine Chocolate Ltd to do well, they have to make sure they are cheaper than their competitors. 2. A rivalry of two or more businesses that target the same customers. Business competition tends to result in increased efficiency as firms attempt to reduce expenses. One advantage to show that Divine Chocolate Ltd has become more competitive is the cheaper prices they offer. If customers see a chocolate bar, that would probably taste the same as a Cadbury’s bar, cheaper...
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...To merely say that Dante was interested in the world of hell would be an understatement. His needs to explore and write about the nine different realms could best be described as an obsession. It’s an adventure, a tale, a dream (or nightmare) of different historical, biblical, and Greek gods and creatures living their lives in the afterlife of the underground world. Each level has its own form of punishment fitting the crime one has committed. Level one, Limbo: for those who have not acted upon sin to be punished for, but rather didn’t accept Christ as their savior. Those in Limbo aren’t harmed or living in suffering. They live in a deficient form of heaven. The place is green and peaceful, but the people there are full of sorrow and sadness. Because they lacked the initiative to accept God, they are punished by not being put in heaven and instead rest in a place that’s almost like it, minus state of mind of living in eternity with an overwhelming feeling of joy. They did not turn away from God, but at the same time did not let Him in their lives. The people here live in constant hope that God will again descend from Heaven and save their souls like he has before, but their desire is the only thing they live off of. Those that have sought after lust or have let it control their lives are stuck in the second level of hell. They are swayed restlessly by the strong winds of a storm. They are the first ones to be punished in hell. “the sins or crimes are mostly...
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...The Devil and the Modern Manager The Devil and the Modern Manager Organizational lessons from the Inferno – first part of Dante’s Divine Comedy By Mainak Sankar Maiti (1730 words) Fig 1 – “The Abyss of Hell” by Sandro Botticelli1 Introduction Dante Alighieri wrote the epic poem “Divine Comedy” (Italian: Divina Commedia) in the period 1308 A.D to 1321 A.D. Considered one of the greatest works on World literature, the poem is an allegorical representation of man’s journey towards God. The poem is divided in three parts: Inferno, Purgatorio, and Paradiso. Of all the three parts, Inferno remains the most celebrated and the most influential till date. Numerous artworks and books have been inspired by the Inferno. The works inspired by the Inferno range 1|P age The Devil and the Modern Manager from the Renaissance painter Botticelli’s illustrations of the hell to modern computer games. More than seven hundred years have passed; however, the Inferno continues to enthral readers all around the world. But, does the Inferno have anything in store for a manager seeking to achieve organizational efficiency? Dante’s macabre vision of hell was brought to life by Botticelli in his infamous painting “The Map of Hell” or, “The Abyss of Hell”, which remains one of the most fear-invoking artworks of all time. But, can that work invoke some new thoughts in the mind of a management student and expand his span of thinking, his horizons? Hell – the Model Organization “Organizational...
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...St. Thomas Aquinas’ “Summa Theologica” he bases the relationship between nature and grace on the human purpose. Since we are all rational beings with an ultimate goal of reuniting with God, Aquinas’ believes that both grace and nature will allow us to achieve the human goal. Aquinas explains that reason and revelation parallel moral development of virtue and grace. Reason is something you can practice, much like the four cardinal virtues temperance, courage, justice, and wisdom. These three theological virtues faith, hope and love help you achieve grace. These virtues come from gift of God’s grace and perfect the natural abilities of humans to know and love. “According to Thomas natural reason can know the external world without divine illumination and can discern the structure of created things through its sciences. Reason has a legitimate domain in analyzing the human person, ethics and politics. Thomas even extends reason’s competence to certain ‘spiritual’...
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...Analysis of Major Characters Dante Alighieri Thirty-five years old at the beginning of the story, Dante—the character as opposed to the poet—has lost his way on the “true path” of life; in other words, sin has obstructed his path to God. The Divine Comedy is the allegorical record of Dante’s quest to overcome sin and find God’s love; in Inferno, Dante explores the nature of sin by traveling through Hell, where evil receives punishment according to God’s justice. Allegorically, Dante’s story represents not only his own life but also what Dante the poet perceived to be the universal Christian quest for God. As a result, Dante the character is rooted in the Everyman allegorical tradition: Dante’s situation is meant to represent that of the whole human race. For this reason, Dante the character does not emerge as a particularly well-defined individual; although we know that he has committed a never-specified sin and that he participates in Florentine politics, we learn little about his life on Earth. His traits are very broad and universal: often sympathetic toward others, he nonetheless remains capable of anger; he weeps at the sight of the suffering souls but reacts with pleasure when one of his political enemies is torn to pieces. He demonstrates excessive pride but remains unsatisfied in many respects: he feels that he ranks among the great poets that he meets in Limbo but deeply desires to find Beatrice, the woman he loves, and the love of God. Dante fears danger but shows...
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...The Sounds of Hell Whenever you hear sound in The Inferno of Dante, torture or pain are either coming from tormented souls or is near. Throughout this novel, we not only see images drawn in our minds by Dante, but can in vision what Dante is going through from the sounds described in each Canto. We see Dante’s hearing and understanding develop to a more mature level as he faces different souls and hears their suffering. Our first instance of sounds imagery is in Canto III (3). Upon entering the Inferno, Dante hears tortured shrills coming from those who are unsure of where their loyalties lie and never choose a side. He hears their pain and begins to weep, for the pain he hears symbolizes everything he is about to face while he is in the Inferno. Since Dante has compassion for those in pain, he is forced to listen to the groaning and screams coming from the tortured souls in order that he may come to a level of acceptance with those who are in the rings of the Inferno. We also see sounds imagery in Canto IV (4). “Breaking the deep sleep that filled my head,/ A heavy clap of thunder startled me up/ As though by force” (Canto IV lines 1-3). Since Dante was not yet accustomed to the Inferno, the Inferno woke him up with a loud clap of thunder in order that he may become better accustomed to the sounds of torture. Dante expected to hear tortured souls, especially because Virgil’s face became white with pity for the pain the virtuous pagans face in the first circle of the Inferno...
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...also the idea of the synderesis principle, which states that we “naturally do good to avoid evil”. St Thomas Aquinas’ argument was sought to reconcile Christian thought with the Greek thinking of Aristotle’s work, which could be seen in Islamic libraries in the Fall of Toledo, where Christian armies reconquered Spain. Aquinas sees goodness in the Divine Essence (nature of God), which was his first law. His second law was the idea of ‘eternal law’ which he said was reflected in our own human nature and the ends in which we rationally pursue, which draws parallels to the synderesis principle, which opposes the idea of ‘reformation’ which proposes the idea that “we have all sinned and fall short of Gods glory” as portrayed in Romans 3-23. God’s Divine and eternal Laws are further proposed in the Holy Scriptures, such as the Ten Commandments in Exodus 20. From these observable, rational ends, we get the five primary precepts. The Primary Precepts are “good wills” that we rationally pursue, and are absolute. They consist of preservation of life, order in society, worshipping God, education and finally, reproduction. This reflects the Divine Will, whereby God creates us as rational beings and in His image, which is proven in Genesis 1:26-27. However, due to our society today, there have been some changes to the primary precepts, which is specifically notable in Veritatis Splendor, which is a document that have subtly made some changes to the...
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...August 20, 2015 3.2.13 Practice: Revision Strategies The tempest one of the most difficult Shakespearean works in my opion to stage, from its stormy, chaotic first scene to its sureality to its ambiguous resolution, with Prospero facing his silent, treacherous brother and renouncing the power that has made every action in the story possible. Potent language remains the central force and mystery of this fathomless play. Prospero speaks almost a third of the lines in The Tempest, and controls the amount of speech every other character on the island has through manipulation and magic. Prospero’s narrative of how he came to the island, what he did once there, and what he is owed for this history, goes largely unchallenged in the text. Yet the play offers innumerable readings and opportunities for alternate staging, particularly in light of postcolonial discourse about Prospero’s relationship with Ariel and Caliban, the legitimacy of his authority, and the nature of his magic and command over language. Though Prospero can be played many ways, there is no doubt he is The Tempest’s show runner. The metatheatrical nature of the play sometimes detracts from its action on the page, but it also offers the chance to explore exactly why Prospero needs an audience for his revenge, and whether or not it satisfies him, onstage. Prospero restricts the sight and knowledge of the other characters, putting them to sleep or manipulating them with invisible forces, but he often lets us, the audience...
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...The human body has always interested me. The way that it dramatically changes throughout life and events that we are not able to control. Dante endures a similar fascination with the human body and its changes a parts on his journey through hell through the Inferno. Even reading this a second time, I was able to make even more personal connections with the book than I previously had. I have had many experiences where my view of the human body was being ruined by uncontrollable forces. Much like me, Dante’s fascination with the body often leads to disgust of even pain when it is ruined. Not long ago while I was still in my boarding school, my grandmother that I called Nana had a heart attack. She is fine now, but it worried our entire family and led me to apply to Paideia in order to visit her more frequently. When I got the opportunity to visit her for the first time in a year, she did not appear to be my Nana anymore. Her chubby body was now gone and replaced with skin and bones, it horrified me because I loved and respected her so much and could not even recognize her after her heart attack. Dante’s experience with the Sodomites mirrored my own disbelief when I was unable to recognize someone so important to my life. When we enter Canto 16, we see three shadows running toward Dante. He is first confused by their presence, but once Virgil asks for Dante’s respect toward the shadows, he is willing to hold a conversation with them. These three shadows that surround Dante are...
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...In the texts The Divine Comedy, On Law Morality and Politics, and Revelations of Divine Love, there is a central theme of divine justice. In Dante’s Inferno, divine justice is God’s will for mankind and the order of the universe. In Saint Thomas Aquinas’ text, divine justice is the consequence of straying away from divine law. Finally, in Julian of Norwich’s work, the purpose of divine justice is to earn God’s mercy and eventually reside in his presence. Using different understandings of divine law and justice, each author is uniquely able to convey a similar message – mankind’s purpose is to achieve salvation and be in God’s grace. In Dante’s The Divine Comedy, the nature of justice seems to be impartial and unexempt from anyone. Specifically,...
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...In the Story of Inanna’s journey into hell, Inanna, the God of Fertility has decided that she is going to go descend to Hell, the Land of Death. Before doing this however, Inanna makes sure that she has a backup plan in case she were unable to get back from the land of the death. She enlists the help of her Minister Ninshubar whom tells the truth to go forth after her departure to her the other Gods to have them call her back to the heavens. Inanna puts on her godly armor of crows and robes before descending into hell. However, when she gets there, things do not go exactly as planned. Upon her arrival, she is asked by hell servant Neti what her reason for coming down to hell was. Instead of giving her a straight answer, Inanna lies about her...
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...establish their relationship, Virgil leads Dante the Pilgrim on his journey through Hell. Not only does he lead Dante on a physical journey, he also teaches Dante lesson about morality. He teaches Dante that if he pities the sinners, it would lead to a recursive process in Dante’s spiritual development. While Dante and Virgil come across Bolgia four in the eighth circle, where the fortune tellers dwell, Dante felt pity for the sinners until Virgil says, “… There is no place/ for pity here. Who is more arrogant/within his soul, who is more impious/than one who dares to sorrow at God’s judgment?” (XX: 27-30) Virgil warns Dante the pilgrim about the dangers of pitying those who defied God. His usefulness deprives from his logical understanding of divine punishment, a characteristic that Dante the Pilgrim learns throughout his spiritual journey. As Dante’s Hell depicts punishment for those who defy God’s will. The sinners in Hell deserved the punishment that he or she receives. Virgil, as Human Reasoning, logically understands. Dante, due to his lack of development, cannot comprehend this concept. In the introduction of the Inferno, Dante cannot...
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