...Eugene O’Neill wrote a play called the Hairy Ape that focuses on the time period in America during the industrial revolution. The play follows a man, Yank, searching for how he fits into the world. The themes of the play revolve around how the United States was changing during this crucial moment in America’s history. New ideas, technologies and cultures were emerging, and O’Neill saw this. He wanted to express his views and opinions of how America was changing through his plays. His plays became influential and powerful because it focused on real-life issues and problems that were occurring during that time, even though the plays were fictional stories. The Hairy Ape is no exception and is one of many of his fantastic plays that delved into the dark reality that was occurring in post WWI America. O’Neill opens his play with a scene showing some firemen working in the engine room of a ship talking amongst each other. This scene is important because it already shows a major topic that O’Neill is tackling: the transformation of humans into “machines” by industrialization. The firemen work in a harsh and monotonous environment; they repeat the same task over and over without putting any thought into it. They are also shown as uneducated, primitive and uncivilized people. O’Neill portrays these people this way to show how degrading humans into tools are making them less intellectual and less “human.” Humans have the capability to think, create and be innovative, but O’Neill sees...
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...English 2328 Spring 2011 Unit Two: Early Twentieth Century Review Sheets |Survey Highlights |Modernism in American Literature |Imagism, Imagery, Image | |Major Authors |Some distinguishing characteristics— |From Pound's "A Retrospect": | |Historical Context |Rejection of traditional values and assumptions, in society and art. |—Three principles of Imagism: | |Intellectual Movements |Strong break with traditional literary forms and techniques of |1. Direct treatment of 'thing' whether subjective or objective. | |Genres, Elements of Literature |expression. |2. To use absolutely no word that does not contribute to the | |Authors |—Avant-garde, innovative |presentation. | |Robert Frost, Ezra Pound, and T. S. Eliot |—Frost's "old-fashioned way to be new" |3. As regarding...
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...Ali Wally Professor Perez Literature 221 25 September 2013 Connection’s Throughout this eight-week Literature class we have read many short stories and poems. When I started the class I didn’t know what to expect and as the class went on I continuously learned more about different types of writing and most importantly myself. Even the pieces of writing that I didn’t like I could connect with, there was always an underlining symbolism or metaphor that made it possible. But like any person I had favorites and least favorites. Walt Whitman’s ‘I saw in Louisiana a Live Oak Growing’ all the way from week one was one of my favorite pieces of writing we have read all semester. The writing speaks, telling the reader to reach out for friendship and companionship. The last two lines ‘uttering joyous leaves all its life without a friend a lover near, I know very well I could not,’ (Whitman pg. 7). Whitman is telling the reader that life would mean very little without the company we keep. I can relate to what he is saying because it couldn’t be more true. There is not a single person in this world, no matter how strong or independent that would make it without at least one other person in their life. This piece makes me think of my family, which is so important to me. Another of my favorite reads was one of the shortest of the semester in week three, Carl Sandburg’s ‘A Fence’. There was a big emotional pull in this story for me. The emotional fence is...
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...Staging & Spectacle: Theatricalism denotes the style of production during this period. In short, the style of the production, as chosen by the director, dictates the aesthetic rules by which the production team works. Currently, producing Shakespeare does not mean that it has to be done in Renaissance England. Indeed, artists have found that updating the location and time of a Shakespearean play makes it more believable, and in a sense, breathes new life into it. Moreover, advances in technology have also strongly influenced this period and its theatrical spectacle. The use of plastics, steel, aluminum, advanced lighting control, and sound recording equipment drastically changed the face of theatre production and quality. This is also a period of open experimentation both in design and production and has resulted in the development of the minimalistic and fractured realism styles. Minimalism is a style, which reduces the design elements to the least number necessary to produce the production. Fractured realism uses limited realistic elements separated in a fractured nature. Furthermore, a division of the theatre workforce into separate specialized artisans increases both operational efficiency and overall quality. The development of the technical director to oversee the production elements further organizes the modern theater. However, this specialization requires a great amount of trust and collaboration between the director and other artists on the...
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...THE B L A C K SWAN The HIGHLY I mpact IM of the PROBABLE Nassim Nicholas Taleb U.S.A. $26.95 Canada $34.95 is a highly improbable event with three principal characteristics: It is unpre dictable; it carries a massive impact; and, after the fact, we concoct an explanation that makes it appear less random, and more predictable, than it was. The astonishing success of Google was a black swan; so was 9 / 1 1 . For Nassim Nicholas Taleb, black swans underlie almost everything about our world, from the rise of religions to events in our own personal lives. A BLACK SWAN Why do we not acknowledge the phenomenon of black swans until after they occur? Part of the answer, according to Taleb, is that humans are hardwired to learn specifics when they should be focused on generalities. We concentrate on things we already know and time and time again fail to take into consideration what we don't know. We are, therefore, unable to truly estimate oppor tunities, too vulnerable to the impulse to simplify, narrate, and categorize, and not open enough to rewarding those who can imagine the "impossible." For years, Taleb has studied how we fool our selves into thinking we know more than we actually do. We restrict our thinking to the irrelevant and inconsequential, while large events continue to surprise us and shape our world. Now, in this reve latory book, Taleb explains everything we know about what we don't know. He offers...
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...www.GetPedia.com * More than 500,000 Interesting Articles waiting for you . * The Ebook starts from the next page : Enjoy ! * Say hello to my cat "Meme" Easy PDF Copyright © 1998,2003 Visage Software This document was created with FREE version of Easy PDF.Please visit http://www.visagesoft.com for more details The Oxford Guide to English Usage CONTENTS Table of Contents =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Title Page TITLE EDITION Edition Notice Notices NOTICES CONTENTS Table of Contents Introduction FRONT_1 FRONT_2 Grammatical Terms Used in This Book Abbreviations FRONT_3 Word Formation 1.0 abbreviations 1.1 -ability and -ibility 1.2 -able and -ible 1.3 ae and oe 1.4 American spelling 1.5 ante- and anti- 1.6 -ant or ant 1.7 a or an 1.8 -ative or -ive 1.9 by- prefix 1.10 c and ck 1.11 capital or small initials 1.12 -cede or -ceed 1.13 -ce or -se 1.14 co- prefix 1.15 doubling of final consonant 1.16 dropping of silent -e 1.17 -efy or -ify 1.18 -ei or -ie- 1.19 en- or in- 1.20 -er and -est 1.21 -erous or -rous 1.22 final vowels before suffixes 1.23 for- and fore- 1.24 f to v 1.25 -ful suffix 1.26 hyphens 1.27 -ified or -yfied 1.28 in- or un- 1.29 i to y 1.30 -ize and -ise 1.31 l and ll 1.32 -ly 1.33 -ness 1.34 -or and -er 1.35 -oul- 1.36 -our or -or 1.37 Easy PDF Copyright © 1998,2003 Visage Software This document was created with FREE version of Easy PDF.Please visit http://www.visagesoft.com for more...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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