A Postmodern Paradox Essay Example for Free

A Postmodern Paradox Essay A Postmodern Paradox Postmodernism, a paradox in itself, challenges conformity in countless ways. Taking place after World War II, this movement is mainly characterized by its rejection of social constructs and its challenges to traditional forms of philosophy, literature, art, and religious authority. Ironically, while it defied categorizing, it became a category itself. Nevertheless, this movement has had a profound impact on countless literary, cinematographic, art, and philosophic works. Two works that have been profoundly influenced by postmodernism includes Slaughterhouse 5 by Kurt Opponent, and the elm and book The Hours, by Michael Cunningham. While both works have been influenced by modernism in separate ways, they ultimately share its key themes: an abstraction of time, a rejection of reality, and a search for higher purpose. Through the use of postmodernism themes and literary techniques, both the movie and book were able to convey that absolute truth does not exist because it is relative, intricate, and blurred. Occurring in the post-World War II era, postmodernism can be considered an intentional departure from previously dominant modernist approaches such as scientific positivism, realism, constructivism, formalism, and tapestries. Through its emphasis and use of power relations, binary classifications, fragmentation, paradox, dark humor, rejection of reality, sociology, linguistics, and subjectivism it constantly attacks contemporary life, art, literature, philosophy, religion, and ethics. In addition, it is characterized by a rejection of reality, claiming that transmutable validity cannot exist since reality is limited by concepts like time and sexuality. It is able to achieve its unique goals in literature and film through numerous literary devices. In literature, there are several devices frequently used by southernism writers to convey some of the main ideas of the movement. Of these devices the use of fragmenting, dark humor, satire, paradox, allusions, mixed point of view and interruption of form are the most frequently used. These devices allow writers to deal with topics like the absurdity of moral, philosophical, political, and authoritative relativism; in addition, these devices provide for a blurring of classifications and boundaries of societal structuring. Ultimately, postmodernists desire to condemn contemporary life, reject reality, and accept relativity and complexity in indefinite answers. The movement of postmodernism came about through a series of meaner. An important factor that contributed to the development was that it followed World War II. Before the war, modernism dominated the current literature of the time. This movement involved rationalism, reason, the scientific approach, optimism for human potential, and a pursuit of absolutely certain knowledge. However, in the wake of both World Wars, the climate was set for postmodernism as confidence in human progress, autonomy, and optimism were destroyed in battle. This permeating and predominantly pessimistic aura of thinking exulted in a series of books, films, artworks, and musical pieces that rejected reality, worldly concepts like time, renounced identity, and questioned the purpose of life. These themes clearly reflect the toll that war had on society; many people desired to marginality the horrors of war in a rejected reality, ostracize human error through a pitiful purpose of existence through fragmented viewpoints. The wars essentially brought about a pessimistic form of modernism that relished in the repudiation of absolute answers; for postmodernists nothing could ever be easily or fully explained. As postmodernist ideals began to develop and conglomerate they were influenced by countless individuals. One extremely influential individual was Linda Hutchison. Hutchison, who wrote several postmodernist works like A Theory of Parody, expressed a great deal of interest in self-reflexive approaches to texts through parodies that both legitimate and subvert that which it parodies (Introductory Guide to Critical Theory). Hutchison also coined the term historiographer metrification, which describes literary texts that assert an interpretation of the past but are also intensely self- flexi; these texts allow a double process of installing and ironing, parody signals how present representations come from past ones and what ideological consequences derive from both continuity and difference (Introductory Guide to Critical Theory). With historiographer metrification, writers can speak constructively about that past in a way that acknowledges the falsity and violence of the past without isolating the present. Many other writers, artists, composers, and directors have had a significant impact on the evolution of postmodernism as well. Key incepts of postmodernism have also developed and evolved through the influence of society and individuals. For example the term kitsch or stratification, which can be defined as the reduction of aesthetic objects or ideas into easily marketable forms, has a more widely accepted definition adopted by famous postmodern philosopher Jean Baudelaire: The kitsch object is commonly understood as one of that great army of trashy objects, made of plaster of Paris [stuck] or some such imitation material: that gallery of cheap Junk?accessories, folksy knickknacks, souvenirs, emphases or fake African masks?which proliferate everywhere, with a preference for holiday resorts and places of leisure (Consumer Society 109-10). Jean Baudelaire also offered a definition for simulacrum, defining it as Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperbole. It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real (The Precession of Simulacra 1-2). Postmodernism, like any literary movement, was molded and defined by society and intellectuals involved in its progression. The profound impact postmodernism had on Kurt Evensongs Slaughterhouse 5, through its use of frame-breaking, criticism of worldly concepts like time and war, exploration or reality and truth, simulacrum, and rejection of reality, satire, allowed for the novel to express its ultimate renunciation of an absolute truth in exchange for intricate and indefinable answers. In addition, it was able to express key concepts of post modernism through its use of postmodern iterate devices; many of these concepts included a search for a higher purpose, a renunciation of social structuring, and a rejection of reality. By expressing these concepts, Opponent follows the postmodernist ideals of historiographer metrification, and questioning the absurdity of contemporary life and conventional viewpoints of society. Frame-breaking, the linkage of separate subplots in a novel to unify the intricacies of an entire plot, contributed to the postmodernist impact on the novel by individuality. Frame-breaking takes place in the novel through the employment of Opponent as three characters of differing importance: the narrator, the protagonist, and a supporting character. Through frame-breaking, Opponent demonstrates that even the recount of a war experience does not hold a simple plot; it consists of a web of intermingled plots, ideas, characters, events, and concepts; this adheres to the postmodernist principle of blurred lines of interpretation and absolute truth. In addition, frame-breaking allows for a loss of identity. The loss of identity occurs when Opponent represents an omniscient force narrating the story as he simultaneously lays protagonist Billy Pilgrim, and a seemingly inconsequential supporting character. Opponent as an omniscient force demonstrates the renunciation of religion in postmodernist ideals; Opponent plays god, yet he is as trivial as any other human being. Furthermore, by telling his own story in the perspective of Billy Pilgrim this demonstrates how war results in a loss of identity, or the adoption of an alias. Rather than personalizing the story in a first person perspective, Opponent distances himself from the horrors of his past. Finally, by including himself as a prison mate in Billy Pilgrims story, this demonstrates how in postmodernism, all identities consolidate; the man that represented god and the protagonist is nevertheless a supporting character in the larger plot of the story. By disparaging his ultimate role in the novel, Opponent demonstrates that people are all essentially equal in life and in death- thus a loss of individualism. Through the use of simulacrum, which involves replacing reality with a representation, Opponent is able to criticize worldly concepts like time and war. For instance, by using the simulacrum of Transformable for Earth, e criticizes the necessity of war. Transformable represents a conglomeration of ideals he believes are optimal in achieving peace. However, instead of directly stating those concepts, Opponent employs a narrative and symbolism; this allows for a rejection of reality while criticizing war. Time is also criticized through a simulacrum of time traveling. Through time traveling the distinctness of years is blurred and time loses meaning as it is muddled together. This criticism of time is a unique postmodernist concept that is closely related to the criticism of social structuring. As postmodernist writer, Opponent denounces the traditional concept of time and replaces it with a web of linked yet intricate events. Simulacrum is also used in the plot of Billy Pilgrims Journey; rather than telling the story in the first person perspective, Opponent ostracizes himself thus criticizing the worldly concept of individualism and identity. Contrastingly, he links all frames of the story in the end of the novel to demonstrate that personal identity is futile when people are all equal in life and in death. In addition the concept of death is abandoned as Opponent accepts omelet equality of the human identity. By employing a plot dedicated to the exploration of reality and truth, Opponent demonstrates that the world according to postmodernists is full of blurred lines, undefined edges, and complex networks of relationships. Not only does the novel in its entirety consist of three convoluted interwoven subplots made up of smaller subplots, but it contains episodes of irrationality and science-fiction. This mixture of reality and science fiction represents a renunciation of reality for a combination of philosophy and fantasy; further mistreating that reality does not exist in a state of definable truth, but in limbo higher purpose is an impossibly multifaceted path that nevertheless ends the same as all others do: everything is connected and personal identity is trivial. The Hours, written by Michael Cunningham and directed by Stephen Deadly, has been manifestly impacted by postmodernism through its use of fragmenting, stratification , satire, and renunciation of worldly concepts like death to express postmodern ideals like a loss of identity or interconnection of all things. Through expressing these ideals, Cunningham was able to reject typical social and literary construct and ultimately convey that answers are not simple or absolute. Frame- breaking is employed in the hours through the eventual amassing of all three subplots within the novel to demonstrate the interconnectedness of all human identities. The novel is formatted in three separate spheres to demonstrate how as humans search their lives for purpose, they are unable to see how individualism and identity are inane. The three plots are eventually connected through death- another worldly concept denounced by postmodernists. Through death, the characters become linked to one another and the reader becomes aware of their unity; this demonstrates how death provides enlightenment and is not solely the end of a life. Additionally, frame-breaking allows the criticism of the concept of time. All three subplots take place in completely different eras, yet they have profound impact on one another despite this detriment; this demonstrates that time is merely a concept, rather than an obstacle, and cannot overcome the unity of humanity identity. Stratification and loss of identity are expressed through a variety of literary devices n The Hours to demonstrate that superficiality and identity are ultimately trivial in life. Stratification most chiefly occurs in the novel and film when the concept of love is reduced to a party and flowers; this becomes a criticism of superficiality upon the death of Richard when the party goes to waste. It signifies that the superficial form of love was powerless and inconsequential to Richards death and that death encompasses all. In addition, both Richard and Virgins death represents a loss of identity in that his life and accomplishment were evidently meaningless to them. In he end, they chose the namelessness of death as their path rather than a quest for a higher purpose or discovery of self-identity. Their deaths are a demonstration of the interconnectedness of life in that both writers commit suicide, creating a full circle to the complex web of relationships. Postmodernism, contradicts itself in its essence. Yet its use of paradoxes, satire, criticisms of the conventional, and quest for answers have had a profound impact on the development of literature, art, and society. While postmodernism will be phase in the history of writing, it will not cease to remind rites to question the norm, look past what is conventional, and defy typical form and construction.

A Bottle of Tyme Essay -- UEC Economics Essays

A Bottle of Tyme The United European Countries was formed just before the collapse of the United States of America. The Survivors of the Clones’ â€Å"true human† purge sought refuge in the UEC, specifically England, where they were welcomed with open arms, as much of their work force had been destroyed by the Arab invaders. The UEC is lead by President Hartford, who was elected to her second term just before the conflict first began between the United States and the Arab Empire. She heads the executive branch of the UEC, while the Senate embodies the Legislative branch. The Upper Senate is comprised of 4 Senators from each representative country, regardless of size or population. The Lower Senate has membership based on population, and so, each country receives one Lower Senator for every three million people. Each European country is treated as a semi-independent state, much as the states of the United States were. Each country’s national language is maintained, as are their customs and lifestyles. The only real difference is that their governments are now working together under a solidified government, not the easily sidestepped UN, which failed to halt the Arab uprising in the first place. As it is a fairly new governmental body, the UEC doesn’t suffer from the internal sabotage most modern governments are faced with, although the individual governments of each representative country are still ripe with corruption, as they needn’t change much to be accepted into the UEC. As such, the various countries in the UEC get along extraordinarily well with each other, but enter the country, and one can easily see that society on its most basic levels has begun to break ... ...n of untied countries. Their conquered lands were then given to the peasants who suffered so horribly at their hands. Although the Empire has been crushed to a mere  ¼ of its original power, it still controls the oil fields of Saudi-Arabia and has many sleeper cells across the globe. Perhaps one day it will strike out again at all who would oppose them. Back in North America, Canada and Mexico were in the clutch of fear, fear of invasion by the clones running rampant across the former United States. Although they were assured by the clone leaders that no harm would come to them, they remain wary of the clones’ every move. As for the Clone Nation itself, through what surveillance is available, it seems that a form of forced socialism exists, with complete breakdown of social class structure and religious ideologies.

Compare and Contrast: Palace of Fine Arts and University of Virginia

Compare and Contrast: Palace of Fine Arts and University of Virginia This essay paper is a comparative analysis of two architectural constructions, the Palace of Fine Arts and the University of Virginia. The designer behind the building of the University is Thomas Jefferson. In constructing the building, Thomas Jefferson used bricks extensively, as for the periodic manner, he used Neo-Classical. On the other manus, the architectural design of the Palace was done by Bernard Maybeck. The manner that Maybeck used in building the edifice is known as Beaux-Arts. As for the stuffs, the old building was built utilizing steel constructions and plaster as it was meant to be impermanent. The edifices portion an architectural subject in that they are both inspired by Roman architecture. The aim of this research is hence to larn how two different manners interpret from the same beginning of influence. Ocular Analysis Structure One The construction of the Palace is erected on a site that has a little semisynthetic laguna. The castle has a broad arbor that measures 340 m ( 1,100 foot ) . The formation of the arbor is an arch and it has a broad paseo that is framed by Corinthian columns placed in rows. In the center of the arbor is a rotunda that is centrally placed by the laguna ( Yu n.p ) . The purpose of the laguna was to those found in classical Europe. The unreal H2O organic structure was supposed to move as a brooding surface to mirror the brilliant construction and make a bird's-eye position that would be appreciated from a distance. In constructing the Palace of Fine Arts, Maybeck’s purpose was to make the visual aspect of Roman ruins in decay. Structure Two The University’s architectural construction is a brilliant edifice that resembles the neoclassical temples of Europe. The building features a Pantheon that measures two-thirds of the graduated table ( Kostof 625 ) . The pantheon is set at the caput of a lifting promenade with interrelated columnar marquees on the wings. In its planning, the library was housed by the Rotunda while the marquees were the life quarters for lectors every bit good as talk suites. Each marquee offers an separately alone representation of the classical Roman order design ( Kostof 625 ) . Stylistic Analysis Structure One The architectural manner that the Palace was built with is an look of the architectural neoclassical manner that was taught in Paris at theEcole diethylstilbestrols Beaux-Arts. Until the twelvemonth 1968, the direction manner of Beaux-Arts went on without any major breaks ( Middleton 10 ) . In the period between the old ages 1880 and 1920, the architecture in the United States was to a great extent influenced by the architectural manner of Beaux-Arts. The period between 1860 and 1914 saw the gravity of European designers who were non-French towards the academic centres of their natural states alternatively of being fixated on Paris ( Klein, Fogle, and Wolcott 38 ) . The mainstream forms of the Imperial Roman architecture were extremely emphasized by the preparation used for Beaux-Arts. These forms ranged from the period of the first emperor Augustus to those of the Severan dynasty, Italian Renaissance every bit good as Italian and Gallic Baroque. However, the preparation was applicab le on a wider series of theoretical accounts. Architects from America who learned the manner of Beaux-Arts were more inclined towards the Greek theoretical accounts. This was because of the 19Thursdaycentury American Greek Revival which gave the theoretical accounts historical prominence locally. The Beaux-Arts manner was dependent upon sculptural ornaments that were cautiously modern. It employed the usage of Italian and Gallic Baroque every bit good as Rococo designs assorted with pragmatism and impressionistic coating. Even though there was an attack of a renew spirit embodied in the manner of Beaux-Arts as opposed to a set of motives, the architectural manner included chief features such as: a level roof, symmetricalness, arched Windowss, elusive polychromy, arched pedimented doors, rusticated base with a raised first narrative and statuaries, mosaics, wall paintings, sculptures every bit good as other graphics combined in a subject that portrays the building’s individuality ( Klein, Fogle, and Wolcott 38 ) . The style’s classical architectural inside informations include acroteria, cartouches, Garlands, pilasters, bannisters, every bit good as an outstanding show of clasps with rich inside informations, back uping consoles and brackets ( Klein, Fogle, and W olcott 38 ) . There has been controversy every bit far as the Palace in relation to the Beaux-Art manner is concerned. The Palace was loved by the people but non given acknowledgment by the designers. Maybeck’s preparation was in conformity with the Gallic academic system but it is argued that his work is non suiting of the American Beaux-Arts architect’s ideals. This is because he restrained from adding design elements from his old plants. The Palace therefore was non able to be compared to any originals of European architecture ( Yu n.p ) . However, the Palace still bears features of the Beaux-Arts manner from its rusticated base, arches every bit good as its classical architectural inside informations like sculptures, pilasters and wall paintings. Structure Two The University’s architectural manner is defined by Neo-classical architecture. The manner was born of the mid 1800s neoclassical motion ( Hopkins 199 ) . The manner came approximately both as an branch of some Late Baroque features every bit good as a response against the Rococo manner that featured realistic adornment. The signifier of the architectural manner lies in the accent of the wall as opposed to chiaroscuro. It besides sustains separate individualities to each single portion ( Hopkins 199 ) . This architectural manner is picturesque and redolent and its frame is in line with the Romantic emotional response. Rationally the sense of neo-classism was to return to renaissance classism, Greek and Roman humanistic disciplines which were perceived as pure. The neoclassical architectural manner is characterized by a expansive portico with a porch built in full tallness. To add on, the portico’s roof is supported by full classical columns that are normally fluted with capitals that are flowery Corinthian or Ionic ( Hopkins 199 ) . The manner is besides symmetrical in footings of balance ; it has a centralized entry with a balanced agreement of Windowss on its wings. The neoclassical manner characteristics subtypes that are varied in roofing manner of the portico, breadth every bit good as tallness. Portico with level and curving roofs are seldom seen. Other specifying characteristics of the manner include elegant clean lines, orderly visual aspect and monolithic edifice size. The chief signifier that the neoclassical manner is based upon is the temple ( Hopkins 199 ) . The temple represented the purest signifier of classical architecture and this was an ideal construct of the manner. In planing the construction of the university, Jefferson blended assorted architectural manners. The edifice evokes the rules of European architecture of the Gallic, Grecian and Italian influence and is blended with the Chinese touch as good ( Jefferson and The Politicss of Architecture n.p ) . The blend of architectural influences is finally cast in edifice stuffs from America and showcased in an academic community. In an attempt to intermix the classicist manner even further, Jefferson used different stuffs from different countries. For case, the 3rd Pavilion was constructed with columns made from Italy and transported under the pretense of educational stuffs to the site, whereas the columns on the first marquee were made in Charlottesville ( Howard and Straus 189 ) . Jefferson pieced together the European architectural manners on the construction and blended them to his ain liking in an attempt to do it hold a alone American visual aspect ( Jefferson and The Politicss of Architect ure n.p ) . The characteristics of the university that are characterized with the neoclassical architectural manner are chiefly the columns, the building’s portico, and particularly the temple like design of the construction which is portion of the manners ideal. Cultural ( Historical ) Context Structure One The Palace of Fine Arts was built as one of the brilliant buildings of San Francisco’s Panama Pacific International Exposition in 1915 ( Kale n.p ) . It was located towards the center of the expansive building of the expounding and it stood out as the most inspiring construction at the carnival. The Fair was in award of the Pacific Ocean’s find every bit good as the Panama Canal’s completion ( Maybeck and Elder 2 ) . There was besides an added intent to the Fair which was in jubilation of its ain rejoinder after the annihilating fire and temblor of 1906 ( The Palace of Fine Arts n.p ) . Once the site had been chosen and the basis had been developed, the Palace was the last construction to be erected. In representation of its civilization, the construction of the Palace was built to demo magnificence. This was done by puting the arch’s centre behind the rotunda to avoid their homocentric alliance in rings. Due to that, a wider arch was able to be built on t he same infinite ( Yu n.p ) . In its programs were a colonnade and a rotunda which amazed the commissioners and fulfilled Maybeck’s dream. The exhibition hall of the castle was built to house the graphicss of life creative person ( Maybeck and Elder 3 ) . Another component that shows significance to the civilization and events associated with the castle is its visual aspect. The castle looks like ruins of classical antiquities. Bing hailed as the exposition’s most reliable design, Maybeck added the elements of Roman and Greek antiquity and besides incorporated his ain creativeness to do the edifice unique ( Maybeck and Elder 5 ) . His thought was influenced by the construction was from Piranesi scratching of Roman ruin ( Yu n.p ) . His ideas were that there was a feeling of unhappiness to the edifice personalized by the sense that there is a soothing influence to beauty ( Yu n.p ) . The initial building of the castle was impermanent and non intended to last after the Fair was concluded chiefly because it was built on valuable land ( Maybeck and Elder 2 ) . With that impression in head, it was simply constructed with plaster which was supported by constructions of steel ( Yu n.p ) . The castle was nevertheless non brought down as a consequence of its influence on the people. In a saving of the civilization and influence of the castle, the destruction and rebuilding was set in gesture in 1964 ( The Palace of Fine Arts n.p ) . The columns and the rotunda were brought down and the edifice was rebuilt on a lasting footing with a steel construction merely as the initial building. The Reconstruction of the palace’s edifices was done utilizing lasting light weight concrete that was poured into topographic point. For the rotunda’s dome, steel I-beams were hoisted into topographic point ( The Palace of Fine Arts n.p ) . The sculptures and all the ornament we re freshly constructed by pouring concrete onto pre-casts of the figures so as to guarantee that the eventual consequence matched the original theoretical accounts. Structure Two Unlike the Palace of Fine Arts, the University of Virginia’s construction was non portion of a monolithic undertaking but instead a undertaking on its ain. The edifice hails as the country’s foremost province university ( Jefferson and the Politicss of Architecture n.p ) . The building of the university edifice was non merely a general design but a design drawn by an architect full of the belief that the bosom of the American class lied within architecture. He considered a edifice as more than merely a wall construction but a symbol for the American political orientation ( Howard and Straus 187 ) . Jefferson besides perceived building as a procedure that was equal to making a state. Harmonizing to him, any American architecture was supposed to exemplify the split of cultural and political ties with Europe ( Jefferson and the Politicss of Architecture n.p ) . He therefore went forth to put the criterions of the country’s architecture aesthetically every bit good a s politically. Jefferson hence went on to transfuse his educational and cultural ideals into the design and building of the University’s edifice. In a representation of the European culture’s influence, the visual aspect of the edifice is rather classical as a consequence of Jefferson’s influence from St. Peter’s Basilica in Rome ( Jefferson and the Politicss of Architecture n.p ) . The similitude of the Basilica and the rotunda lies in their attack. The manner that leads to the Rotunda goes down towards a shaded transition lined with columns that leads to the chief focal point of the construction. Jefferson substituted the great rock Piazza with the broad natural infinite of the lawn ( Howard and Straus 189 ) . Alternatively of a position of the Italian metropolis of Rome, the university’s visitants are given a natural impressiveness of the Blue Ridge Mountains which can be viewed to the South ( Jefferson and the Politicss of Architecture n.p ) . The university uses classical vocabulary to stand for America as the heir of European architecture manner. The aggregations of manners that are incorporated on the Lawn of the university are symbolic of the New World Order by Jefferson in both an architectural and rational sense ( Jefferson and the Politicss of Architecture n.p ) . In planing the edifice, the European imposts have been revised, borrowed, integrated and so redone in an American manner in footings of stuffs, gustatory sensations and demands ( Howard and Straus 189 ) . The conundrums within the architecture do non halt with the random aggregation of manners but goes beyond. It really extends onto the Lawn’s layout. Jefferson’s version of classical manners incorporates the mixture of architecture of the Italian Villa, together with Doric columns and Corinthian pediments every bit good as Chinese Latticework and Gallic curves ( Jefferson and the Politicss of Architecture n.p ) . He represented them in painte d wood and the ruddy brick of Virginia and eventually put them across the Lawn’s unfastened public infinite in contrast with each other. The Lawn’s physical infinite is therefore transformed into a vision of rational Inquisition and wonder ( Howard and Straus 189 ) . In constructing the university, Jefferson speaks through classical architecture and thoughts. Each of the structure’s marquees is in ocular communicating with the other ( Jefferson and the Politicss of Architecture n.p ) . This consequence presents the bookmans and pupils on the Lawn with a argument from a structural every bit good as ideological position that culminates from the designer every bit good as the architecture. Another point that is portrayed by the cultural influence of the university’s construction is apparent from the Rotunda which is symbolic of power. Unlike the Basilica, Jefferson’s version is a secular cathedral which was built in testimonial to knowledge and power with a new universe order in head. The designs done by Jefferson are bordered on the simple facets of the neoclassic manner as opposed to the elaborate decorations of the cathedral by Bramante or the swerving colonnades by Michelangelo ( Jefferson and the Politicss of Architecture n.p ) . The Rotunda is non symbolic to the ruins of the Roman Empire but instead accentuates the wonder of nature touching to the synchronism adult male and nature that is at manus in the university’s architectural stuff and its pure geometrical design ( Howard and Straus 190 ) . Decision The two constructions of the castle and the university are rather alone and do non associate in several facets. The two edifices are made by different designers, have different period manners and are varied in footings of their historical events as good. However, despite all these major differences, their manners are influenced from the same beginning which is the classical Roman architecture. The differences are marked by the single thoughts and constructs of the designers designs and their intent of intermixing them with the civilization and historical events during their times of building. However, beyond the differences are cardinal elements that are synonymous with the classical Roman architecture such as the classical architectural inside informations like the pilasters, sculptures and wall paintings on the castle and the Rotunda, columns and the temple like designs of the university. Conclusively even though the constructions are variously alone, these noteworthy elements from the classical Roman architecture are declarative of the inspiration behind the edifice of the constructions and how they are able to attest otherwise. Plants Cited Hopkins, George.Making Your Architectural Manner. Pelican Publishing, 2010. Howard, Hugh, and Roger Straus.Thomas Jefferson, Architect: The Built Legacy of Our Third President. New York: Rizzoli International Publications, 2003. Print. â€Å"Jefferson and the Politicss of Architecture† . Virginia. 2015. Available at: & A ; lt ; hypertext transfer protocol: //xroads.virginia.edu/~cap/jeff/jeffarch.html & A ; gt ; Kale, Shelly. â€Å"Overview: What Was the PPIE† . PPIE 100. 2015. Available at: & A ; lt ; hypertext transfer protocol: //www.ppie100.org/history/ & A ; gt ; Maybeck, Bernard R, and Paul Elder.Palace of Fine Arts and Lagoon: Panama-pacific International Exposition, 1915. San Francisco: P. Elder and Co, 1915. Print. Middleton, Robin.The Beaux-Arts: And Nineteenth-Century French Architecture. London: Thames and Hudson, 1982. Print. Klein, Marilyn W, David P. Fogle, and Wolcott B. Etienne.Hints to American Architecture. Washington, District of columbia: Starrhill Press, 1986. Print. Kostof, Spiro.A History of Architecture: Settings and Rituals. New York: Oxford University Press, 1985. Print. â€Å"The Palace of Fine Humanistic disciplines† . Exploratorium. 1998. Available at: & A ; lt ; hypertext transfer protocol: //www.exploratorium.edu/history/palace/index.html & A ; gt ; Yu, James. â€Å"Palace of Fine Humanistic disciplines† . UMD. 2015. Available at: & A ; lt ; hypertext transfer protocol: //digital.lib.umd.edu/worldsfairs/record? pid=umd:1006 & A ; gt ;

Malcolm X the Tragic Hero - 1843 Words

Randi Francis English II Final Paper December 11, 2001 Malcolm X and The Shakespearean Tragic heroes Aristotle defines a tragic hero as good but flawed, must be aristocratic, must be believable, and must behave consistently. -Aristotle. The Muslim leader Malcolm X can be compared to such tragic heroes such as Othello and Hamlet. Malcolms life and his personality have similar traits from both of the famous Shakespearean heroes. In this paper we will look deeper into the life of Malcolm X and find the similarities between him and the tragic heroes, also we will prove that Malcolm X can also be referred to as one of the great tragic heroes. Malcolm X was born Malcolm Little. He grew up in the streets of Boston and†¦show more content†¦To understand the phrase tragic flaw we can take it as Aristotle had stated it The tragic flaw is the most important part of the hero and the events that occur in the work is a reflection of that flaw. Ââ€" Aristotle. So just as in the case of Othello, Malcolms tragic flaw is gullibility. Many people because of their personal magnetism respect both these men. Malcolm is highly respected by many because of his ability to get results and by the way he is able to gain followers with his rhetoric. Othello is revered because of his awesome military genius. Malcolm and Othello both have very high self-confidence, which is shown by the way Malcolm argues beliefs and in the way Othello justifies his marriage to Desdemona. Since both Othello and Malcolm X came from humble and unsophisticated beginnings their judgment was somewhat hindered. In the play Othello Iago one of the main characters sees this in Othello the Moor is of a free and open nature that thinks men honest that but seem to be so. (1:3:55:442-443). Iago knew of Othellos weakness. He also knew Othellos innocence and baseness makes him susceptible to being undermined by people. Othello is clearly a person who believes appearances versus reality. The role of Iago in Othellos life can be compared to the role of Elijah Muhammad in Malcolms life. Malcolm and Othello base their reactions and decisions solely on the advice of the one who ultimately brings about their end. In Othello case he doesnt evenShow MoreRelated Malcolm X and the Shakespearean Tragic Hero Essay example1801 Words   |  8 PagesMalcolm X and the Shakespearean Tragic Hero   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Aristotle defines a tragic hero as â€Å"good but flawed, must be aristocratic, must be believable, and must behave consistently.† The Muslim leader Malcolm X can be compared to such tragic heroes such as Othello and Hamlet. Malcolm’s life and his personality have similar traits from both of the famous Shakespearean heroes. 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