Mobilizing Men Analysis Of The Mens Movement In Canada Essays

Preparing Men: Analysis Of The Men's Movement In Canada With the development of the Women's Movement, a profound cleavage was made in sexual orientation relations, apparently setting ladies in opposition to men in the battle for correspondence and status. An impact of this detachment in circles, was a group of men feeling as though they were being distorted, or left behind during a progressive time of changing sexual orientation relations. A result of this was the origination of men's gatherings around the globe. This paper endeavors to take a gander at the improvement of the men's development in Canada since its rise over 10 years prior, it's roots, and the noteworthiness that it plays in sex relations today, regardless of whether this be as a danger or a commendation to the ladies' development and the advances that have been picked up by methods for their work. The Men's Movement, as opposed to what many accept, is certainly not a homogenous alliance of gatherings in quest for similar objectives. Much like the decent variety found in the Women's Movement, there exists broad assorted variety between the various men's gatherings and associations that name themselves under the Men's Movement 'umbrella'. There are men who name themselves as hostile to chauvinist and ace women's activist, who consider the to be of the development as one neutralizing sexism in the entirety of its structures. There are other men who see a need to recover a portion of the 'power' that men have lost to ladies because of woman's rights. A few men walk in the boulevards and campaign governments to give a voice to issues of abusive behavior at home, assault, and misuse, while others rally for 'men's privileges', asserting that ladies' legitimate spot is in the home. However, there is one normal understanding that joins these men, and the conviction conventional meaning s of manliness do not work anymore, that the models of manliness that the present men have acquired are not, at this point proper, and that they should be tested and redeveloped. There are at any rate five separate men's development's in North America today, including Canada, who act autonomous of one another, and do not have any sort of coordination. In any case, there is the Mythopoetic Men's Movement which follows it courses back to Robert Bly, and Michael Mead, the purported fathers of the men's development. They center fundamentally around men's internal work, enthusiastic recuperation, working through pain issues, and outrage the executives. They are most prominently known for their King and Warrior Theme Weekends, which urge the men to return to nature, where everything started. They are objective, in spite of the fact that you'll discover a great deal of the plan of the non-Marxist left blended in. (Kimmel, 89-91) They are likewise to some degree disparaging of 'customary' male jobs, however for the most part open to the possibility that there exists various jobs for people. They are open minded towards homosexuality, however gay issues are not a foca l core interest. Next is the Feminist Men's Movement, which has it courses from creators, for example, John Stolenberg. These gatherings are significantly more political, and can be related to the more activist finish of women's liberation. A portion of their political activity regions incorporate gay rights, against military, and hostile to assault. They see sexual orientation totally as a social build, contradicting 'conventional' cultural sex jobs, or any sex jobs whatsoever. What's more they consider male to be as the aftereffect of awful preparing or job molding by society. By and large, they consider men to be oppressors, however once in a while consider men to be persecuted by customary sex molding. Because of it's solid hatred to the conventional family this by and large places them contrary to fathers rights gatherings. At last, they keep up exceptionally negative perspective on Christianity and religion by and large. Next are the Fathers Rights gatherings. These gatherings were based principally around issues of single and separated from fathers, their issues with court inclination, and the separation business. As of late, a developing enthusiasm for the social issue of bastard families has additionally risen. They additionally keep up a blend of perspectives on sexual orientation jobs, everything from moderate 'reestablish the man as leader of the family' thoughts, to folks who need to break down the family unit and annul all sex jobs in the public arena. They tend towards against woman's rights, yet not consistently nor halfway so and have no specific perspective on religion or homosexuality. Men's Rights bunches are another sort. They

Oedipus the King

The antiquated Greek rationalist Aristotle once recognized the key elements of the disasters that his way of life is so renowned for. These fixings incorporate a character with a lethal blemish, the acknowledgment of the deficiency for a specific issue and the last unexpected inversion of fortune. For some disasters, the deadly imperfection is shown as unreasonable pride, which generally fills in as the main impetus of the play’s activity. It is normal, even advantageous, to have pride in oneself, however when it gets communicated as self-importance or in resistance of one’s destiny, it is viewed as exorbitant and regularly drives men to take part in exercises that will prompt their destruction. Aristotle (1998) expressed â€Å"the heartbreaking saint falls into terrible luck on account of some imperfection in his character of the sort found in men of high notoriety and favorable luck, for example, Oedipus. † This mentality, generally found in men of high station isn't explicitly recognized as pride on account of Oedipus and, without a doubt, various readings can put Oedipus’ incredible imperfection in various regions. It appears as though Sophocles proposed to underline the more typical translation of Oedipus’ imperfection being unreasonable pride, however different understandings, for example, Pier Paolo Pasolini’s 1967 film Oedipus Rex, present different prospects as the fundamental character is brought through the three essential components of disaster. In both the play and the film, Oedipus is immediately exhibited to have a lethal defect. In the play, the activity opens as Oedipus is drawn nearer by plague-stricken masses asking help from him as lord. He reacts to their interests saying, â€Å"What implies this smell of incense all over the place,/From others, and am here come, myself,/I Oedipus, your widely acclaimed king† (4-8). In this announcement, Oedipus’ pride in his social position is clear. In the film, however, he is viewed as to some degree shaky, even as a kid when he cheats at a game, and afterward as a spooky man with a consuming riddle singing his fantasies, both demonstrating him to take care of business of profound interests. All through the rest of the activity in the play, Oedipus’ character unmistakably reflects over the top pride in his capacity to constrain things his way. At the point when Oedipus scholarly of the forecast that he was bound to slaughter his dad and wed his mom, he was brimming with self-pride to resist the destinies and leave Corinth. The film delineates this as a tragic choice to never go close to his folks again so as to spare them followed by a period of urgent meandering through fruitless badlands. While the two forms demonstrate extraordinary energy engaged with the slaughtering of Laius and the guaranteeing of Jocasta, the Oedipus in the play welcomes his subjects with nearly covered contempt and the Oedipus of the film welcomes them with distress and profoundly shared concern. While Sophocles sets his character up to fight pride, Pasolini sets him up to encounter the results of enthusiasm. It is anything but difficult to see the incongruity in both play and film that if Oedipus had not been so resolved to get away and forestall the prediction, he would have not accidentally satisfied it. This is foreshadowed by Creon in the play not long before reality of the story is figured it out. Creon tells Oedipus, â€Å"You are obstinateâ€/clearly miserable to yield,/and when you lose your temper, you go excessively far. Yet, men like that think that its most troublesome/to endure themselves† (814-819). In this one short explanation, Jocasta’s sibling summarizes the whole disaster. He focuses to Oedipus’ willfulness and pride in being reluctant to think about how conceivable it is that he may be the killer he looks for. Because of his own eagerness and driving want to carry respect and further pride to his name, Oedipus gets extreme in his an nouncements in regards to thought processes and disciplines to be passed on and afterward out of nowhere understands that he can't get away from the frightfulness of his violations. This repulsiveness is shown in the film to incredible impact as the befuddled Oedipus gradually becomes overpowered with the potential outcomes, at long last shouting out his admission in a now-standard eruption of enthusiasm. Before the finish of the story, Oedipus has come to understand that all that he has done has just served to carry him closer to his detestable predetermination. During the time spent attempting to stay away from destiny, he has submitted probably the best sins believable to him †polluted his mother’s bed, killed his dad and generated enormous kids conceived of inbreeding. Instead of face reality and unfit to take the extreme injury to his pride, Oedipus cut out his eyes with proposes and left Thebes always, in this manner fixing his fate through further prideful activities. The unexpected inversion of fortune has Oedipus leaving Thebes a visually impaired, destitute poor person as opposed to the regarded lord he ought to have been founded on his progressively honorable characteristics. While this is an astonishment, it is all things considered an intelligent conceivable end to the occasions that have occurred. This idea is brought out to more prominent degree in the film through the adjustment in setting. Pasolini starts and parts of the bargains a contemporary setting to when the film was made. While the play proposes that Oedipus went meandering into the desert a self-blinded poor person man, the film shows that he has been meandering a tormented individual for any longer than an ordinary life expectancy. In this way, the components of great catastrophe are conveyed all through both play and film to marginally various understandings. In both, a lethal imperfection inside the character of Oedipus drives his activities that in the end seal his own fate. Seen for what it's worth all through the different components of the great tragedian configuration of first exhibiting a respectable trademark to awful extents, at that point getting mindful of it and afterward enduring because of it, it can't be missed that Sophocles was attempting to represent to his crowd the threats of a nonattendance of quietude and sound judgment when he featured Oedipus’ extreme pride. Pasolini appears to have been increasingly keen on notice his crowds about the transgressions of unreasonable enthusiasm. This is, in some sense, what Aristotle was attempting to impart in regards to the reason for catastrophe, which he portrays as â€Å"an impersonation of an activity that is not kidding, total, and of a specific extent; in language decorated with every sort of imaginative trimming, the few sorts being found in isolated pieces of the play †¦ through pity and dread affecting the correct purgation of these emotions† (Aristotle refered to in Friedlander, 2005). By showing the different things that can turn out badly when one accepts they have no imperfections, Sophocles and Pasolini would have liked to energize a closer association with truth as a methods for staying away from Oedipus’ destiny. Works Cited â€Å"Aristotle. † Critica Links. (1998). The University of Hawaii. May 21, 2007 Pasolini, Pier Paolo (Dir. ). Edipo Re. Perf. Silvana Mangano, Franco Citti, Carmelo Bene, Julian Beck and Ninetto Davoli. Arco Films, 1967. Sophocles. Antigone, Oedipus the King, Electra. Oxford World’s Classics. Ed. Edith Hall. Oxford University Press, 1998.

What Are the Big 5 Personality Traits

What Are the Big 5 Personality Traits Theories Personality Psychology Print The Big Five Personality Traits By Kendra Cherry facebook twitter Kendra Cherry, MS, is an author, educational consultant, and speaker focused on helping students learn about psychology. Learn about our editorial policy Kendra Cherry Medically reviewed by Medically reviewed by Steven Gans, MD on May 11, 2017 Steven Gans, MD is board-certified in psychiatry and is an active supervisor, teacher, and mentor at Massachusetts General Hospital. Learn about our Medical Review Board Steven Gans, MD Updated on October 14, 2019 More in Theories Personality Psychology Myers-Briggs Type Indicator Behavioral Psychology Cognitive Psychology Developmental Psychology Social Psychology Biological Psychology Psychosocial Psychology In This Article Table of Contents Expand Overview Openness Conscientiousness Extraversion Agreeableness Neuroticism Universality Influential Factors View All Back To Top Many contemporary personality psychologists believe that there are five basic dimensions of personality, often referred to as the  Big 5 personality traits. The five broad personality traits described by the theory are extraversion (also often spelled extroversion), agreeableness, openness, conscientiousness, and neuroticism. Trait theories of personality have long attempted to pin down exactly how many personality traits exist. Earlier theories have suggested a various number of possible traits, including  Gordon Allports  list of 4,000  personality traits,  Raymond Cattells 16 personality factors, and Hans Eysencks three-factor theory. However, many researchers felt that Cattells theory was too complicated and Eysencks was too limited in scope. As a result, the five-factor theory emerged to describe the essential traits that serve as the building blocks of personality. Verywell / Joshua Seong What Are the Big Five Dimensions of Personality? Today, many researchers believe that they are five core personality traits.?? Evidence of this theory has been growing for many years, beginning with the research of D. W. Fiske (1949) and later expanded upon by other researchers including Norman (1967), Smith (1967), Goldberg (1981), and McCrae Costa (1987). The big five are broad categories of personality traits. While there is a significant body of literature supporting this five-factor model of personality, researchers dont always agree on the exact labels for each dimension. You might find it helpful to use the acronym OCEAN (openness, conscientiousness, extraversion, agreeableness, and neuroticism) when trying to remember the big five traits. CANOE (for conscientiousness, agreeableness, neuroticism, openness, and extraversion) is another commonly used acronym. It is important to note that each of the five personality factors represents a range between two extremes. For example, extraversion represents a continuum between extreme extraversion and extreme  introversion. In the real world, most people lie somewhere in between the two polar ends of each dimension. These five categories are usually described as follows. Openness This trait features characteristics such as imagination and insight.?? People who are high in this trait also tend to have a broad range of interests. They are curious about the world and other people and eager to learn new things and enjoy new experiences. People who are high in this trait tend to be more adventurous and  creative. People low in this trait are often much more traditional and may struggle with abstract thinking. High Very creative Open to trying new things Focused on tackling new challenges Happy to think about abstract concepts Low Dislikes change Does not enjoy new things Resists new ideas Not very imaginative Dislikes abstract or theoretical concepts Conscientiousness Standard features of this dimension include high levels of thoughtfulness, good impulse control, and goal-directed behaviors.?? Highly  conscientious people tend to be organized and mindful of details. They plan ahead, think about how their behavior affects others, and are mindful of deadlines. High Spends time preparing Finishes important tasks right away Pays attention to detail Enjoys having a set schedule Low Dislikes structure and schedules Makes messes and doesnt take care of things Fails to return things or put them back where they belong Procrastinates  important tasks Fails to complete necessary or assigned tasks Extraversion Extraversion (or extroversion)  is characterized by excitability, sociability, talkativeness, assertiveness, and high amounts of emotional expressiveness.?? People who are high in extraversion are outgoing and tend to gain energy in social situations. Being around other people helps them feel energized and excited. People who are low in extraversion (or introverted) tend to be more reserved and have less energy to expend in social settings. Social events can feel draining and introverts often require a period of solitude and quiet in order to recharge. High Enjoys being the center of attention Likes to start conversations Enjoys meeting new people Has a wide social circle of friends and acquaintances Finds it easy to make new friends Feels energized when around other people Say things before thinking about them Low Prefers solitude Feels exhausted when having to socialize a lot Finds it difficult to start conversations Dislikes making small talk Carefully thinks things through before speaking Dislikes being the center of attention How Extroversion in Personality Influences Behavior Agreeableness This personality dimension includes attributes such as trust,  altruism, kindness, affection, and other  prosocial behaviors.?? People who are high in agreeableness tend to be more cooperative while those low in this trait tend to be more competitive and sometimes even manipulative. High Has a great deal of interest in other people Cares about others Feels empathy and concern for other people Enjoys helping and contributing to the happiness of other people Assists others who are in need of help Low Takes little interest in others Doesnt care about how other people feel Has little interest in other peoples problems Insults and belittles others Manipulates others to get what they want Neuroticism Neuroticism is a trait characterized by sadness, moodiness, and emotional instability.?? Individuals who are high in this trait tend to experience mood swings, anxiety, irritability, and sadness. Those low in this trait tend to be more stable and emotionally resilient. High Experiences a lot of stress Worries about many different things Gets upset easily Experiences dramatic shifts in mood Feels anxious Struggles to bounce back after stressful events Low Emotionally stable Deals well with stress Rarely feels sad or depressed Doesnt worry much Is very relaxed Are the Big Five Traits Universal? McCrae and his colleagues have also found that the big five traits are also remarkably universal. One study that looked at people from more than 50 different cultures found that the five dimensions could be accurately used to describe personality. Based on this research, many psychologists now believe that the five personality dimensions are not only universal; they also have biological origins. Psychologist David Buss has proposed that an evolutionary explanation for these five core personality traits, suggesting that these personality traits represent the most important qualities that shape our social landscape. What Factors Influence the Big Five Traits? Research suggests that both biological and environmental influences play a role in shaping our personalities. Twin studies suggest that both nature and nurture play a role in the development of each of the five personality factors.?? One study of the genetic and environmental underpinnings of the five traits looked at 123 pairs of identical twins and 127 pairs of fraternal twins. The findings suggested that the heritability of each trait was 53 percent for extraversion, 41 percent for agreeableness, 44 percent for conscientiousness, 41 percent for neuroticism, and 61 for openness.   Longitudinal studies also suggest that these big five personality traits tend to be relatively stable over the course of adulthood. One study of working-age adults found that personality tended to be stable over a four-year period and displayed little change as a result of adverse life events. Studies have shown that maturation may have an impact on the five traits. As people age, they tend to become less extraverted, less neurotic, and less open to the experience. Agreeableness and conscientiousness, on the other hand, tend to increase as people grow older. A Word From Verywell Always remember that behavior involves an interaction between a persons underlying personality and situational variables. The situation that a person finds himself or herself plays a major role in how the person reacts. However, in most cases, people offer responses that are consistent with their underlying personality traits. These dimensions represent broad areas of personality. Research has demonstrated that these groupings of characteristics tend to occur together in many people. For example, individuals who are sociable tend to be talkative. However, these traits do not always occur together.  Personality  is complex and varied and each person may display behaviors across several of these dimensions.

An Indepth Look at Warfare in Medieval Japan in Joseph...

Joseph Conlans â€Å"State of War; The Violent Order of Fourteenth Century Japan† is an depth look at Japans emerging warrior class during a time period of constant warfare in Medieval Japan. His work however doesn’t revolve around the re-fabrication and in-depth analysis of battles sieged like many contemporary examinations of wars and battles won and lost. Instead the author vies to navigate the reader on journey into the warrior class’s lives and how they evolved through a statistical analysis of records. This illustrates how warfare changed and transformed with the constant evolving of the Samurai, but it also includes how their actions affected their Political environment as well as the society in which they dwelled from the bottom up.†¦show more content†¦In the introduction, Conlan states; â€Å"War represents a process that encompasses all. Rather than merely hastening change on a static state and society, war creates its own particular and p eculiar order.† Nothing could be truer when looking at fourteenth century Japan. War for the Political figures represented an opportunity to further their control and power over society and the archepelego. For those in political office, such as the Taisho and Shugo it was an opportunity to increase or further their political and social economic benefits from their appointed positions. For the middle class such as the Tozama (and their followers the Miuchi), Gokenin, Myoshu and Hyakusho, who often had priority’s not only of Monetary gain but more in the ability to have the rights to their current land holdings confirmed and the opportunity to possibly expand their wealth through the acquisition of property from those of defeated enemies. Under whos command these warriors would fight to acquire such means was often of little significance to them, so as long as they were granted their lands as promised. Those leaders unwilling or unable to honor such agreements often found their forces diminishing, as family and clan overseer would often strike a new deal with the opposing forces leaders. Loyalty or â€Å"Chusetsu† as it was called was a hard thing to find when everyone was trying to survive or get ahead. In fact desertion for another’s army was so common that the word treason

Exploring Their Rights And Encountering Change Women Of...

Exploring Their Rights and Encountering Change: Women of the 1920s Today, women have the same rights as men, but it wasn’t always that way. Women had very little rights in the 1920s. In this paper, we will look into the struggles of women, how their jobs changed from when they gained their rights, and finally we will go over some famous activists. The campaign for women’s suffrage began in the earnest in the decades before the Civil War. During the 19th century, as male suffrage was slowly extended in many countries, women became increasingly active in the search for their own suffrage. In 1848, a group of abolitionists activists- mostly women, but some men- gathered in Seneca Falls, New York to discuss the problem of women’s rights. With†¦show more content†¦Some historians believe that the war was a key element in the granting of the franchise to women over the age of 30 years who held property in 1918. However, gratitude for women s war work cannot explain why only women over the age of 30 got the vote while it was the younger women who had done the work. Early 1919, the House of Representatives passed the 19th amendment by a vote of 304 to 90, and the Senate approved it 56 to 25. On August 26, 1920, the 19th Amendment to the Constitution was ratified, enfranchising all American women and declaring f or the first time that they deserve all the rights and responsibilities of citizenship. Anti- suffrage legislators fled the state to avoid a quorum and their associations held massive anti-suffrage rallies and attempted to convince pro-suffrage legislators to oppose it. For example, Maryland did not ratify the amendment until 1941 and transmit the ratification on the document to the State Department until 1958. Illinois, Wisconsin, and Michigan were the first states to ratify it. In 1919, one year before women gained the right to vote with the adoption of the 19th amendment, the NAWSA reorganized into the League of Women Voters. Starting in 1920, some states in the West began to extend the vote to women for the first time in almost 20 years. It was not until 1928

Antigone’s Purpose Free Essays

Brooks Fridey Antigone’s Purpose In the story of Antigone, originally written by Sophocles, explains the story, of a woman who stands up for her own beliefs against the king. At the time of Sophocles, women had little power and authority. They were expected to listen to their husband, king, or any man that speaks to or asks a woman of something. We will write a custom essay sample on Antigone’s Purpose or any similar topic only for you Order Now The story starts up where the story of Oedipus ends, in his death. Trouble and war are about to begin in Thebes, so Antigone travels there to try and stop what may become of her family and country.From my observations, this story can be analyzed in multiple ways, whether it is about the struggles of women, defying the higher power, or responding to the will of the gods. It is said that the royal family of Thebes is cursed to endure suffering, pain, death and loss. Antigone is aware of her family’s fate, but is ready to change her possible destiny for herself and her family. In Thebes, the members of the royal family are either killing themselves or are being murdered. Antigone is torn by this and decides she must go to Thebes to fix this.She got word that her brothers, Polyneices and Eteocles, were going to fight each other until one was dead. She tried to be there before any fight happened, but was too late, and found out from her sister, that bother brothers were killed during the fight. The king ordered that Eteocles deserved a proper burial, but Polyneices was to not be touched and would not get a burial underground. Antigone asked her sister, Ismene, to help her bury their brother properly, but she refused. It was ordered that anyone who touches the body will be arrested and shall be punished by death.Ismene told Antigone that she cannot bring herself to do it. She feels that her family’s consistently terrible luck and the fact that she’s a woman are quite inhibiting. Antigone was ready to stand up for the women who would not defy men’s authority. She was fine with doing what she needed to herself. Ismene, who is trapped under the influence and power of man, tries to beg Antigone she will be making a mistake and will suffer great consequences. Stating, â€Å"It is a losing battle, fighting Man† (Sophocles). It is obvious throughout the story, that nothing will prevent or slow Antigone from what she is going to do.Not man, nor power, or laws is enough to change her mind. Creon’s reasoning as to why Eteocles gets a burial service and Polyneices is to be left out for the birds, is to him, justified that Eteocles died honorably defending the city, while Polyneices was just a dishonorable exile. This was no real justification to Antigone, and she was going to take matters into her own hands, defying the king. It was soon discovered that Polyneices’ body had been ritually prepared for a burial, so the messenger relayed the news to the king. He ordered that the messenger find who is responsible for this or he will die if he fails.As what seemed, intended the sentry soon found Antigone trying to bury her brother. She was arrested, and taken to Creon. Antigone does not deny her crime, she tells Creon her actions were for justice and obedience to the gods. With all of Antigone’s stubbornness, she continues to still disrespect the king even after she has been caught. She will not give in to the king, disagreeing with any justification he promotes. Creon attempts to shame her for her actions, but this has no real effect on her due to a large amount of pride dignity she has left for herself.Creon feels it is particularly important not to be beaten by a person of the female persuasion. The battle of opposite effect continues with Antigone and Ismene, as she is brought into question as well from a hunch the king has that Ismene is also involved in this crime. She immediately pleads guilty to the accusations, saying she aided in the burial of Polyneices. Antigone is enraged that she would plead guilty to something she had not done, but Ismene confronts the fact she will not be able to go on without Antigone alive.It is expressed throughout the story, the importance of obeying the gods. To Antigone, it is not necessary that someone should obey their leader at all times. She believes what Creon declared to happen to her brothers was unfair and that the gods were telling her she needed to bury her brother. Antigone was unapproved to the treatment of women in these times, and that the king must be obeyed in all causes. She believed the gods were the true powers, and bad things would come upon you if you did not cooperate with their requests.When Haemon comes into the story, acknowledged as Antigone’s fiancee, who is the son of Creon, makes it clear why Antigone was even still alive. Although Creon was cruel and often harsh, there was still something or someone holding him back from simply killing her. Haemon told his father it would be wrong to kill Antigone and would bring great mourning to the people of Thebes following her death. He wants Creon to be open to others views, but Creon responds by calling Haemon a woman’s slave for backing up a woman and not his own father. A blind prophet advises Creon that he should properly bury Polyneices and release Antigone. He says if he does not he will greatly anger the gods, and might create his own misfortune for his disobedience. Possibly leading to his own death. As Creon ponders his possibilities and future, he finally decides to release Antigone and bury Polyneices. As he thought he was then making the right decision, he would soon find out what his choice will cause. Antigone knew she didn’t want to keep living in this world of mistreatment and cruelty, and was willing to end her life.Creon did not think she would actually go through anything like suicide, but upon her release, she quickly hung herself and gave herself to the gods. Haemon found out what happened, and enraged, attacked his father, and missed leading to Haemon striking himself with the sword and killing himself. As if the story for Creon could be any more devastating, instantly regretting his choice, is told by a messenger that his wife enrages by Creon’s actions, as well, and killed herself. Creon is left with nothing and no one close to him in his life, and wonders what to do now.This is a story that depicts the power of anyone, especially women. With enough determination and manipulation, anything is possible. Antigone was dealt with an accumulation of anger towards her genders rights, the abuse of power, and being righteous enough to still follow her gods. She is seen as one of the first feminists in this time, and although may have gone to an extreme to defend her honor, clearly made a point to Creon, leaving him with nothing, what neglect of someone’s abilities are and abusing one’s power can do. How to cite Antigone’s Purpose, Papers

Three Birds Alighting on a Field Essay Example For Students

Three Birds Alighting on a Field Essay Theres a character in The Grace of Mary Traverse, the 1985 play that helped bring Timberlake Wertenbaker to the public eye, who neatly prefigures the themes that repeat and recur in varying forms throughout the playwrights later works. The characters name is Mrs. Temptwell, and she gleefully, maliciously and single-mindedly leads young Mary through a dark world of despair and corruption in 18th-century London, where sex and gerous. Marys journey costs her her innocence, but she gains in turn a redemption that can only be born out of suffering. Virtually all of Wertenbakers central characters undergo a similar journey and, like Mary, they dont merely lose their innocence; more often than not, its forcibly wrenched from them. But no matter how much they sufferand they do sufferpain brings self-knowledge, which can in turn bring transcendence. Mary determines to forgive history and love the world; in The Love of the Nightingale (1988), Wertenbakers retelling of a Greek myth, Philomelwho has been lied to, raped and had her tongue cut by her sisters husbandliterally gains a new voice; the abused convicts of Our Countrys Good (1988) discover the worth of their own dignity while rehearsing a play in an 18th-century Australian penal colony. Outline1 A chorus of voices  2 Gospel of uncertainty  3 Who are we? No answer.   A chorus of voices   We will write a custom essay on Three Birds Alighting on a Field specifically for you for only $16.38 $13.9/page Order now Her 1991 play Three Birds Alighting on a Fieldnow having its American premiere at the Manhattan Theatre Club, where it runs through March 27 with its original director and star, Max Stafford-Clark and Harriet Walter, imported from Londonunfolds in a contemporary London that has been shaken by the late 80s collapse of both the art market and Eastern Europe. Like Our Countrys Good, Three Birds does not have one central character but a chorusall of whom have legitimate points of view, and all of whom are allowed to have their sayof which two or three inevitably stand out. Both plays were originally directed by Stafford-Clark, and developed through the method he helped pioneer with the revolutionary British theatre company Joint Stock. Intent on breaking down barriers between writer, director and actor, Stafford-Clark (with William Gaskill and David Hare) devised a system wherein the actual writing of a play follows a research and workshop period in which all artistic collaborators participate. In the simplest terms, Three Birds observes the foibles and frailties of three characters: Biddy (Walter), an upperclass woman who becomes an art collector to please her husband, and in the process discovers the value of art and her own identity; her husband Yoyo (Zach Grenier), a social-climbing Greek millionaire who romanticizes the fictional England of Austen and Thackeray; and Stephen (Jay O. Sanders), an artist who, years earlier, had fallen out of fashion, and is resentful of the contemporary art markets desperate attempts to woo him back. Surrounding these three are a wide range of characters from the worlds of art (painters, critics, dealers, buyers and sellers), British high society, and politics (most evocatively, a Romanian who crashes into an art gallery and the play, bringing with him some of Wertenbakers most impassioned writing). The play is discursive, and thats both a strength and a weakness, Stafford-Clark says; and indeed, Three Birds leaps about, with nearly as many themes as characters, and styles as themes. Gospel of uncertainty   The one figure whose journey most closely follows Wertenbakers model of self-knowledge leading to transcendence is Biddy, and Harriet Walter carries her from denial to awareness, from an inability to see to something approaching wisdom, in a delicately balanced, high-comedy performance. Missing from this play, however, is the pain that so characterizes Wertenbakers earlier writing; Three Birds is the least angry of her major plays. Even Stephen (played by Sanders, a hulking giant, as an unstoppable force of nature) ceases railing and begins to relish a gospel of uncertainty. .u3cc323d577508fc1998f00520664965c , .u3cc323d577508fc1998f00520664965c .postImageUrl , .u3cc323d577508fc1998f00520664965c .centered-text-area { min-height: 80px; position: relative; } .u3cc323d577508fc1998f00520664965c , .u3cc323d577508fc1998f00520664965c:hover , .u3cc323d577508fc1998f00520664965c:visited , .u3cc323d577508fc1998f00520664965c:active { border:0!important; } .u3cc323d577508fc1998f00520664965c .clearfix:after { content: ""; display: table; clear: both; } .u3cc323d577508fc1998f00520664965c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u3cc323d577508fc1998f00520664965c:active , .u3cc323d577508fc1998f00520664965c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u3cc323d577508fc1998f00520664965c .centered-text-area { width: 100%; position: relative ; } .u3cc323d577508fc1998f00520664965c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u3cc323d577508fc1998f00520664965c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u3cc323d577508fc1998f00520664965c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u3cc323d577508fc1998f00520664965c:hover .ctaButton { background-color: #34495E!important; } .u3cc323d577508fc1998f00520664965c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u3cc323d577508fc1998f00520664965c .u3cc323d577508fc1998f00520664965c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u3cc323d577508fc1998f00520664965c:after { content: ""; display: block; clear: both; } READ: Painting the stage EssayAt its best, it is an unsettling as well as unsettled play: The plot comes together in a tidy resolution, but the characters themselves are left without answers. If Three Birds can be maddeningthere are so many central characters that the one we care most about, Biddy, gets lost for frustratingly long periods of timeits the plays seeming digressions, particularly its debate about political responsibility, that ultimately best serve Wertenbakers wide-ranging arguments. And although the art world setting provides the plays easiest targets as well as its satirical punchfrom the opening scene, when an authentically white painting entitled No Illusion is auctioned for more than one million pounds, Wertenbaker skewers the commercialization and pretensions of artit also drives the plays overriding emphasis on the necessity of individual judgment, interpretation and discrimination. Stafford-Clark is quick to point out that the danger of the play is that the laughs about the pretensions of art are very easy for the audience to pick up, and yet the plays not simply about that; its also about the value and worth of art, and that has to be made clear, too, or it will be too bland and reassuring. Who are we? No answer.   Where Wertenbaker most refuses to be reassuring is in the question of identity that is carefully drawn throughout the play, yet ultimately remains elusive. In the course of Yoyos climb into high society, a member of an exclusive club begins to ask his opinion about European politics. You cant ask him, Philip, hes one of us now, another member interrupts, to which Sir Philip replies, Yes, but who are we? Wertenbaker never answers Sir Philips query, which hangs in the air and over the play, and Three Birds ends with all its characters in as much a state of flux as they began. The importance of the question, however, is there in Greniers remarkable performance as Yoyo, a man who is terrified by his own absence of an interior life, who is a bully in private but withdrawn and stiff-necked in public; and, most of all, its there in the insecurities and enthusiasms that flicker across Walters face. As in all of Werten-bakers plays, it isnt the resolution that matters but the journey.