Analysis Of The Butterfly Effect ( 2004 ) And The Road...

Comparison of The Butterfly Effect (2004) and â€Å"The Road Not Taken† by Robert Frost Intensity developed. Painful cries shouted. Hatred and powerful love provoked. Intuition and spirituality formatted in verbal context. The expression of poetry is one of the many facets that help describe the human experience. The effects of the lingering emotions experienced in life help in the development of ethereal translation for generations as to the ideas and perspectives of the past, as well as what shall come within the future. The concept of self –actualization has been one of the major themes within the modern world. Fictional stories such as The Great Gatsby (1925), or The Alchemist (1988), likewise deal with the concept of†¦show more content†¦Ã¢â‚¬Å"The Road Not Taken† is set within the present, looking towards the future for a better level of achievement beyond the past mistakes and checkpoints experienced. â€Å"The Road Not Taken† is written to evoke the conscious decision to achieve a result because the individual is simply in st agnation. Through its progression, the poem suggests that our power to shape events comes not from choices made in the material world—in an autumn stand of birches—but from the mind’s ability to mold the past into a particular story. (Poetry Foundation) The title of the poem reflects more of the idea, as â€Å"The Road Not Taken† is simply a reference for the brash decision the individual is going to make. Success is expressed here because by being urged to make a choice a person infers from the poem the necessity of making an immediate choice sometimes in life. The individual is really choosing between two odds which are not a way towards anything, but an abruption from the person simply standing still. The Butterfly Effect (2004) sets the protagonist, Evan Treborn in a past-present scenario, in which the format of his decisions are all based on travelling back in time to his past to correct mistakes. While the start of the film shows promise in this id ea, what occurs is disentangling of reality and the destructive effects of the space-time alteration. Evan from the start is not creating a new and immediateShow MoreRelated The Characters in The Matrix Essay3889 Words   |  16 Pagesby the matrix, an extensive simulacral world that, to its unknowing inhabitants, is in every way the same as reality, and to those merely passing through, is a sinister, green-tinted prison. 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Renaissance Time Capsule - 1187 Words

Renaissance Time Capsule Rodney A. Mathis HUM/102 June 2, 2014 Dr. Julie Kares Renaissance Time Capsule As part of my introduction to humanities class, I was required to probe for a concealed time capsule from both the Renaissance and the Baroque ages. Thereafter, I was required to identify at least two examples of art, music, architecture, philosophy, and literature depicted during the periods. By doing so, I expected to identify how these examples reflected world events and cultural blueprints of their periods. The Renaissance refers to the cultural transformations witnessed in Europe between the fourteen-century and the sixteen-century (Cheremeteff, 2000). The transformations originated in Italy before spreading to the other†¦show more content†¦Another piece of art I would expect to unravel in the Renaissance time capsule is The Creation of Man. Michelangelo created the art. The painting was done during the early 16th century (Cheremeteff, 2000). The painting depicts the creation of man by God as portrayed in the book of Genesis. The two pieces of art reflect about the wor ld events and cultural patterns of their time. As such, they had a significant impact on the Christians of the time. To date, the two arts are considered the most imitated religious paintings of all time. With respect to the age of Baroque, I expect to unravel The Inspiration of Saint Mathew and Christ in the House of Mary and Martha. Caravaggio produced The Inspiration of Saint Matthew in the early 17th century (Cheremeteff, 2000). Diego Velà ¡zquez produced the second art during the year 1618. The two arts reflect a lot about the religious and cultural settings of the age of Baroque. For instance, Velà ¡zquez’s art reflects the classic Baroque Christian fusion of Martha and Mary Magdalene. Music Music refers to human activity characterized by prearranged and perceptible sounds. Although, humans had practiced music for thousands of years it should be noted that during the two ages it took a different direction (Friedell, 2008). In my quest to find classical music from the two time capsules, I would expect to unravel musical sheetsShow MoreRelatedTime Capsules from Renaissance and Baroque Periods1172 Words   |  5 PagesFor almost two years, we have been in search of what we believed were time capsules, hidden away between the years of 1400, when the Renaissance period started, and 1750 which marks the end of the Baroque period. We are pleased to announce that our nearly twenty-four year search has ended in the discovery of two such capsules. Each of these capsules contains information, vital to the understanding of past cultures and their origins, and necessary to the development of culture today. In whatRead MoreTime Capsules from the Renaissance and Baroque Time Periods Essay953 Words   |  4 PagesTwo time capsules were found during renovations of the Basilica of San Lorenzo, Florence. One time capsule dates back to the Renaissance time period. Artifacts in this time capsule included a painting of The Birth of Venus, a lute, drawing of the Florence Cathedral’s dome, and a book called The Decameron. The second time capsule had artifacts from the Baroque time period. Artifacts in this time capsule included a painting of The Anatomy Lesson of Dr. Nicolaes Tulp, a stage painting in an operaRead MoreEssay Time Capsule1406 Words   |  6 PagesTIME CAPSULE NAME HUM 102: Intro to the Humanities II DATE Introduction Throughout time the humanities have evolved and proof of this evolution is seen in each of the different concepts that humanities cover. 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Kathleen McGhee

Kathleen McGhee-Anderson: categorical denial Essay Playwright Kathleen McGhee-Anderson actively defies categorization. She has written successfully for theatre, film and television, crossed with ease the line between drama and comedy, and created an unusual literary voice which combines pure theatricality with poetic flourish and cinematic technique. Mothers her latest stage effort, presented last spring at New Jerseys Crossroads Theatre Company under the direction of Shirley Jo Finney confirmed McGhee-Andersons gift for gracefully combining seemingly disparate elements. Enthusiastically received first during readings at Los Angeless Mark Taper Forum, and then at Crossroads 1992 Genesis Festival of New Voices, Mothers became McGhee-Andersons second mainstage production at the New Brunswick theatre in as many seasons. Her first was 1992s Oak and Ivy, a lyrical work which dramatizes the lives and marriage of African-American poets Paul Laurence Dunbar and Alice Ruth Moore. Mothers deals with the parallel stories of Jean, a tough Kentuckian, and Mariko, a Japanese-American, whose lives correspond in crucial ways: each resides in a 1960s Chicago tenement, has been abandoned by an African-American husband, and is dedicated to raising a mixed-race, teenage daughter. The project was commissioned by Bill Cosby and based largely on interviews McGhee-Anderson conducted with two women Cosby met during his travels. The playwright (herself the mother of a 15-year-old son) was also inspired by her own mother. I was raised in a family where there was a mandate to work politically, to raise controversial issues and to fight, McGhee-Anderson says. Both of her parents had been noteworthy civil rights activists; her grandparents, with Thurgood Marshall as their attorney, fought a groundbreaking equal-housing case in the 1940s. I was always expected to continue in that tradition, she adds, and, in my own way, I think I have. Literary rebel   Although dedicated to writing about issues of political and social importance, McGhee-Anderson is also something of a rebel when it comes to literary form. Her work utilizes monologue and poetry, manipulation of time and space, verbal duets and live musical accompaniment, melded into a dense, seamless flow of storytelling. The distinctive style comes from years of study and practice in writing for both stage and screen. When I wrote my first play as an undergraduate at Spelman College, a professor remarked that it was highly cinematic, she recalls. At that time, I didnt even know what that meant, but I had of course been influenced by movies, as was everyone from my generation. After a brief stint as a journalist with the Detroit Free Press, McGhee-Anderson combined her interests in theatre and cinema by earning an M.F.A. in directing at Columbia Universitys Film School, and went on to become a film editor and cinema professor at Howard University. During these years, her writing for the stage grew more and more reliant on cinematic techniques like cross-cutting and parallel story structure. I found the effect of cutting together different images incredibly potent, McGhee-Anderson recalls. Its like alchemy. I dont think in a straight line. Words flow for me in a kind of impressionistic weave. It was only when I threw away all of the structural expectations I had been taught in writing class that I began to find my voice. No matter how resistant people may be to an intellectual argument, she continues, they respond to the emotional experience of theatre. Though I love experimenting with form, its always in an attempt to drive the point home or to work the emotions. In Mothers, McGhee-Anderson deals simultaneously with race issues, sexual politics, single parenthood and multiculturalism. The America depicted in the play is a country in which racism is part of the social fiber, a daily reality for the characters. As the newly Americanized Mariko is told by a fellow Army wife, becoming an American means learning what not to like. .u47e0c5f16d6855d6ef2e7a39e8e826f1 , .u47e0c5f16d6855d6ef2e7a39e8e826f1 .postImageUrl , .u47e0c5f16d6855d6ef2e7a39e8e826f1 .centered-text-area { min-height: 80px; position: relative; } .u47e0c5f16d6855d6ef2e7a39e8e826f1 , .u47e0c5f16d6855d6ef2e7a39e8e826f1:hover , .u47e0c5f16d6855d6ef2e7a39e8e826f1:visited , .u47e0c5f16d6855d6ef2e7a39e8e826f1:active { border:0!important; } .u47e0c5f16d6855d6ef2e7a39e8e826f1 .clearfix:after { content: ""; display: table; clear: both; } .u47e0c5f16d6855d6ef2e7a39e8e826f1 { 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; } .u47e0c5f16d6855d6ef2e7a39e8e826f1:active , .u47e0c5f16d6855d6ef2e7a39e8e826f1:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u47e0c5f16d6855d6ef2e7a39e8e826f1 .centered-text-area { width: 100%; position: relative ; } .u47e0c5f16d6855d6ef2e7a39e8e826f1 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u47e0c5f16d6855d6ef2e7a39e8e826f1 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u47e0c5f16d6855d6ef2e7a39e8e826f1 .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; } .u47e0c5f16d6855d6ef2e7a39e8e826f1:hover .ctaButton { background-color: #34495E!important; } .u47e0c5f16d6855d6ef2e7a39e8e826f1 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u47e0c5f16d6855d6ef2e7a39e8e826f1 .u47e0c5f16d6855d6ef2e7a39e8e826f1-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u47e0c5f16d6855d6ef2e7a39e8e826f1:after { content: ""; display: block; clear: both; } READ: Alexander meets with theatre professionals at forum EssayMy concern is to tell the blunt, terrible truth about the damage done to |others in this country, McGhee-Anderson says, to examine how many feel rejection and hatred and indifference on a daily basis. I would love for my work to stand for itself, she continues, and not be filtered through reactions to the fact that I am black, female, of a certain age or even that Im a light-skinned black person, which, for those theatres mainly wanting a minority to fill some sort of quota, might be interpreted as my not being |black enough.' Another kind of bias she has encountered, McGhee-Anderson explains, is from theatre directors whose vision of her has been tainted because she has made a living writing for series television. Its often difficult to do more than one thing, she says, but Ive always resisted that kind of categorization because Ive been so narrowly and negatively defined by it all my life. My job is to keep tapping into my own vision in whatever way it presents itself to me.