Overview of Three Interpretations of Samuel Becketts...

Samuel Beckett wrote Waiting for Godot between October 1948 and January 1949. Since its premiere in January of 1953, it has befuddled and confounded critics and audiences alike. Some find it to be a meandering piece of drivel; others believe it to be genius. Much of the strain between the two sides stems from one simple question. What does this play mean? Even within camps where Waiting for Godot is heralded, the lack of clarity and consensus brings about a tension and discussion that has lasted over sixty years. I will look at what I have determined to be the three most predominant interpretations of the play, including anti-Christianity, existentialism, and nihilism. By also examining Beckett’s life and influences, I believe†¦show more content†¦ESTRAGON. From hell? VLADIMIR. Imbecile! From death. ESTRAGON. I thought you said hell. VLADIMIR. From death, from death. ESTRAGON. Well what of it? VLADIMIR. Then the two of them must have been damned. ESTRAGON. And why not? VLADIMIR. But one of the four says that one of the two was saved. ESTRAGON. Well? They dont agree and thats all there is to it. VLADIMIR. But all four were there. And only one speaks of a thief being saved. Why believe him rather than the others? ESTRAGON. Who believes him? VLADIMIR. Everybody. Its the only version they know. ESTRAGON. People are bloody ignorant apes. (Beckett, Act I) Furthermore, Basaninyenzi writes a fairly common claim. He says, â€Å"Godot, as many critics maintain, is a diminutive of God. He is a supremely powerful being, for it is he who holds in his hand the future of mankind – Vladmir and Estragon (Basaninyenzi 70).† Godot is an entity who is ever-present, but is never explicitly there and yet controls the entire movement – or lack thereof – in the show stands directly parallel to God as a spiritual entity. Basaninyenzi believes that based on these two similarities that Waiting for Godot is an inherently anti-Christian text. Ashkan Shobeiri agrees to an extent, but takes his stance a bit further. In his article for the International Journal of Humanities and Social Science, Shobeiri provides a reason as to why Beckett could be so anti-religion, with specialShow MoreRelatedSamuel Becket s Waiting On Godot1861 Words   |  8 Pagesagain, but taken to the extreme. This was known as the postmodern era and writers began to use their works to convey their sense of how strange the world around them was. The works that will be discussed are Samuel Becket’s Waiting on Godot, a play about two friends who wait for the titular Godot over two day with the second questioning the existence of the first. House of Leaves, by Mark Danielewski, is a cult classic about man trying to understand a manuscript about a movie about a family who moves

The Stylistic Analysis of Sherwood Anderson’s Short...

The stylistic analysis of Sherwood Anderson’s short story â€Å"Hands† I would like tell you about the story I have read. It is written by an American novelist and short story writer. It is called â€Å"Hands† and this store is referred to his most enduring work the short story sequence Winesburg, Ohio. â€Å"Hands† is the story of alone man who has almost no connection with the people of Winesburg, although he has lived near the town for twenty years. Many years ago he had quiet unfortunate experience in the communication with this world. The reason of this failing was his hands. The main character has speaking name Wing Biddlebaum (antonomasia), so it underlines the importance of his hands and personifies freedom. What†¦show more content†¦With George, he is confident and talkative, and he is able to express the ideas that he has developed over the lonely years. â€Å"In the presence of George Willard, Wing Biddlebaum, who for twenty years had been the town mystery, lost something of his timidity, and his shadowy personality, submerged in a sea of doubts, came forth to look at the world.† The story opens with a sentence that establishes the setting and the main character: ‘‘Upon the half decayed veranda of a small frame house that stood near the edge of a ravine near the town of Winesburg, Ohio, a fat little old man walked nervously up and down.’’ As he stands alone and looks out over the fields, he sees a wagon full of young people returning home from berry picking. They are laughing and enjoying each other’s company, and one of them yells across to the man, mocking him for his baldness. The author employs a number of stylistic devises that describe the main character’s inner world and appearance. A fat little old man – epithet Yellow mustard weeks - epithet Wing Biddlebaum, forever frightened and beset by a ghostly band of doubts – (metaphor), did not think of himself†¦. now as the old man walked up and down on the veranda, his hands moving nervously about, he was hoping that George Willard would come and spend the evening with him. The author compares the main character’s life with a field – across a long field. In the sentence â€Å"The berry pickers, youth and maidens,

Reflective Practice As A Radiation Therapy - 3358 Words

Introduction I alongside with other radiation therapy students were privileged to hear Carlas’ story from a patient point of view. Her journey through being treated for breast cancer. I could feel a strong sense of conviction in her words. She stayed strong and did not waver when speaking. I was shocked yet amazed at her confidence to tell it so clearly. It was my first time receiving insight from a radiation therapist. This paper will explore the feelings I experienced during and after this time, followed by reflective practice and key characteristics as a health care professional. Reflective practice as a Radiation Therapist Reflective practice is a tool used to evaluate ones opinion, thoughts and emotions. It â€Å"forms the basis of deep learning from past experiences† (Tsingo, 2014). It builds on critical thinking and problem solving. How I may choose use this in my future career as a radiation therapist is a means for debriefing, continued learning and managing my emotions. Ensuring I am mindful of myself. I hope to improve my understanding and obtain new perspectives by doing so. In the past, I have kept reflective journal entries as a mandatory assessment. I have discovered that it extended my understanding of new topics and ideas. I’ve noted reflective tools are a great way to addresses strengths and weaknesses. In short, it encourages active learning and proactivity by analysing a situation. Reflective practice is the ability to recall an incident and write downShow MoreRelatedcare provision and practice1528 Words   |  7 Pagesï » ¿Title of Assignment: Reflective essay Submitted to: Fiona Smith, Care Provision and Practice Presented by: Shannon Hosey Date: 26/3/2015 As a Fetac Level 5 pre-nursing student, I am writing this essay to discuss how the content and practice experience in this module Care Provision and Practice has contributed to my development as a carer/nurse. The assignment will focus on my personal, interpersonal and professional skills that I have gained throughout my experience working asRead MoreReflective Practice in Oncology Nursing3668 Words   |  15 PagesName of Programme: BSc (Hons) Nursing Student Name: Siti Aminah Ariffin Student Number: J9168783 Name of Module Acute Medical Care management Module Code: SDH 3010-N Module leader: Leslie Inayatullah Assignment title Reflective Essay Date of submission 10th September 2010 Word count: 3485 words Nursing as a profession is committed to the care of patients and families throughout health and illness and across all setting of care. Nurses assess and plan care to dealRead MoreMy Personal View Of Nursing Essay1845 Words   |  8 PagesThe metaparadigm of nursing knowledge is a worldview that every nurses use in their practice. It has four central concepts which are all related to each other but have different meanings: Person, Environment, Health and Nursing. 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Baroque and Classical Wordpainting Techniques Essay Example For Students

Baroque and Classical Wordpainting Techniques Essay Renaissance composers were focused on furthering the texts in music, fully developing the lyrics Therefore, the use of word painting, the musical presentation off literal word, phrase, or poetic image, is clearly seen in many pieces. Baroque music, with the institution of the opera being created, was able to fully examine human emotion and the expression of characters. While word painting continued to be used, the use of the aria in operas enabled the audience to witness an outpouring Of emotions through a soloist. The techniques used during the Renaissance era were carried over into the Baroque era and were expanded upon in order to provide for more in depth expression. The madrigal originated in Italy in the 16th century. This type off piece, which was designed for several soloists With the text being a short poem, was the result of an outpouring of Italian poetry during the Renaissance. As a result the madrigal has very poetic images and its musical composition speaks to that same idea. The English madrigals, Thomas Whelks, displays typical characteristics of a madrigal in his work, As Vests Was Descending from The Triumphed of Iranian (1601). This madrigal paints the image of Vests, who is the Roman goddess of the hearth (her flame was protected by the nine Vestal virgins), descending a hill tit her attendants, while Iranian, who is Queen Elizabeth, is climbing the same hill with her young shepherds. The main text tot the song, and its parallel musical composition, depicts the act of Vests attendants deserting her to join the fair Iranian. Whelks makes excellent use of word painting in order to create a piece that is as musically colorful and useful in telling a story as are the lyrics. As Vests Was Descending utilizes six voices, which allows for quite complex harmonies and layers of vocals. The first two lines of the piece contain the overdo descending ND ascending, and the lines are put to descending and ascending scales respectively in order to illustrate the idea that Vests is making her way down the hill While Iranian is climbing the hill. Continuing through the piece, the words running down are portrayed through vocalists quickly descending their voices one after another. Whelks fully utilizes the multitude Of voices in the piece through the next portion. When describing how Vests attendants ran down first two by two, then three by three together, he literally has at first two voices inning, then three singing, then all voices singing together. This provides an audible effect of the building and collecting of bodies ultimately all uniting. The next line, leaving their goddess all alone, is both physically and emotionally represented by a single voice. A soloist sings the overdo all alone which both clearly portrays to the listener the idea of solitude and Vests feeling of abandonment. Lastly, the concluding line of the piece, Long live fair Iranian, contains the longest bass note on the word long in comparison to the Other words of the line. This again is a clear musical representation of a word of the text, a common technique used by Whelks. The last line, in general, is a joyful one, and that is represented through the voices quick and joyful reproduction Of the phrase through their vocals. Whelks is able to produce emotion and ideas simply through his musical composition. When placed alongside with the lyrics of the piece, As Vests Was Descending takes on a fully developed piece of expo erosion. The word painting technique was carried over from the Renaissance period and used quite often in the Baroque. The first opera created, Monteverdi Refer (1607), utilizes techniques in order to musically illustrate human emotion. In the piece Tu Se Mortar this idea can be heard from the very first notes, After being told tot Eurydice death, Orpheus declares his emotions in Tu Se Mortar. The piece begins an organ and a bass lute, the lute representing Orpheus harp, which speak to the songs dark tones. .u3b420e49d917844889ea00a01af3cc9b , .u3b420e49d917844889ea00a01af3cc9b .postImageUrl , .u3b420e49d917844889ea00a01af3cc9b .centered-text-area { min-height: 80px; position: relative; } .u3b420e49d917844889ea00a01af3cc9b , .u3b420e49d917844889ea00a01af3cc9b:hover , .u3b420e49d917844889ea00a01af3cc9b:visited , .u3b420e49d917844889ea00a01af3cc9b:active { border:0!important; } .u3b420e49d917844889ea00a01af3cc9b .clearfix:after { content: ""; display: table; clear: both; } .u3b420e49d917844889ea00a01af3cc9b { 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; } .u3b420e49d917844889ea00a01af3cc9b:active , .u3b420e49d917844889ea00a01af3cc9b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u3b420e49d917844889ea00a01af3cc9b .centered-text-area { width: 100%; position: relative ; } .u3b420e49d917844889ea00a01af3cc9b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u3b420e49d917844889ea00a01af3cc9b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u3b420e49d917844889ea00a01af3cc9b .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; } .u3b420e49d917844889ea00a01af3cc9b:hover .ctaButton { background-color: #34495E!important; } .u3b420e49d917844889ea00a01af3cc9b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u3b420e49d917844889ea00a01af3cc9b .u3b420e49d917844889ea00a01af3cc9b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u3b420e49d917844889ea00a01af3cc9b:after { content: ""; display: block; clear: both; } READ: Paul Cezanne Biography EssayThe singers vocal lines are also fairly free, they have no set beat, meter, or phrase pattern, This, therefore, creates the sense of a monologue or soliloquy, an actors expression of inner emotion. Monteverdi, like other Baroque composers, frequently used word painting, The opening words, You are dead, repeated and culminating in You have left me forevermore, never to return, and remain, are song in a stretched out, long and slow fashion, but as the verse continues, intensity and volume is increased to result in basically an Outburst by the words, De ii rimming, or and remain. The free beat and meter of the vocals allows for the singer to illust rate the emotion Of the text through the speed in Which the words are sung and the intensity of each word. More traditional word painting is used in the sense that there is a low tone on babies or abysses in order to depict the deepness and descending nature of the underworld. Another strategic low note is placed on mortem to symbolize death and depression. Very high tones are used on the words Steele and sole in order to depict the physical and emotional height of the stars and sun. Through the dynamic use of climatic high notes in contrast to somber low ones, Monteverdi is able to fully express the range of emotions Orpheus is experiencing and illustrate the passion and intensity that he is lining. Another opera composer of the period, the English Henry Purcell, makes use of a ground bass in his recitative to set the emotional tone of Didos Lament. The ground bass, which utilizes a descending chromatic scale, is repeated eleven times, This displays the grief and sorrow that Dido is experiencing after abandonment by her lover, Names. Didos Lament, as an aria, displays the immense amount of attention placed on expressing human emotion in the opera. The purpose of the piece is to fully examine the emotion or thought to the point where the idea has been fully exhausted. Through repetition, particularly in the last lines of Remember me! But ah! Forget my fate, and the constant ground bass, Didos lamentation and thought process has been fully examined and expressed in the aria. In the non-secular, sacred world of the Baroque era, J_S. Bach sis prime example of a composer expressing complex ideas and emotions musically. Bachs B Minor Mass contains two contrasting movements Within the Credo, Crucifixes and Et Resurrect. In order to express the immeasurable grief of the crucifixion, Bachs Crucifixes has its foundation in a basso station, a chromatically descending ground bass. This is the same Baroque technique used to symbolize grief as in Parcels piece. Crucifixes also contains four parts, soprano, alto, tenor, and bass, which have changing melodic lines in order to create dynamic, dissonant harmonies. This use of dissonance is a method used to portray sorrow and grief which dates back to the earliest form of sacred music in the Medieval era. While this feeling of sorrow is produced throughout the piece by these numerous techniques, there is a shift from the songs minor key to a major one. This provides an uplifting feeling, a sign of hope, which mimics the emotion and Tory of the actual crucifixion, Chrisms grief and sorrow producing hope for all peoples. Et Resurrect contrasts Crucifixes as uses a chorus as opposed to tour soloists and uses an orchestra as opposed to a small orchestra of strings. The piece expresses the hope and joy that results from the crucifixion through its jubilant, fast tempo, the fact that it is constructed in major, and a rising melodic line on the words, Et resurrect. The methods used in the Renaissance in order to express emotion were also present in the Baroque and veer developed into more complex, prominent musical symbols. The madrigals of the Renaissance were the foundation for word painting, using high and low tones in order to portray physical space and express happy or somber notions. .u2ae86a12f5db69c4ec61f743f984272c , .u2ae86a12f5db69c4ec61f743f984272c .postImageUrl , .u2ae86a12f5db69c4ec61f743f984272c .centered-text-area { min-height: 80px; position: relative; } .u2ae86a12f5db69c4ec61f743f984272c , .u2ae86a12f5db69c4ec61f743f984272c:hover , .u2ae86a12f5db69c4ec61f743f984272c:visited , .u2ae86a12f5db69c4ec61f743f984272c:active { border:0!important; } .u2ae86a12f5db69c4ec61f743f984272c .clearfix:after { content: ""; display: table; clear: both; } .u2ae86a12f5db69c4ec61f743f984272c { 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; } .u2ae86a12f5db69c4ec61f743f984272c:active , .u2ae86a12f5db69c4ec61f743f984272c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u2ae86a12f5db69c4ec61f743f984272c .centered-text-area { width: 100%; position: relative ; } .u2ae86a12f5db69c4ec61f743f984272c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u2ae86a12f5db69c4ec61f743f984272c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u2ae86a12f5db69c4ec61f743f984272c .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; } .u2ae86a12f5db69c4ec61f743f984272c:hover .ctaButton { background-color: #34495E!important; } .u2ae86a12f5db69c4ec61f743f984272c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u2ae86a12f5db69c4ec61f743f984272c .u2ae86a12f5db69c4ec61f743f984272c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u2ae86a12f5db69c4ec61f743f984272c:after { content: ""; display: block; clear: both; } READ: Essay about Face PaintingRapid notes Or ascending and descending scales were commonly used as well. These techniques were also found in the Baroque operas and musical compositions for church services. While Monteverdi and Purcell expanded the idea of word painting into the use of ground basses and constant musical representation Of emotion throughout a piece, Bach also included these same symbolic strings of notes in order to express feelings in his sacred musical impositions. While opera composers recitatives and arias were entire pieces in which their musical composition spoke to the mood and feeling of the emotion or idea at the center of the piece, Bachs cantatas, which were regimented and joyous, also spoke to the jubilant and organized ideas at the center of his German Protestantism. As Italian and English Madrigal composers used these techniques to portray happy love melodies in the Renaissance, composers utilized these same techniques to portray sorrow and grief in operas and a whole range of emotions in sacred pieces in the Baroque,