Study "Mythology / Folklore / Science Fiction" Essays 496-499

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Pop Art on Society Term Paper

… There can be no question that popular culture certainly makes an impression on society; but the result of that impact is something that can't easily be measured. However, it can't be disputed that the reach of pop art is wide as its influence can be seen from clothing to interior decorating.

Although it is true that beauty is in the eye of the beholder, many Americans fail to see the beauty or the art in some of the art that claims to be "popular." Only time will tell what the lasting impression will be when two cultures collide, but it is safe to say that both cultures will never be same.

Works Cited

Davidson, Gienapp, Heyman, Lytle, and Stoff. Nation of Nations. New York: McGraw-Hill Publishing Company, 1990. 17 December 2002.

Metrailler, Edouard. High in Saccharine, Low in (Moral) Fiber. The Harvard Salient. 7 October 1996. http://www.digitas.harvard.edu/~salient/issues/961007/mediocrity.html17 December 2002.

Morse, Margaret. Pop Art. Biddingtons. 17 December 2002. http://www.biddingtons.com/content/pedigreepop.html17 December 2002.

Myers, Ken. What Distinguishes "popular" Cultures From Other Varieties of Culture? Modern Reformation. http://www.modernreformation.org/mr97/janteb/mr9/01distinguishes.html17 December 2002.

Paris, Barry. On the Arts: Pop-culture politics: farewell to sex, hello to arms. Post-Gazette. 15 October 2000. http://www.post-gazette.com/magazine/20001015onarts4.asp17 December 2002.

Segal, David. Where's the Return Fire in the Culture Wars? Washington Post. July 2002. http://washingtonpost.com/ac2/wp-dyn/A11268-2002Jul1?language=printer17 December 2002.… [read more]


Russian Composer Piotr IL'yich Tchaikovsky Term Paper

… Because the piece is attempting to demonstrate the characters of Romeo and Juliet, first alone, then together, then after their suffering has matured them, the pitches of the piece also underlines this romantic emphasis. The tonality of the music seems to shift from the heady notes that signify the adolescence of the character, to the more rich, joyous, and complex nature of the romance, then to the wildness of the fight that results in Mercutio's death and Juliet's feigned suicide. The tonality has majesty and completeness even during the most jarring parts of the narrative, however, that indicate its solid location in a Romantic work, as opposed to an atonal modern work. The 'complete' nature of the tonal range to the ear helps create a sense of fantasy, of otherworldly reality. Although the work is in B Minor, and a minor scale is often used to create a sense of unrest in the ear of the audience, there is still a sense of fulfillment in the range in the listener. Thus is ultimately unlike a modern atonal work. The harmonic subtlety of the work builds but always resolves the tension.

The timber or characteristic color or sound of the Overture as a whole is of joy rather than despair. Even the most desperate parts of the piece, which will later reecho in the fight and suicide scenes, have a quality of excitement rather than fear or depression. Although the music may have a stabbing quality to illustrate a death or stabbing or madness, the music never becomes unpleasant, even though the character depicted may be in an unpleasant situation. This is an excellent example of how the music is both narrative -- it does shift and change with the story -- but never becomes so jarring that it leaves the realm of fantasy and enters the world of reality. Although the forceful irregular rhythms of the street music may at times point ahead to Stravinsky and beyond, these rhythms are sufficiently complemented or contrasted with subsequent harmony that the fantastical quality of the narrative is still preserved.

The texture of the work, or the "interweaving, spacing, and contrasting, of instrumental parts," (Grout & Palisca 821), also creates this combined sense of story and fantasy. The music has clear sections that, if the listener is familiar with the tale, can be seen to illustrate the story of Romeo and Juliet into small sections or acts, like in a play. For instance during, during sharp shifts in the composer's slightly reformulated narrative, such as the shift in focus from Friar Laurence at the beginning to the brawling families, the silence is used to illustrate the division. At other times the orchestra is at war with one another, the more harsh instruments contrasting with the more sonorous instruments to create a sense of clash of hate and love. However, even these clashing elements have a pleasant quality, even though they may illustrate unpleasant events, everything still flows as part of an observed story,… [read more]


Children's Literature Can Provide Rich Term Paper

… Wisps of cloud carry the boy through the engineering process without verbal narrative. Wiesner's illustrations drive the story so effectively that words would sully the forward motion of the plot. Likewise, Tuesday is without words, a story told entirely in watercolor. Here the color scheme is grey and green, complemented by an eerie yellow: the frogs leap off the page with their iridescence. The scene in which the police examine the strange lily pads is like a mural: like a Rockwell painting the expression on the detective's face tells a thousand words. Tuesday and Sector 7 are both entirely devoid of words but the plot is ushered by the skillful illustrations of Wiesner. Hurricane is accompanied by a verbal narrative, which turns out to be unnecessary and redundant, especially in light of Tuesday and Sector 7. Also done in watercolors, Wiesner's illustrations are masterful and delightful, done in either dark or light tones depending on the storyline. During the storm, the palate is dark green and brown, but when the boys play with the fallen tree and enter their fantasy world, Wiesner uses muted tones: beige, white, and grey. Lighting accompanies the changes in mood, which do complement the narrative, however unnecessary it may be.

Wiesner's characters develop in tandem with the illustrations in all four of these examples. In Hurricane the boys are full of life and excitement at the coming storm, and when they play on the fallen tree the delight on their faces is evident. But Wiesner's talent in developing his characters through illustrations is more evident in Sector 7 and Tuesday. The boy in Sector 7, who remains nameless, undergoes a visible transformation after his experience with the clouds. Initially part of his school group, the boy is taken on a magical and creative journey and is instrumental in creating alternate cloud forms (much to the chagrin of the cloud engineers). When the boy is returned to his group, he feels confident and satisfied; his experience was unique. When he and the other students peer out of the snowy window of the school bus, the fascination in his eyes does not wane despite his knowledge of the inner workings of the clouds. The frogs in Tuesday undergo a similar transformation between the beginning and end of the story. Their magical flight offers them an experience they have never had; they float and frolic. When their journey comes to an end and they have to return to the pond, some of them are noticeably disgruntled. Wiesner leaves the reader on a joyous note: when pigs fly. But the most noticeable character transformation occurs in Wiesner's The Three Pigs. In his version of the classic tale, the pigs take control of the story and take the cat and the fiddle and a dragon along with them. By transcending the boundaries of an oft-told tale, the pigs send children and adults a message of creativity, confidence, and elation. We can truly believe that…… [read more]


Young Goodman Brown, Nathaniel Hawthorne Term Paper

… But people believed in witchcraft then, so it should be viewed as a realistic fear.

There is not ever given any explanation for Brown's presence in the woods that night except to meet up with others interested in witchcraft. At the opening of the story, Hawthorne writes, "Goodman Brown felt himself justified in making more haste on his present evil purpose." Perhaps he was going to gather evidence of witchcraft, since he expected to return to his wife's bosom, but Hawthorne reveals other emotional thoughts of Brown's to the reader. He leaves that out. It seems just as likely that Brown intended to indulge in the occult just one time to achieve some goal, and then never participate in it again.

A little further in the story, Brown reveals that he has misgivings about the night's purpose. He says,

Friend... having kept covenant by meeting thee here, it is my purpose now to return whence I came. I have scruples, touching the matter thou wot'st of." It seems unlikely that Brown would be opposed to revealing witchcraft, as his reaction for the rest of his life was so strong. Rather it seems that the love of his young wife silenced him from speaking out so that she would not be put to death.

Hawthorne seems to suggest that it was all a dream, but Brown has good reason both to believe otherwise and to react as…… [read more]

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