The Imagery of Othello Essay -- Othello essays

The Imagery of Othello Talks  Ã‚        Ã‚  Ã‚   In the tragedy Othello the Bard of Avon uses imagery to talk between the lines, to set moods, to create a more dramatic impact on the mind of the audience, and for other reasons. Let’s consider imagery in this essay.    A surprising, zoo-like variety of animal injury occur throughout the play. Kenneth Muir, in the Introduction to William Shakespeare: Othello,   explains the conversion of Othello through his increased use of animal imagery:    Those who have written on the imagery of the play have shown how the hold Iago has over Othello is illustrated by the language Shakespeare puts into their mouths. Both characters use a great deal of animal imagery, and it is interesting to note its distribution. Iago’s occurs mostly in the first three Acts of the play: he mentions, for example, ass, daws, flies, ram, jennet, guinea-hen, baboon, wild-cat, snipe, goats, monkeys, monster and wolves. Othello, on the other hand, who makes no use of animal imagery in the first two Acts of the play, catches the trick from Iago in Acts III and IV. The fondness of both characters for mentioning repulsive animals and insects is one way by which Shakespeare shows the corruption of the Moor’s mind by his subordinate. (21-22)    Just how strong a force is the imagery in this drama? Is it more powerful than the chorus in ancient Greek tragedy? H. S. Wilson in his book of literary criticism, On the Design of Shakespearean Tragedy, discusses the influence of the imagery of the play:    It has indeed been suggested that the logic of events in the play and of Othello’s relation to them implies Othello’s damnation, and that the implication is pressed home with particular power in the imagery.... ...enhaven Press, 1996. Reprint from Shakespeare: The Pattern in His Carpet. N.p.: n.p., 1970.    Heilman, Robert B. â€Å"Wit and Witchcraft: an Approach to Othello.† Shakespeare: Modern Essays in Criticism. Ed. Leonard F. Dean. Rev. Ed. Rpt. from The Sewanee Review, LXIV, 1 (Winter 1956), 1-4, 8-10; and Arizona Quarterly (Spring 1956), pp.5-16.    Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.    Muir, Kenneth. Introduction. William Shakespeare: Othello. New York: Penguin Books, 1968.    Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.    Wilson, H. S. On the Design of Shakespearean Tragedy. Canada: University of Toronto Press, 1957.      

Birth of a Nation: Art or Propaganda Essay

Mankind, engaging in war, driven by whatever instincts guide him, seeks to keep the defeats and victories of battle in his memory and on his conscience. To accomplish this men have used paint and canvas, ink and paper, or instrument and song in their effort to communicate the tragedy and glory of war. Never, before the career of D. W. Griffith had anyone attempted to bring the subject to film. The result of his efforts, weaknesses aside, mark a change in attitude towards film as a media. Perhaps audiences previously going to a picture expected emotional manipulation. After all, years before the film Birth of a nation, makers of film employed techniques to evoke pathos from viewers; whether through the use of a sobbing mother, a frightened child or what have you. In this respect the film was not a ground-breaker; However, through its effective use of devices such as symbolism, foreshadowing and allusions, as well as building on and arguably perfecting film techniques such as continuity editing, intercutting and close-ups, he transformed film from mere entertainment to art and propaganda. To present and explore a theme, symbolism is used everywhere in literature. Whether the image is subtle or obvious it is regardless a sign of considerable calculation and effort. In Birth of a nation Griffith places symbols everywhere, in doing this he merges literary devices of written works with his own visual works. For instance, the parched corn symbol in the scene where the southern army is eating symbolizes their desperation in the face of defeat. This imagery proves that Griffith wasn’t just presenting actors and a plot, he intended to dig far deeper than that, into the realm of a clever storyteller. Another example of his unique style is the use of foreshadowing, another literary device now commonly employed in film. The most prominent example of this is the scene where two gentlemen are talking, and as the camera pans down, we see a puppy struggling with a kitten. This is another strong example of symbolism; however, even more importantly it foreshadows the coming war. It is expertly placed to add to the building tension between sides which the audience already knows results in confrontation. Its placement reflects Griffiths desire to advance the complexity and diversity of film beyond entertainment to higher levels in society. To manipulate his audience’s emotions, he first had to draw them into the story and in turn into the stories underlying theme. He accomplished this by using numerous virgin film tools, much as an artist uses his own tools to create a believable painting. Among these tools he uses panoramas to illustrate setting, to paint, if you will – a moving picture. To show the swell of heated gunfire on a crowded battlefield i. e. the scene of the battle of Petersburg, or to bring across image of the delicate beauty of his native southern land to those who had never been there or seen a picture of it. This was the substance that transformed film into a genuine art form. Once he had the attention and anticipation of the audience, as well as their almost guaranteed acceptance of his word, he merely had to feed them a easily grasped, recognizable message to sway their emotions his way. This method of classic propaganda was used to fuel the audience’s already considerable ill-founded hatred of blacks. It comes in the form of a rebel black group who terrorizes the Cameron family, the film’s main characters. By placing blacks in this position it isn’t difficult to imagine the reaction of an average theatre goer. The film spawned riots, fired up racism, built stronger the negative stereotypes of blacks. It portrayed them as lazy, as illustrated in the black parliament, where a man rests his bare feet on a desk, alluding to uselessness in the employment environment. More horrifyingly than that it portrayed them as ultimately evil with the seizing of the Cameron’s home and the attempted rape of one of their daughters. The obvious bias presented, although appalling, demonstrates just how effective Griffith was at utilizing film not with the intention to merely entertain, but to spread propaganda and affect the perceptions of society itself. Griffith exploited his audience, he turned them against minorities and themselves. The film Birth of a nation exemplifies ignorance and hate at its worst. Although it stands for something that today is looked on as morally wrong, it proves by this very reaction that the film is not just mere entertainment, but something with a far more serious purpose. Since Griffith was the first to accomplish something of this nature, Birth of a nation therefore marks the transformation of film from pure entertainment into art and propaganda.

Business Model Of Con Edison - 1490 Words

Consolidated Edison is one of the largest investor-owned energy companies in United States with over $120 billion in annual revenues and $40 billion in assets. The firm is located in New York and focuses their operations in electric, gas and steam activities. It is estimated that the company provides electricity to approximately 3.3 million costumers and offers gas services to other 1.1 million costumers in New York City and Winchester County. The business model of Con Edison, Inc is divided into three main areas. Con Edison Solutions sells electricity and offers energy-related services directly to costumers in the Northeast and Mid-Atlantic regions. Con Edison Development develops, constructs, owns and operates renewable energy projects across the U.S. At the end of 2014, the firm had 446 MW of solar and wind projects in operation. Lastly, the third area of Consolidated Edison provides support to the main area of business. 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