A Lack of Charity Essay example - 1718 Words

In Charles Dickens’s books, Oliver Twist and A Christmas Carol, the theme of lack of charity is pronounced. Throughout Oliver Twist, society turns a â€Å"cold shoulder† to those in need of help (Miller 30). The Victorian England society prohibits inhabitants of the lower social realms from moving up in society. Rarely do lower class members receive attention, and the attention they do receive is far from par (Reeves). Ebenezer Scrooge, the main character of A Christmas Carol, learns to be charitable through a lesson on the true meaning of Christmas. At the beginning of the book, Scrooge is a grumpy old mad, who only cares about himself, but on Christmas Eve, his visions of ghosts turn his life around (Boan). As a child, Dickens becomes a†¦show more content†¦Believing that the rich should freely take care of the poor and not be forced to, Dickens criticizes those who overlook the destitution of the lower class (Orwell). In Oliver Twist, Dickens proclaims, â€Å"So they established the rule, that all poor people should have the alternative (for they would compel nobody, not they,) of being starved by a gradual process in the house, or by a quick one out of it† (36). This rule that Dickens mentions is a replica of the Poor Law of 1834. The Prime Minister of Great Britain enforces this law to oppress the poor. People are forced to labor in the terrible conditions of workhouses or receive no help. Created to detest people from wanting to receive aid, these workhouses condition is not fit for living (Cannon). Due to the terrible conditions at the workhouse, Oliver runs away and finds security with a man named Fagin. Fagin controls a gang of small boys that pickpocket as a source of income. Their wages supplement Fagin enough to stay out of the working class but keep the boys trapped. Fagin is a representation of the laissez-faire capitalist thinking (Miller 39-40). Fagin states: †¦you depend upon me. To keep my little business all snug, I depend upon you. The first is your number one, the second my number one. The more you value your number one, the more careful you must be of mine; so we come at last to what I told you at first--that a regard for number one holds us allShow MoreRelatedSave The Children At The Poverty1160 Words   |  5 Pagesthis is an opportunity for me to exhibit for investigation and discovery one organization that supports and helps many countries out there that children live in the poverty without food, lack of education, and poor health. This organization, I randomly selected is called, â€Å"Save the Children†. This is one of charity organization, which supports, helps, and saves these children life. It was over couple of decades; Eglantyne Jebb the founder has been established Save the Children organization sinceRead MoreTerrorist Organizations Essay951 Words   |  4 PagesIn order more effectively combat terrorist financing, governmental entities, individual donors, and charities themselves must work together, do their due diligence when associating or donating to a particular charity, and conduct risk assessments to determine susceptibility to terrorist influence. The following are recommendations for (1) governmental entities, (2) individual donors, and (3) charities to adopt in order to more effectively combat the financing of terrorist organizations. a. RecommendationRead MorePublic Governance And Internal Control1252 Words   |  6 Pages1.0 Introduction Charities in the UK and in general have come through a lot of criticisms from external stakeholders on the state of their ineffective accountability and transparency, which portrays that charities do not comply with effective corporate governance and internal control (CG+IC) in order to improve their performance and credibility. The research will pinpoint the inadequacies of CG+IC, then evaluate how when applied effectively could contribute to charities’ performance and aid credibilityRead MoreHuman Development : A Simple Farmer Or Hunter Gatherer1256 Words   |  6 Pagesforgotten simply to care for each other and acknowledge each other as one species; made in His image with a fundamental goodness that must be met in order to obtain absolute love and truth. Has the charity between man and neighbor been forgotten? In modern translation, it is acceptable to replace charity with love and vise versa, however, the modern translation of these words have been diluted from their original scriptural meanings. The Greeks had four words for â€Å"love†. Agape, which was used to identifyRead MoreEssay about Access to Food, Clean Water, and Shelter1059 Words   |  5 Pagesbacteria. Nine million people die a year due to lack of access to clean water. Too many people have either a nonfunctional shelter or no shelter at all. Whatever it takes, the access of food, clean water, and shelter should be supplied to anyone who needs it. There is a problem, however, that occurs. Some countries are poorer than others, so there are more people with these needs in those countries. This causes the help from other countries, and for charities to be formed to help those in need. The churchesRead MoreGough’s Definition of Needs and His Different Categories for Basic Human Needs1027 Words   |  5 Pagesrepublic of Iran, analysing its social security and welfare system, investigating the ways in which Iran’s government attempts to provide these rights for its citizens. This then leads me to consider the criticisms made against Iran’s government for its lack of support and the rising number of people living below the absolute poverty line. As according to Gough’s study on human needs, human needs differ from their wants in the sense that wants are more inclusive and although an individual can be harmedRead MoreEssay about The Relationships Between Christianity and Charity1698 Words   |  7 PagesThe Relationships Between Christianity and Charity In this essay I will be looking at how Christianity and charities relate to each other. In the first section I will be looking at what Christians teach, preach and believe about charity. In the second section I will show what Christians actually do and focus on Christian charities. In the third I will conclude with what I think about Christian charities and how well I think they work. The foundation of a Christian’sRead MoreCharity1302 Words   |  6 PagesCharity Among the key concepts of love touched upon by C.S. Lewis in his novel The Four Loves, is his concept of charity. Charity is a type of love that involves showing care for someone that is not easily loved, while doing it in a selfless manner with no gain for the caregiver. From the story of creation in Genesis we are told that mankind is made in God’s image. Through the act of God sacrificing His son Jesus for our iniquity, we see that he is charitable. Therefore, transitively, mankindRead MoreOrganizational Change And The Implementation Of The Change Essay1569 Words   |  7 Pagesis occurring however a lack of communication about the change has cause issues among the organisation and its clients. The iceberg model created by George Clampitt (2005) will be used in the analysis of the case and therefore recommendations can be made based on the conclusions. Background: The unexpected consequence of implementing change is a relevant issue when analysing the Nora case. Nora is a social worker at Bridges Care and Village, Clevedon, South Auckland. Charity Trust National controlsRead MoreThe Social Survey ( Gss )1135 Words   |  5 Pagesof interest to this study were on generosity in terms of both volunteerism and philanthropy. Respondents were presented with â€Å"During the past 12 months, how often have you done each of the following things: Done volunteer work for a charity? †¦ Given money to a charity?† Applicable answers for both questions ranged from: more than once a week, once a week, once a month, at least 2 or 3 times in the past year, once in the past year to not at all in the past year; also included were â€Å"don’t know† and

A View from the Bridge by Arthur Miller as a Tragedy...

A View from the Bridge by Arthur Miller as a Tragedy A view from the Bridge was written by Arthur Miller in 1955 and set in the 1950s Brooklyn, New York. Most of this area was inhabited by immigrants that arrived from countries such as Italy and Sicily, before the restriction of immigrants law was passed. Although the law denies people to migrate to the country. Illegal immigrants will often be smuggled in from countries like Sicily. The main area is based in Red Hook. Illegal immigrants come into the country and work on the dockyards and Sicily at the time was in great poverty and hardship. The people in this area of red hook are Italian American civilian citizens that have travelled the Island of Sicily because of the hard†¦show more content†¦The inevitable death of the protagonist takes place. Arthur Miller in this play uses quite a lot of Aristotelian elements of tragedy, such as using a ?chorus? to introduce themes and ideas and inform the audience that the protagonist will have a ?fatal flaw? that will lead to his downfall because of his hubris pride. It contains ?universal truth? and has to be didactic so the audience can learn from the play. Aristotle also believed that the audience had to experience ?Catharsis? meaning that the audience will have a feeling of extreme emotions which will help keep the audience interested. Arthur Miller also uses Aristotles way of ending the play by the realisation of the protagonist?s mistake and the rightful order and time is restored. Although Alfieri has the smallest part in the play, nevertheless he is very important to introducing the scene atmosphere and the set. Alfieri is introduced to us by Arthur Miller ?Enters Alfieri a lawyer in his fifties turning grey; he is portly, good humoured, and thoughtful.? We get a feeling that he is a wealthy person because he is ?portly? telling us his got plenty of food to eat. The fact that he is ?turning grey? makes the audience assume that he is wise and understands what is really going on in the play. Also the prologue, Alfieri becomes informative straight away and explains to the audience. At the beginning Alfieri tellsShow MoreRelatedConventions of Tragedy in A View From The Bridge By Arthur Miller1100 Words   |  5 PagesConventions of Tragedy in A View From The Bridge By Arthur Miller Arthur Miller manipulates his characters and uses literary devices to effectively convey to the audience the trajectory of Eddie Carbone and his flaws of misconduct in the play, A View From The Bridge. He uses all the conventions of a modern tragedy adequately to help arouse sympathy, suspense and fear from the audience at significant intervals of the playRead MoreHow Arthur Miller Hints at Tragedy in ‘A View from the Bridge’1370 Words   |  6 PagesIn this essay I will describe the way in which Miller hints at the tragedy in the beginning of the play ‘A View from the Bridge’. Miller gives us lots of clues in the opening section to try and get the audience thinking. He wants us to think about how the main character dies not what happened in the end because everyone knows that in a tragedy the main character dies. Miller uses a range of devices e.g. uses of plot devices, the structure foreshadowing o put an impact on the audience understandingRead MoreThe Dramatic Importance of the Role of Alfieri in A View From the Bridge1115 Words   |  5 PagesImportance of the Role of Alfieri in A View From the Bridge First performed in 1956. Arthur Millers play A view from the bridge was originally set in the 1940s and started life as a one act verse before Arthur Miller converted it to a two act play to enhance and make it more enjoyable for the audience of today. In the title A view from the bridge Arthur Miller is referring to the Brooklyn Bridge which used to be the largest cable bridge in the world and its main purposeRead MoreArthur Millers Dissatisfaction with the American People Expressed in Three of His Major Works1632 Words   |  7 Pagesconflict and tragedy. Every man has his own way of dealing with issues. After the Second World War, people had the opinion that play writer Arthur Miller transferred the theater. The work Miller created was influenced by the worldly depression and the war that started after. Arthur Miller â€Å"tapped into a sense of dissatisfaction and unrest within the greater American people; his probing dramas proved to be both the conscience and redemption of the times; allowing people an honest view of the directionRead MoreIs Eddie a Tragic Hero? (the View from the Bridge)1230 Words   |  5 Pagescharacter who makes an error of judgment or has a fatal flaw that, combined with fate and external forces, brings on a tragedy.† (http://dictionary.reference.com/browse/tragic+hero) The play, A View from the Bridge written by Arthur Miller defines the character Eddie, the protagonist, as occupying most of the qualities for a tragic hero. Eddie in A View from the Bridge came from a noble family background and had failed to realize his weakness that he had love for his niece. In this case, this loveRead MoreSelf-Discipline Is the Best Discipline: A View from the Bridge by Arthur Miller1484 Words   |  6 Pagesconnections with others often exhibit a flaw that directly correlates to their downfall. While researching the underworld of the Brooklyn docks, Arthur Miller overheard a story that demonstrates just this. Naturally, the plot follows tragic form; however, in retelling the storing, Miller adds a few twists. Miller fuses elements from Greek and Christian tragedies, all the while redefining a tragic hero. Expectedly, the main character, Eddie, exhibits a tragic flaw. Because Eddie cannot accept his responsibilitiesRead MoreThe Dramatic Techniques Arthur Miller Uses in His Play A View From the Bridge600 Words   |  3 PagesThe Dramatic Techniques Arthur Miller Uses in His Play A View From the Bridge A View from the Bridge was written by Arthur Miller. It is set in the early 1950s, Miller was interested in the lives of dockworkers and longshoremen of New Yorks Brooklyn harbour, where he had worked and where the story is set. Miller heard the story from a lawyer friend who had mentioned that he knew of a longshoreman who rattled to the immigration Bureau on two brothers, his own relativesRead MoreThe Domination of Female Characters in A Streetcar Named Desire and A View from the Bridge1278 Words   |  6 PagesThe plays A Streetcar Named Desire and A View from the Bridge are both plays that focus on mainly the theme of domination of the female characters by the males. Where A Streetcar Named Desire is a Southern Gothic, A View from a Bridge is a tragedy that is actually similar to Williams’ play as they both end tragically for the main character. Each playwright uses their own method and techniques in order to get the message or point of view across to the audience members. In A Streetcar Named DesireRead MoreHow far do you agree with the view that the tragedies in ‘Ethan Frome’ and ‘A View from the Bridge’ are brought about by individual characters rather 2084 Words   |  9 PagesWithin A View from the Bridge and Ethan Frome the main protagonists are tragic figures. The origin of a tragedy comes from Greece, where the basis of the idea was a drama in which the protagonist is overcome by some superior force or extreme circumstance; this usually resulted in either disaster or death. As is true to most Greek tragedies the ending of the shown before the downfall itself. Most victims of tragedy were written to be of a high stature such as royalty, yet both Ethan Frome and EddieRead MoreEddies Death in Arthur Millers A View From the Bridge Essay examples1237 Words   |  5 PagesEddies Death in Arthur Millers A View From the Bridge Arthur Miller described this play as being the slum that faces the bay on the seaward side of Brooklyn Bridgeà ¢Ã¢â€š ¬Ã‚ ¦the gullet of New York Arthur Miller was born on October 1915, in New York City. His parents were both immigrants to the USA. Millers family lived in prosperity due to the success of his fathers clothing manufacturing business. However as the clothing manufacturing collapse, the family became bankrupt

Death in Prime Time Free Essays

string(191) " DEATH IN NEWS AND DRAMA Death in such a context is just another invented characterization, a negative resource, a sign of fatal flaw or ineptitude, a punishment for sins or mark of tragedy\." American Academy of Political and Social Science Death in Prime Time: Notes on the Symbolic Functions of Dying in the Mass Media Author(s): George Gerbner Reviewed work(s): Source: Annals of the American Academy of Political and Social Science, Vol. 447, The Social Meaning of Death (Jan. , 1980), pp. We will write a custom essay sample on Death in Prime Time or any similar topic only for you Order Now 64-70 Published by: Sage Publications, Inc. in association with the American Academy of Political and Social Science Stable URL: http://www. jstor. org/stable/1042304 . Accessed: 02/01/2012 20:34 Your use of the JSTOR archive indicates your acceptance of the Terms Conditions of Use, available at . ttp://www. jstor. org/page/info/about/policies/terms. jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor. org. Sage Publications, Inc. and American Academy of Political and Social Science are collaborating with JSTOR to digitize, preserve and extend access to Annals of the American Academy of Political and Social Science. ttp://www. jstor. org ANNALS,AAPSS, 447, January 1980 Death in Prime Time: Notes on th e Symbolic Functions of Dying in the Mass Media By GEORGEGERBNER ABSTRACT: The cultural (and media) significance of dying rests in the symbolic context in which representations of dying are embedded. An examination of that context of mostly violent suggests that portrayals of death and dying representations functions of social typing and control and tend, serve symbolic of on the whole, to conceal the reality and inevitability the event. George Gerbner is Professor of Communications and Dean of The Annenberg School of Communications, University of Pennsylvania. He is a principal investigator, along with Larry Gross and Nancy Signorielli, also of The Annenberg School, in the Cultural Indicators research project studying television drama and viewer conceptions of social reality. He has been principal investigator on international and U. S. projectsfunded by the National Science Foundation, U. S. Office of Education, UNESCO, the International Sociological Association, the National Institute of Mental Health, The Surgeon General’s Scientific advisory Committee on Television and Social Behavior, the American Medical Association, the HEW’s Administration on Aging, and other agencies. He is editor of the Journal of Communication, and a volume on Mass Media Policies in Changing Cultures. 64 DEATH IN PRIME TIME 65 D YINGin the massmedia-both news and entertainment (a distinction increasingly hard to make) -has a symbolic function different from death in real life but investing life itself-with it-and particular meanings. We can begin to consider what these might be by reflecting on the nature of representation. A symbol system is an artifact par excellence. It is totally invented to serve human purposes. It can serve these purposes only if those interpreting it know the code and can fit it into a symbolic context of their own. They must share the rules of the invention and the interpretative strategies by which it should be understood. Symbolic narrative, a story, has two basic elements of invention: fictive and selective. Selective invention is factual narrative such as news. Presumably true events (facts) are selected from an endless stream of events. A narrative is invented to convey some meaning about the selected facts as interpreted in a previously learned framework of knowledge. Fictive invention is fiction and drama; the â€Å"facts† are invented as well as the narrative. (Selection is of course involved in both. ) The function of fictive invention is to illuminate (literally to embody and dramatize) the invisible structure and dynamics of the significant connections of human life. It is to show how things work. Invention that can only select events but not create them must be more opaque; it can only show what things are but rarely why or how they work. The full development of the connections between events and human motivations and powers requires the freedom and legitimacy to invent the â€Å"facts† in a way that illuminates the otherwise hidden dynamics of existence. In this totally invented world of and fictivesymbols-selective without some purnothing happens pose and function (which need not be the same). Let us use as example the world of television which we have studied for some years. This discussion also applies to other media and cultural forms, with the difference that television is the generally non-selectively used universal storyteller of modern society. It is, therefore, more a symbolic environment than a traditional medium. People are not born into the world of television. They are selected or created for a purpose. The purpose is usefulness to the symbolic world (cal led news values or story values) that the producing institutions and their patrons find useful for their purposes. More numerous in both news and drama are those for whom that world has more uses-jobs, power, adventure, sex, youth, and all other opportunities in life. These values are distributed in the symbol system as most resources are distributed in the society whose dominant institutions produce most of the symbols: according to status and power. Dominant social groups tend to be overrepresented and overendowed not only absolutely but also in relation to their numbers in the real population. (For example, men outnumber women at least three to one in television and most media content. Minorities are defined by having 1. The long-range project was first described in my article on â€Å"Cultural Indicators: The Case of Violence in Television Drama† in the Annals, Vol. 388, March 1970. The most recent report, including a description of methodology, appears in George Gerbner, Larry Gross, Nancy Signorielli, Michael Morgan, and Marilyn Jackson-Beeck, â€Å"The Demonstration of Power: Viole nce Profile No. 10,† Journal of Communication, vol. 29 (Summer 1979). 66 THE ANNALS OF THE AMERICAN ACADEMY less than their proportionate share of values and resources. In the world of television news and drama, this means lower underrepresentation numbers, less usefulness, fewer opportunities, more victimization (or â€Å"criminalization†), more restricted scope of action, more stereotyped roles, diminished life chances, and general undervaluation ranging from relative neglect to symbolic annihilation. DEATH IN NEWS AND DRAMA Death in such a context is just another invented characterization, a negative resource, a sign of fatal flaw or ineptitude, a punishment for sins or mark of tragedy. You read "Death in Prime Time" in category "Essay examples" It is always a reminder of the risks of life, cultivating most anxiety and dependence for those who are depicted as most at risk. In other words, death is one feature of the more general functions of social typing and control. Obituaries are the Social Register of the middle class. Even a â€Å"nobody† of modest status and power (i. e. a person of no symbolic existence in the common culture) becomes a â€Å"somebody† if the flicker of his or her (and it’s mostly his) life can leave its final symbolic mark of existence in the obituary column. Death in the news is a tightly scripted scenario of violence and terror. Murders, accidents, â€Å"body counts† and catastrophies scatter a surfeit of impersonal corpses in ghoulish symbolic overkill across the pages of our family newspapers and television screens. By the time we grow up, we are so addicted to this necromania of our culture (and we are not alone), that its constant daily cultivation seems to add to a morbid sense of normalcy. Yet it is all well (if unwittingly) calculated to cultivate a sense of insecurity, anxiety, fear of the â€Å"mean world† out there, and ependence on some strong protector. It is the modern equivalent of the bloody circuses in the Roman empire’s â€Å"bread and circuses† that were supposed to keep the populace quiescent. At the center of the symbolic structure of death is the world of stories invented to show how things and drama. The most work-fiction massive and universal flow of stories in modern society (and histo ry) is of course television drama, most of it produced according to the industrial formulas developed to assemble large audiences and sell them to advertisers at the least cost. That is a world in which practically no one ever dies a natural death. Assembly-line drama generally denies the inevitable reality of death and affirms its stigmatic character. Violent death, on the other hand, befalls 5 percent of all prime time dramatic characters every week, with about twice as many killers (many of whom also get killed) stalking the world of prime time. The symbolic function of death in the world of television is thus embedded in its structure of violence, which is essentially a show of force, the ritualistic demonstration of power. THE STRUCTURE OF VIOLENCEAND POWER Dominated as it is by males and masculine values, much of the world of prime time revolves around questions of power. Who can get away with what against whom? How secure are different social types when confronted with conflict and danger? What hierarchies of risk and vulnerability define social relations? In other words, how power works in society. The simplest and cheapest dramatic DEATH IN PRIME TIME 67 demonstration of power is an overt expression of physical force compelling action against one’s will on pain of being hurt or killed, or actually hurting or killing. That is the definition of violence used in our studies of television drama. Violence rules the symbolic world of television. It occurs at an average 10-year rate of 5 violent incidents per hour in prime time and 18 per hour in weekend daytime children’s programming-a triple dose. Violence as a demonstration of power can be measured by relating the percent of violents to the percent of victims within each social group. That ratio shows the chances of men and women, blacks and whites, young and old, to come out on top instead of on the bottom. Conversely, it shows the risks of each group to end up as victims instead of victors. Table 1 is a summary of these â€Å"risk ratios† based on annual samples of prime time and weekend daytime (children’s) programs major dramatic characters, a total of 3,949, from 1969 through 1978. It shows for each of several demographic and dramatic groups the ratio of violents over victims (including killing) and of only killers over killed (or the other way around) within each group. It also shows the percent of characters in each group involved in any violence as either violents or victims (or both). For example, of the 415 children and adolescent characters studied, 60. 5 percent (65. 0 percent males and 49. 1 percent females) were involved in violence. Of the males, victims outnumbered violents by 1. 69 but killers outnumbered killed by 3. 00. In other words, for every 10 child and adolescent violents there were about 17 victims, but for every 10 killed there were 30 killers in that group of characters. Overall, 63 percent of all characters were involved in some violence. For every 10 violents there were 12 victims, but for every 10 killed there were 19 killers. However, as we have just seen, involvement in violence and its outcome-as with values and resources-is not randomly distributed. Some features of the distribution of violence as a demonstration of power can be illustrated by selecting a few risk ratios from the Table, showing how these victimization rates define a hierarchy of risks within which the depiction of dying (and killing) is embedded. A hierarchy of risks Combining prime time and daytime characters, we find that victimization rates define a social hierarchy of risks and vulnerabilities. For every 10 characters who commit violence within each of the following groups the average number of victims for white men is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. nonwhite men is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. lower class women is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ young women is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. nonwhite women is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. old women is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 12 13 17 18 18 33 If and when involved in violence, women and minorities, and especially young and old as well as minority women characters, are the most vulnerable. Now let us look at dying (and its dramatic counterpart, killing) in that context. We can compute a lethal pecking order by relating the number of killers to the number of killed within each group. Unlike violence in general, killing eliminates a character and must be used more sparingly, either as curtain-raiser or as the â€Å"final solution. † Therefore, in most role categories, there are more killers than killed. â€Å"Good† men, the TABLE 1 RISK RATIOS’: MAJOR CHARACTERS IN ALL PROGRAMS (1969-197 ALL CHARACTERS INVOLVED IN VIOLENCE VIOLENTVICTIM RATIO KILLERKILLED RATIO MALE CHARACTERS INVOLVED IN VIOLENCE VIOLENTVICTIM RATIO K N N All Characters Social Age Children-Adolescents Young Adults Settled Adults Elderly Marital Status Not Married Married Class Clearly Upper Mixed Clearly Lower Race White Other Character Type â€Å"Good† Mixed â€Å"Bad† Nationality U. S. Other 3949 415 813 2212 106 1873 987 269 3549 131 3087 360 2304 1093 550 3100 264 63. 3 60. 5 64. 5 59. 8 47. 2 65. 6 45. 5 59. 5 63. 4 69. 5 60. 1 55. 0 58. 4 61. 4 88. 0 58. 1 73. 5 -1. 20 -1. 60 -1. 36 -1. 12 -1. 15 -1. 23 -1. 27 -1. 38 -1. 19 -1. 25 -1. 19 -1. 33 -1. 29 -1. 22 1. 00 -1. 20 -1. 31 +1. 90 +3. 00 +2. 00 +2. 07 -1. 75 +1. 90 +1. 67 +1. 50 +2. 07 -1. 11 +1. 97 +1. 69 +2. 93 +1. 3 +1. 84 +2. 06 +1. 31 2938 297 539 1698 80 1374 626 182 2650 106 2235 280 1659 807 471 2263 203 68. 4 65. 0 69. 6 65. 7 50. 0 69. 7 52. 9 67. 6 68. 3 73. 6 65. 1 61. 1 63. 7 65. 8 89. 4 63. 2 80. 8 -1. 18 -1. 69 -1. 23 -1. 12 +1. 07 -1. 18 -1. 27 -1. 26 -1. 17 -1. 20 -1. 16 -1. 27 -1. 24 -1. 21 -1. 01 -1. 16 -1. 29 + + + + + + + + – + + + + + + + 1Risk Ratios are obtained by dividing the more numerous of these two roles by the less numerous within eac violents or killersthan victims or killed and a minus sign indicates that there are more victims or killed than violent victimsor killersor violents or killed. A +0. 00 ratio means that there were some violents or killersbut no victims or k killed but no violents or killers. DEATH IN PRIME TIME 69 male heroes of prime time drama, are at the top of the killing order. For every 10 â€Å"good† men killed, there are 38 â€Å"good† men killers. Next are young men and American men; for every 10 young males killed, there are 22 young male and American male killers. The killed-killer ratio of all white males is only slightly lower: 21 killers for every 10 white males killed. In other words, if and when involved in some fatal violence on prime time television, â€Å"good,† young, American and white males are the most likely to be the killers instead of the killed. They kill in a good cause to begin with or are the most powerful, or both. Women do not fare so well. Their most favorable ratio is 20 killers for every 10 killed, and that goes to foreign women. The second highest female kill ratio goes to â€Å"bad† women: they kill 17 characters for every 10 â€Å"bad† women killed. Next are middleaged women who kill 16 for every 10 killed. Thus women who tend to kill, kill much less than men, have relatively more lethal power when they are foreign, evil, or past the romantic-lead age, than when they are â€Å"good,† American, young, and white, as is the case with men. Their killing is more likely to be shown as unjust, irrational, and â€Å"alien† than is killing by men. At the very bottom of the lethal pecking order are old women who get involved in violence only to get killed and â€Å"good† women who get killed 16 times for every 10 killers. Old and â€Å"good† women get into violence mostly as sympathetic (or only pathetic) victims, rousing male heroes to righteous (if lethal) indignation. Next in line are lower class men, lower class women, and old men. For every ten killers in each group there are, respectively, 11, 10, and 10 killed. Unlike those of greater ability to survive conflict or catastrophy,older and lower class characters pay with their lives for every life they take. Provocation and retribution In general, then, as can be seen on the Table, the pecking order of both mayhem and killing is dominated by men-American white, middle class, and in the prime of life. At the top of the general order of victimizers are â€Å"bad† women, old men, and â€Å"bad† men, in that order. The presence of evil at the top of the power hierarchy suggests the dramatic role of villains provoking heroes to violent action. Heading the ranking of killers over killed are â€Å"good† and other majority-type males. We can begin to discern not only the provocative role of the â€Å"bad† but also the retributive function of the â€Å"good† and the strong. Lowest on the dramatic scale are women, lower class, and old people. Of the 20 most victimized groups (both total violence and killing), all but three are women. Old women are at the bottom of the heap of both the battered and the killed. Good†women are among the charactersmost likely to be both general and fatal victims of violence ratherthan the perpetrators. â€Å"Good† men have power as indicated by their heading up the killer-killed list; â€Å"good† women, on the other hand, end up near the bottom of the power hierarchy. When it comes to violence, â€Å"good† are the strong me n and the weak women of the world of television. Dying on television is a violent retribution for weakness, sin, or other flaw in character or status. It is part of the social typing and control functions of centralized cultural production. Our research has found that heavy viewers (compared to light 70 THE ANNALS OF THE AMERICAN ACADEMY viewers in the same social groups) derive from their television experience a heightened sense of danger, insecurity, and mistrust, or what we call the â€Å"mean world† syndrome. It can be conjectured that the symbolic functions of dying are part of that syndrome, contributing not only to a structure of power but also to the irrational dread of dying and thus to diminished vitality and self-direction in life. How to cite Death in Prime Time, Essay examples

Musical is an art of arranging sounds free essay sample

Musical is an art of arranging sounds in a particular pattern to create a pleasant harmony to the ears of the listeners. Just like the industrial revolution took time to reach its present level, the two major forms of musical in America were realized after a long time of progressive development as (Riddle 2003) explains. American musical was firstly borrowed from the European States; the American musical pioneers built on it to develop theirs then later they completely detached from it came up with their own different style of presentation according to (Lubbock 1962). Musical comedy was the first of the only two advanced musical styles to be established in America. Then there followed the other which is the musical play and the two have been cherished widely in the twentieth and the twenty first centuries. There are several legend musicians who played a key role in making American musical what it is today and have been covered by history. The changes that were met in the twentieth century in musical varied from the cultural, content to the form of delivering the musical. HISTORICAL DEVELOPMENT Music in America is an art that has a very long history in its development in form and content to the level it is now. The historians have established that it has taken hundreds of years to develop from its primitive form to the now sophisticated forms. (Lubbock1962) traces music in America way back in the year 1735. He argues that this introduced music did not originate from America itself but from England. From those years on up to 1960,s the initial way of treating musicals underwent great transformation and many people came into terms with music unlike in the past. As the year 1960 was dawning, Americans began to get enlightened about Musicals where they were in a position to define it and find out its relationship with art according to (Gann 2000). Through continued development of interest in learning what music was, the people also became able to relate it with culture. It is also worthy noting that the various phases through which the American music underwent included the transformation of the places of performance. The first pieces of music were only played in the urban centres but it slowly filtered into the rural as time went by. According to (Gann 2000), the music was taken from the urban to the rural setting in the year 1961 and from there onward it expanded and widely spread more into the interior like a bush fire. In 1980,s several individuals ventured into bettering the quality of the musical performed in the theatres which took the dimension created by the Americans more than that of Europeans. CULTURAL DEVELOPMENT The culture of the people influences greatly the type of music they compose, the type of dance they use to accompany their songs and more so the kind of perception they have on the present generation music. American musical has had a lot of influence on the way the Americans perceive their abilities and identify their characters according to (Knapp 2005). In the same manner, the music the Americans borrowed from the Europeans took after the cultural practices of the natives of the country. Through the ages the American musicals saw a great transition in the way the Americans treated music in relation to their culture. It came a time when the stake holders in musicals began to present their cultures through the art of music especially holding cultural ceremonies where people got the opportunities to express their personalities as (Knapp 2005) confirms. The American musicians also were able to portray their culture through their manner of dressing during music play performances in the theatres. The twentieth century also was the year of making music as a source of earning personal living in addition to expressing the people’s beliefs and practices. (Crawford 2000) confirms that the art of music took the dimension of commercial activity during its development during the twentieth century and a rapid growth as a business the common exercise of the day. By watching a clip of the American produced musical, one was in a position to analyse the type of culture the performers upheld from the way the dressed, their make-ups, the food they eat and the dancing styles which were adopted during music development time. FORM DEVELOPMENT The form in which music first entered America is not the same style of music we play in America today. A great transition has occurred in the music industry in terms of the several classes of music which have hit in the country. Lubbock (1962) asserts that the first type of music to be played in America was Flora and this had its source from England. In this twenty first century, this kind of music can only be referred to as a legend and you may find that the current generation is not aware of the former existence of such kind of music. In the twentieth century, the American natives set out to develop their own style of music which indeed they did in two phases. The first phase was characterized by a lot of emulation of the pre-existing opera style of England which was later advanced. This first move by the upcoming American musicians constituted what was called the comedy music. The second phase of American musical development was the new form of music which was not derived from the European form. According to (Lubbock 1962) it was the Showboat which established the campaign towards developing American-produced music which came to be referred to as music play. Here the musicians could perform their own composed music in public. The music industry in the new form was since then continued by the other successors including Oklahoma and the others. Their establishments have since then not been out dated because music play and the prior styles are the only two ruling the American music industry.