The purpose of not fulfilling what was hoped for at the end is done to prove that the reason they waited in the first place was because they had hope and didn’t make a change on their own. The play shows the hindrance in decision making. Act II when Vladimir comes and goes, he had no where or has no where to go. “A dog came in…” (37) repetition, circular nursery rhymes, tale about looking for some food (small pleasures in life) you will be beaten and repeat. People need to learn to make the change and find the simple pleasures in life and not wait for someone to come and make it for you. Also, the lines of Vladimir and Estragon in the play can be interchangeable "It hurts?" and responding, "Hurts! He wants to know if it hurts!" The repetition of this kind of dialogue shows the parallelism in the play and that despite their differences, they always come to the same conclusion. The ending has distinct parts where Vladimir has moments of insight and yet there is still repetition because despite his epiphany he never changed. Life is war and life is havoc but the characters are companionate and are dislocated in a life where hope is questionable. Even after a messenger is sent to Estragon and Vladimir, havoc is still the great…
Godspell follows themes of joy, community, and reformation. Godspell’s characters begin the play trapped in the monotony of their everyday lives. Most of the characters appear bored or unhappy. When they run away, they find a communal joy and freedom that remains with them for the rest of the play. The play shows the parallels that exist between the…
By the end of the play, the characters fall in love with their respective partners, thus the play ends in harmony. This can mean that the Shakespearean comedy celebrates life as it demonstrates the hardships that the characters faced and how they overcame them. This shows the audience that they can also overcome the situations that they are facing as the audience could relate to the characters. This provided the audience with reassurance and a motive to remain positive, they know that their problems will be solved eventually. The comedy in this sense is celebrating life’s pain, harmony and ability to overcome.…
a) Throughout the film we see Lil’ Dice evolve into Lil’ Ze. Lil’ Dice turned into Lil’ Ze when he became a man, and when he became in control of the drug scene in the slums. Lil’ Dice was just a child and did not know any better, He was influenced by all the horrible things that were happening around him while he was young. Changing his name to Lil’ Ze was a way to show his man hood and too grow up. Also so show a form of power to others, as if he could do as he pleases. Lil’ Ze became a monster due to his environment. Any child how is introduced to this type of violence at a young age could potentially react in the way that he did. Growing up, the people who he looked up too were hoods, and therefore that’s what he aspired to be. He tried to be better than them. He wanted to be the best and that’s how he became such a heartless killer.…
Godspell truly captivates the heart and mind of the mere spectator because of its austerity, and its provincial meanings. The movie is not a message for our times, or a movie to focus on the movement of Jesus, or even quite a movie for the youth. In Fact, it is a sequence of stories and tunes, like the bible is, and it is conveyed with the straightforwardness that ingenuous stories demand: with zero illusions, no knowledgeable implements, and a lot of modest honesty.…
This play dates all the way back to the 5th century B.C. when Sophocles was alive (1). The audiences back then related to this theme because the fact that the gods had omnipotent power was the majority belief of the time. However, this ideology was threatened at the time the play was written, and this is why Sophocles made a point of emphasizing the gods’ power in this play. The people of the world today can relate to this theme, because the very foundation of whether or not there is a God or gods is now under widespread contention. People today debate this theology every day; and this is why they can easily relate to this play.…
In the book Heart of Darkness there are several aspects to imperialism. As Marlow travels from the Outer Station to the Central Station and finally up the river to the Inner Station, he encounters scenes of torture, cruelty, and near-slavery. At the very least, the incidental scenery of the book offers a harsh picture of colonial enterprise. The impetus behind Marlow's adventures, too, has to do with the hypocrisy inherent in the rhetoric used to justify imperialism. The men who work for the Company describe what they do as "trade," and their treatment of native Africans is part of a benevolent project of "civilization." Kurtz, on the other hand, is open about the fact that he does not trade but rather takes ivory by force, and he describes his own treatment of the natives with the words "suppression" and "extermination": he does not hide the fact that he rules through violence and intimidation. His perverse honesty leads to his downfall, as his success threatens to expose the evil practices behind European activity in Africa. However, for Marlow as much as for Kurtz or for the Company, Africans in this book are mostly objects: Marlow refers to his helmsman as a piece of machinery, and Kurtz's African mistress is at best a piece of statuary. It can be argued that Heart of Darkness participates in an oppression of nonwhites that is much more sinister and much harder to remedy than the open abuses of Kurtz or the Company's men."Everything belonged…
Brazil, 1960's, City of God. The Tender Trio robs motels and gas trucks. Younger kids watch and learn well...too well. 1970's: Li'l Zé has prospered very well and owns the city. He causes violence and fear as he wipes out rival gangs without mercy. His best friend Bené is the only one to keep him on the good side of sanity. Rocket has watched these two gain power for years, and he wants no part of it. Yet he keeps getting swept up in the madness. All he wants to do is take pictures. 1980's: Things are out of control between the last two remaining gangs...will it ever end? Welcome to the City of God. Written by Jeff Mellinger…
Association for Molecular Pathology vs. Myriad Genetics The case of the Association for Molecular Pathology vs. Myriad Genetics was a case that challenged the validity of gene patents in the United States. It specifically challenged certain claims in issued patents owned or controlled by Myriad Genetics that cover isolated DNA sequences, methods to diagnose propensity to cancer by looking for mutated DNA sequences, and methods to identify drugs using isolated DNA sequences. Before this case occurred, the U.S. Patent Office accepted patents on isolated DNA sequences as a composition of matter.…
In Joseph Conrad’s novel Heart of Darkness, the geographical surrounding shape the psychological and moral traits in Kurtz, one of the characters of the novel. Especially because it shows the savagery, and lawless environment of the uncivilized lands, which allows Kurtz to almost forget all the European ways, and it also illuminates the work as a whole by bringing the question of what would happen to us if we were to be taken from a civilized world to an uncivilized world.…
There is tension at the opening of the play. The audience sees a child lying unconscious and her father praying and weeping. He orders Tituba, out of the room in a fury. The audience is immediately drawn into the drama of the situation.…
Pliny and Trajan Correspondence- Pliny opens the letter by bringing forth the Christian trials taken before him. He has questions:…
As the ship sits at anchor on the Thames, Marlow is reminded of the past. The Thames is a "waterway . . . to the utmost ends of the earth"; the river represents the "spirit of the past." Why has the Thames been 'one of the dark places"? What is the significance of the reference to the invasions of the Romans?…
The first scene in City of God starts with an extreme close-up of someone sharpening a knife on a black rock. The camera “flickers” or cuts back and forth from a black screen to the knife repeatedly. This makes it hard to see the knife but easier to hear the diegetic sound of the blade running across the rock. At this point (30 seconds into the film) the audience does not know why the blade is being sharpened. As the scene develops further, cross-cutting and extreme close-up shots are used. Many of the shots seem to be preparation for a meal. We see close-up shots of carrots being peeled and the camera crosscuts to a chicken being killed and plucked. Also, a few snips of a man playing a guitar or some other type of string instrument fit into the crosscut pieces. We get clips of sandaled feet shuffling or dancing along with the music being played softly in the background. We…
Twice in Waiting for Godot, both Gogo and Didi meet the “boy” sent by Mr. Godot, once toward the end of Act I and once again at the end of Act II. When the boy appears, the only information he has to offer the two tramps is that Godot will come the following day, and shows no knowledge of coming with the same message the day before. This is Beckett’s way of addressing hope as an illusion, and of emphasizing the repetitive cycle of everyday life. This theme is central to the play as a whole, so despite the very short presence of the boy on both accounts, he still manages to represent one of the most important existentialist ideas that Beckett expresses throughout the work.…