writer. One of Shakespeare’s many sparks of innovative genius which laminated these pages was his use of masks. Masks are used throughout Shakespeare’s “Twelfth Night” as a character would choose to wear their selected mask to fit in to the particular situation. Shakespeare uses this imagery of a mask in many of the characters in his play‚ but mostly in two: Viola and Feste. These masks are used throughout the play‚ but are eventually discarded at the end for the finale. This masking imagery
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Explication for “A Diamond Guitar” The final scene of Truman Capote’s “A Diamond Guitar” helps the reader develop a perfect view of how the characters in the story truly are. Mr. Schaeffer‚ a man of 50‚ is in prison because he killed a man‚ and Tico Feo‚ a boy of only 18‚ is there because he cut a sailor’s ear off. From details throughout the story you can tell that each man has done this for a different reason‚ but I would not say that either are bad men. Mr. Schaeffer is claimed to have
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Chokwe Masks The term Chokwe has at least 30 different spellings. Their history dates back to the 15th century‚ when a Lunda queen married a Luba prince Chibinda Ilunga. Because a member of the Lunda aristocracy disapproved of the marriage‚ the queen and prince migrated south to present-day Angola. There they founded several kingdoms‚ each headed by a god-king. The masks they created probably played important roles in religious beliefs and institutional practices‚ but today many Chokwe masks have
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world with an intake of Egyptian lifestyles. Golden Mask Tutankhamun was a young Egyptian pharaoh and was considered to be a living god and worshipped as a divine being. His social status is clearly seen as a divine being as he had a miraculous golden funeral mask that was placed on his face in his tomb. He wears a royal headcloth called the “nemes”. It is patterned with stripes of blue glass and gold. The “nemes” is only worn by pharaohs. This mask of Tutankhamun is an example of the highest artistic
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Victor Hoang /Jack Nguyen; Period 4 Art Analysis AP Art History; 2015-2016; Silvertooth Title: Bundu Mask or Sowei Helmet Mask Artists/Architecture: Made by Sande Society and Mende People‚ carved by a male carver Date: Late 19th – Early 20th Centuries 250: Y Period/Culture: Pan-West African‚ Mende Location: Moyamba District‚ Sierra Leone‚ Liberia‚ Guinea‚ Ivory Coast‚ Brooklyn Museum Scale/Size: 39.4 cm x 23.5 cm x 26 cm Patron: Sande Society; Sande
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"The Mask of Apollo" revolves around the adventures of Nikeratos‚ a young actor who travels the countryside of ancient Greece and Sicily while performing in various plays. In one play‚ Kadmos by Sophokles the Younger‚ Nikeratos is required to wear an old mask of Apollo as part of his costume. The mask is fifty years old and is rumored to bring good luck. Nikeratos is impressed with the mask and comes to believe that it possesses special powers. He begins to make reverent gestures toward it as when
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I looked down at him clutching my legs in a death grip. Just then‚ a hand looped over my mouth. “Give me all your money!” yelled someone behind me. I glanced backwards and saw someone of huge physique threatening me menacingly. He wore a black mask. The word ‘Robbery’ was crystal clear in my mind. Could it be because I always boasted about my wealth? A moment of paralysis struck me. I froze in paramount fear. Trembling with fear‚ I capitulated and fished out my wallet which had a massive two
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Ven Additional Step-by-Step Method of Thoroughly Explicating a Poem In addition to the sections‚ which are mentioned in the basic explication de texte‚ please review these divisions to further assist you in the complex work of analysis. Meaning: can you paraphrase in prose the general outline of the poem? Do not simply answer yes or no; attempt a brief paraphrase. Antecedent scenario: What has been happening before the poem begins? What has provoked the speaker? "Poets make certain stanza-forms
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people fight to live‚ Search for pearls in the darkest depths Of their dreams‚ hold their breath for years Trying to cross poverty to just have something. The children are dead already. We are killing them‚ That is what America should be saying; On T.V‚ in the streets‚ in offices‚ should be saying‚ “We aren’t giving the children a chance to live.” Mexicans are taking our jobs‚ they say instead. What they really say is‚ let them die‚ And the children too. Mexicans and Americans face
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The Development of Frankenstein’s Monster: An Explication of the Creature’s Tale A baby is born helpless in the world‚ innocent and naïve. In the quest for personal development‚ nature itself was the enemy for Frankenstein’s monster. Mary Shelley compares the helpless creature to that of a baby‚ and without the help of his creator‚ has to teach himself about the outside world around him. By using naturalistic sensory imagery and the creature’s personal grown and development‚ whether he is learning
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