Mattise VS Picasso

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My experience of the "Matisse Picasso Exhibit" at the Museum of Modern Art (MOMA) was significantly educational and interesting. The exhibit consisted of 1

works mostly top drawer paintings, drawings, and sculptures, 67 by Picasso and 66 by

Matisse. "Mounting the exhibit was a massive undertaking in itself finding just the right

Matisse to pair with just the right Picasso, to show how the two developed separately and

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together, exploring what seems at times like an elaborate clandestine collaboration, at

other times like out and out war". Throughout this paper I will be comparing and

contrasting one work from each artist, which I have chosen Henri Matisse's "Music"

and Pablo Picasso's "Serenade". Each piece is alike and different in many ways.

Henri Matisse's, "Music" (1) Oil on canvas 45 /8 x 45 /8 painted in the

days of war but shows no hints of troubles, bringing joy and happiness to the

viewer. Matisse as a follower of the Expressionism used bold bright colors, simplified

shapes, careless depiction of figures, thus emphasizing inner feelings and emotions over objective views. In the picture I see two figures in a room possibly on a balcony or by a

window relaxing in peace, one plays guitar while the other sits and enjoys. "Music is divided into four distinct areas the organic upper band; the spiky middle right quadrant

with the larger figure; the griddled zone to the left with the smaller figure; and the still-life

zone in front". In the background there are organic plant-like forms in bold green

upon black which might be viewed as actual trees outside at night, or a painting on a wall.

The mid ground consists of two women sitting. Even though the woman playing guitar positioned on sofa is larger than the women in the chair on the left, she seems to be closer to

the viewer. By looking closer at the picture we realize that the chair overlaps the sofa making

the smaller woman to be closer. Both women are dressed very simply and have similar hairstyles. In the foreground closest to the viewer is an uplifted table with an apple and music notes on top. Being a two-dimensional painting there is not much depth. Depth is shown by overlapping and vertical lines, there is no modeling.

Pablo Picasso's "Serenade" (14), oil on canvas 76 ¾ x 104 /8 shares the

theme of music but the images are dark and gloomy. Picasso uses cubism techniques

which are emphasizing structure, limiting colors to neutrals, using geometric forms,

interlocking figures and ground, showing objects as the mind rather than the eye perceives

them. "The two figures in the picture have been identified as Picasso's former

and current lovers; displaying the pain of his own domestic drama, Picasso was clearly

the more overtly autobiographical artist" . In this picture I see two naked, abstracted,

figures, resembling women but with goblin-like characteristics, in a dark room. Each

seems to be wearing a mask and enchanted by the other, one sitting playing a mandolin

the other laying down and staring into space. One gets a spooky and an eerie feeling by

looking at Serenade. As if one is being stared at by morbid masks and hearing the sound

of hypnotic music luring them deeper into the picture plane. In the background stands a wall; against it in the mid ground is a figure lying on a bed. The foreground is occupied by the figure playing a mandolin on the right and a geometrical form on the left, possibly a book. The picture plane is extremely flat indicating that this is a two-dimensional painting with no modeling; depth is shown by vertical lines and overlapping. With so little depth each figure seems to be right in the viewers face entwining their mind with voodoo like elements, taken hold of their staring eyes with no escape.

Music by Matisse is an asymmetrical painting, shapes and color help to balance

and unify this work. Figures are un-proportioned, viewed larger and abstracted but human

characteristics remain present. The long ovular leaves are in balance with the arms of

each figure, the legs of the women on the left, and the woman's feet on the right.

Gridlines run along the wall shown from middle to lower left and at the right bottom

corner. Repetition of jagged triangular patterns on the couch and at the bottom of the

guitarist's pants are in harmony showing a constant rhythm between each; both associated

with the guitarist, as if one can almost hear the music being played. Music notes resemble a

pattern found on the bottom of the couch. The couch, table, music book, and brick wall,

all resemble a square or rectangular shape. Finally, the last of shapes, circles, such as used

for the woman's breasts, the hole in guitar, and the apple, help unite and bring together all

four distinct areas. Color plays an especially important role in Music as well as shape and

lines. All colors in the picture seem to be painted upwards toward the objects, leaving white highlights around them. "Matisse's line is yielding; it seems to accept the mysterious need of shapes and colors to seek their proper place and proportion. His contours are like the borders of wetness left by the waves on a beach". The edges of objects are dull and blurry causing our eyes to pick up on the outlined objects. The figures, guitar, couch, chair, music book and plant life are all outlined in black while the brick wall, table and apple are outlined by abutting colors. The plant life, table, bottom and arm of couch are all monochromatic shades of green. Complementary to the green is the red of the couch, brick wall and apple, which dull each other so the viewer is not overwhelmed with one. The yellow of the figure sitting, guitar, and triangular pattern on the guitarist's pants are in contrast with the blue of the outfit of the guitarist. The guitarist blue outfit stands out against the red and yellow shades indicating this is the important figure in the painting. The blue in the guitarists outfit is balanced by the green of the painting which is an analogous color to blue. Finally, black helps to unite the painting

brining each piece together from the background to the music notes, the guitar neck and

the chair, the hair and facial characteristics of each figure, and their outlines. We see in

music shape and color together play a considerable role of unity and balance bringing

together a masterpiece.

Serenade by Picasso is also an asymmetrical painting. Shapes and color help to

balance and unify this piece as well but in a much different way. Shapes are geometric

and unrealistic, distorting the figures and picture plane. The two figures are unified with

a number of abstract geometric shapes from triangles to quadrilaterals, to rounded forms

with sharp corners. The circular shapes prevent the figures from mixing with the

background and the foreground. Similar lines help to unite each figure and display in harmony

two parallel lines on each of there noses, contour lines depicting strands of hair, figure laying

down has toes which relate to the fingers of the mandolin player, eyes, nipples, belly buttons,

ear and the instruments hole all seem to be staring at you and staring back at each other

resembling facial characteristics when united with the geometric forms in surrounding area.

The floor, walls, ceiling, chair, couch and figures all have repeated triangular and quadrilateral

shapes all blending and shifting planes together. One can't help wondering as for the presence

of which character is emphasized the most in the picture. To answer this question let us

examine the colors that balance and unite Serenade. A deep and dark greenish, gray brown hue

vary in value and intensity remaining constant throughout the walls, ceiling, chair, floor,

and parts of the bed, depicting monochromatic colors. The mandolin player and figure

lying down are shown in complementary colors suggesting that both characters are of the

same importance. The mandolin player is painted in a purple hue with various values and

intensity separating each geometric form. The green of her hair stand out from the dark green

background but is united by the yellow green tint of the mandolin. Each geometric shape that

constitutes the figure laying down is painted in a different hue of yellow and seems to catch the viewer's eye dramatically but is balanced by dulling specific shapes with its complementary color- purple. The bright vibrant colors and geometric shapes, which make up each figure play mind boggling games with the viewer's perspective in ways so entertaining one can gaze and analyze forever.

To come to the conclusion, I would like to mention that both Matisse and Picasso paid their dues to modern culture in their unique ways, making us reflect on how we think about art. The exhibit itself helped me to understand how each artist grew, reacted, responded, and learned from each other. Looking at all their masterpieces I couldn't help noticing the ideas they borrowed from each other and the way they applied them in their works. To confirm my observations I would like to cite the mastermind himself. As Picasso said once "No one has ever looked at Matisse's paintings more carefully than I; and no one has looked at mine more carefully than he."

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Thoreau and emerson

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Henry David Thoreau wrote in chapter of Waldon

Time is but a stream I go a-fishing in. I drink at it; but while I drink I see the sandy bottom and detect how shallow it is. It's thin current slides away, but eternity remains. I would drink deeper; fish in the sky, whose bottom are pebbly with stars. I cannot count one. I know not the first letter of the alphabet. I have always been regretting that I was not as wise as the day I was born. The intellect is a cleaver; it discerns and rifts its way into then secret of things. I do not wish to be any more busy with my hands than is necessary. My head is hands and feet. I feel all my best faculties concentrated in it. My instincts tell me my head is an organ for burrowing, as some creatures use their snout and fore-paws, and with it I will mine and burrow my way through these hills. I think that the richest vein is somewhere hereabouts; so by the divining rod and thin rising vapors I judge; and here I will begin to mine.

In this passage, Thoreau is trying to Understand the complexities of our lives, as well as that of the time we spend here. He begins by comparing time to a stream, an ever-flowing endless body of water, yet he is still able to see the bottom. In saying this, I gather he is comparing his life span (the distance to the bottom) to the ever-flowing body of time. He is telling us our life is but a short period in the stream of time. It is important to understand that we are not as significant as we would like to believe. Thoreau believes the only way to cut through this insignificance is to use our intellect like a "cleaver".

Cut through the all of the social mores and beliefs that have jaded our view on this wonderful world in which we live. To cut through our own faults and fears and discover the vein of truth that is within us all. He teaches us not to bother with unnecessary busy work, and focus on the more important things in our lives. To do this, is to become timeless like the stream in which he drinks. We must trust our inner most instincts to guide us through this journey of life.

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We all experience times in our lives when the world seems like and endless pit of despair. It seems that there is no hope for happiness again. This reminds me of a significant time in my life, a time of fear and despair. It happened a few years ago, I was young and dumb. I got my head and heart all wrapped up in a young woman. At the time, this girl was the world to me. She was everything I always wanted in a woman and more, or so I thought. As time marched on, as it always does, I started to realize that my life was no longer my own. Everything I was doing was to please this one girl. I no longer had my own identity, only a shadow of her. This continued for a while. Finally, one day I realized my life had to change. At this point, I had already given up on a chance to move away to college, I was battling with a severe case of depression, and starting to go a bit further in debt than one would have liked. The realization of all this changed me profoundly. I began to look inside myself. When I did this, I saw a strong young man. A man who could stand on his own two feet. A man who could take on the world with just his mind. I realized that life was to short to be miserable all the time, to short not to live at all.

As Thoreau did, I followed my instincts and my head. This led me down the path I currently take. The path of inner knowledge which leads to that endless stream.

From reading this paragraph, I have gained a somewhat different out look on myself. I realize that we are only on this earth for a few short years. However, I have come to understand the fact that we have to live our lives by what is right for us, not what others tell us we should do. If we live by others expectations, we also live by their limitations as well. We must transcend the mental oppressions of this scattered and chaotic world, and dig deep within ourselves to discover the real truths. Our life is our own, time is short, discover the truth inside yourself, for this is the only way to be truly happy in this world of ours.

But the beauty of Nature Which is seen and felt as beauty, is the least part. The shows of day, the dewy morning, the rainbow, mountains, orchards in blossom, stars, moonlight, shadows in still water, and the like, if too eagerly hunted, become shows merely, and mock us with there unreality. Go out of the house to see the moon, and t is mere tinsel; it will not please as when its light shines upon your necessary journey. The beauty that shimmers in the yellow afternoons of October, who ever could clutch it? Go forth to find it, and it is gone 't is only a mirage as you look from the windows of the diligence.

In this passage from Ralph Waldo Emerson's Nature, Emerson explains to us that we cannot chase the beauty of nature. He portrays the fact that the true beauty is almost circumstantial. When we search for the beauty in nature it will always elude us. He tells us to appreciate the times when we happen onto the true wonders of nature. A cool breeze on a hot summer's day, a bright moon lit night when you are alone in the dark or the songs of spring after a long harsh winter. These are the true beauties of nature. These are the moments to be treasured. There is a good lesson to be learned from this wisdom, and it can be related to our everyday lives as well.

We must learn to appreciate the small, otherwise insignificant, beauties that surround us. A smile from a stranger, a helping hand, a friend. These are the things that matter. We find ourselves so hung up in this fast paced, interactive, and instantaneous lifestyle, that we forget about the truly important things in this life. I know on many occasions I let a good thing or two slips by because I was to caught up in this world of ours. If we could only see things the way we did when we were a child. Remember the times when the whole world was filled with amazing new things. No matter how simple or complicated something was it all held a little magic. I think that is partly what Emerson was getting at, the magic. I believe he is trying teach us how to regain that magic. To understand that the world is truly a wonderful and amazing place. A place full of beauty. Just recently, I started to realize this myself. I woke up from a daze I had been in for a few years now. A daze of laziness and comfortability. I awoke to realize that I could not just sit here and let things pass me by. We have to seize the moment, make the best out of what we have, and appreciate life all the while. I started to realize that I must begin each day anew, and end it with a prayer.

This quote helped me to understand the meaningfulness of life's small wonders. It made me think of the important things that pass me by. When I read this, it made me stop and think about the things that should be making a difference in my life. It made me feel as if I should relax my mind and let my soul guide me. To experience the world in a much different fashion.

The mass of men lead lives of quiet desperation. What is called resignation is confirmed desperation. From the desperate city you go into the desperate country, and have to console yourself with the bravery of minks and muskrats. A stereotyped but unconscious despair is concealed even under what are called the games and amusements of mankind. There is no play in them, for this comes after work. But it is a characteristic of wisdom not to do desperate things.

Thoreau realized in this passage from Walden, chapter 1, that we as a society hold back our true intentions. He informs us that we live in "quiet desperation", By this he means we repress our genuine desires. Our desires to harness our true potential. We fear the unknown; therefore, we do not try. A wise being named Yoda once said, "try … there is no try… there is only do or do not." If we could only live by this wisdom, we could overcome most, if not all, our mental barriers. We could open our minds to the world around us, and absorb its knowledge. However, we can only do this if we abolish our resignations. Thoreau finishes with saying "But it is a characteristic of wisdom not to do desperate things." In this line he is not instructing us to sit idly by, actually it is quite to the contrary. Thoreau is teaching us to not confuse wisdom with passiveness and unassertiveness. He is trying to get us to take charge of our lives and do the things we fear doing. He attempts to stimulate and motivate the reader to go a bit outside the lines. To experiment with life a little. Not to hold ourselves back with mental gripes.

We all experience times when we are afraid to try something other than what we are used to. We are afraid to expand beyond our own shores and travel into deeper waters. I am going through a time right now of uncertainty in my life. I am afraid to move forward, because I do not know where it leads. I am not happy with where I am at because I know I can be better off. Ironically, I am better off than most. I feel as if the biggest problem with our world today, myself included, is we are too comfortable. We torture ourselves working meaningless jobs, having menial conversations, and living lack-luster lives just because it's easier than trying something new. When is the last time you really took a chance? I can't really remember a time. I think this is what Thoreau is getting at. Instead of living in resignation, we should be out bettering ourselves. We know what we have to do. It is just a matter of actually rustling up the courage to do it. I am slowly learning that we must do the best with the time that is given to us. Death is always lurking in the shadows. We could go at any time, so why not do something worth while.

Confucius said, "To know that we know what we know, and that we do not know what we do not know, this is true knowledge." This statement truly engulfs most of what I am trying to portray to you. Our understanding of ourselves and this wondrous world around us, is the only knowledge we need. If we try to understand the underlying dynamics of Thoreau, we can start to live lives that are more satisfying. If we refuse to take chances, we will never learn. If we never gain knowledge we will never gain wisdom, and in turn never gain true happiness. I have gained the understanding that that true wisdom comes from within me. I only have to let my insecurities free to obtain it. I believe Thoreau himself summed it up best when he said, "When one man has reduced a fact of the imagination to be a fact of his understanding, I foresee that all men will at length establish their lives on that basis."

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Corvette: An American Dream

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The Corvette, America's sports car, known to car nuts around the world as the sleek and powerful Vette wasn't always the king of the road. If you were to look at the streets of America back in the early fifties you would see automobiles that looked like giant palaces rather then the cars we are used to these days. (Corvette An American Classic ) These cars at the time were what the public seemed to want. There were really no complaints from them but the designers and engineers of the day wanted to build something different. The different car they wanted was a sports car, at this time only made by the Europeans. These cars were much smaller and more visual appealing to the eye. Most of them were way underpowered compared to the huge American cars we had, but on a curvy road a sports car could run rings around the American models.

Nothing came of the want of these cars until Harley Earl, top designer at giant General Motors decided he wanted a crack at the development of this so called sports car. He believed if Europe could design and produce these automobiles then GM could as well. Earl's bosses on the other hand didn't want anything to do with it, they saw it as a waste of time and money. These would be the guys who made the big decisions and if Earl couldn't get it past them, the project would go no where. Every year GM had a car show called Motorama, where they would travel city to city and show off their new models and also special models called "dream cars." The cars were nothing like ones on the roads or up for sale, mostly used to lure people to the show the "dream cars" showed the public what the future cars would look like and what new things GM had in store.

Earl's plan was for his sports car idea to be one of the "dream cars" and if the people liked it then his bosses would have no choice but to build the car. (Corvettes The Cars That Created the Legend 10) The only problem with this was that the 15 Motorama show was only a few short months away and he had no plans or model for the car. Day and night, earl and his team of designers worked on the project 7 days a week. The car began to take shape, he barrowed ideas and details from Jaguars and Ferraris. The car was a sleek, with a clean look to it, he also added sporty wheels and mesh headlight covers to it. (Corvette The Legend Lives 5) Unlike the American cars of the time, this sports car didn't carry the famous tailfin, so his designers couldn't resist adding tiny rocket ship taillights to it. The car was looked over by the top man at GM's Chevrolet division and he actually jumped up and down in excitement. (Corvette An American Classic 14) Earl had won a spot for the car in the show. Now that the body was finished, he had to build the guts of the car. Working from the bottom up, engineers started with a low-slung frame like the ones European machines rode on. They shoved the engine forward and the seats back for a solid stance. Then they stiffened up the springs and shocks so the car would lean less on turns. After that was all in place the engine was next, they had no time to come up with a new high-performance engine so the standard Chevy blue flame six was popped in. This engine was in every plain-Jane Chevy on the road at the time. (All Corvettes Are Red Inside the Rebirth of an American Legend 6) The engineers did raise the horsepower to 150 from a standard 100 though. The European cars had stick shifts but GM felt the U.S. buyers wanted an automatic so that is what was installed in the car. The body of the car was made out of a new "miracle plastic" called fiberglass. (Book of Corvettes 5) It was easy to work with and would never rust, the only problem is when the car was done and the wiring was all hooked up nothing in the car work, no light, nothing. They figured out that the fiberglass wouldn't carry electricity the way metal did so there had to be extra wiring added to the car. With the show a few days away the only thing missing was a name for the new sports car. It had been referred to as project opel, and ex-1 in the planning stages but something classier was needed. It ended when the car reminded someone of a kind of fast British warship called the Corvette.

The car was a major hit at the Motorama show; everyone was asking how much does it cost? Where and when can I buy one? GM knew the only way to handle the fuss was to put the car into production. There was only one problem with this, a new factory would have to be made and this would cost GM millions of dollars. (Birthplace of Legends The Story of Corvette Production at the St. Louis 1) The risks were gigantic. They pushed the car to the rich and famous at the time, they had the money and were the kind of people who wanted the newest and nicest of everything. The whole thing went down the toilet, everyone loved the looks of the Vette but once they drove it they hated it. They said it was a weak copy of the European sports car. (All Corvettes Are Red Inside the Rebirth of an American Legend 40) GM wanted to cut there loses and forget the whole thing.

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In 156, the thing that saved the corvette of all things was ford. Ford had been designing a sports car of there own after they first heard about the corvette. The car was the Thunderbird, referred to as the T-Bird; it was everything the corvette was not. It had a V8 opposed to the corvettes six, Choice of automatic or stick shift, and it also had power steering and power brakes. It was a smash, for every Corvette sold Ford sold 16 T-birds. The GM bosses didn't care about the losses anymore, then wanted to crush ford and they knew the only way was to put tons of money and time into the Vette. Suddenly the Vette had it all, starting with a new V8 engine; horsepower skyrocketed from a measly 150 to an explosive 6. Buyers now had the choice of a stick shift. Earl and his designers outdid themselves on the body, the first corvette was good-looking, and this one was gorgeous. (Corvettes The Cars That Created the Legend 18) Fuel injection was added to the 157 models at a little extra cost pushing the horsepower to 8 and the corvette sales went through the roof.

Next, corvette pulled out a secrete weapon to crush the competition even more, Zora Arkus-Duntov was brought aboard to work on the corvette. Zora said that the corvette was "the most beautiful car he had ever seen" (Corvettes The Cars That Created the Legend 0) the engine and handling was a let down to Zora so he made it his job to improve things. The corvette built could reach a speed of more then 150 mph. Zora was made chief engineer in charge of Corvette. As time went on Zora made the point that if they really wanted the corvette competing against the big dogs of Europe they would have to build a special race vehicle and bring it to the major races like Sebring and Le Mans. He had the advantage over the others because GM had the people and money that the other small companies could only dream of. Two of these special cars were built for the race, the actual race car and then a half finished car called the "mule" that was used for testing. Problems began on the mule and they never got to race the car.

As the 150's cars had become more powerful, highway deaths were rising. Safety groups began to put pressure on and the companies agreed to ban any activities that had to do with speed or racing. The two cars were returned to GM with an order to never race again. The finished SS was put into a GM museum, but the mule sat under a sheet in a GM garage for nearly three years. Bill Mitchell who had been Earl's number-two man for years had a chance to make his dream of racing come to life. (Corvette An American Classic ) He began to pester his bosses to let him have the car and race it. At first he answer was no, but after awhile they decided to let him have it on two conditions. First he had to pay for it with his own money, and second he had to change it so that no one could recognize the car as coming from GM. The car was brought to a secret room at GM called "Studio X." Zora and a small group of designers often working after hours rebuilt it. The cars problems were fixed and a new body was designed, painted fire-engine red. The car also got a new name. Mitchell was sports fisherman, and the new shape reminded him of one of the creatures he hunted in the oceans, the Sting Ray.

People were starting to suspect it was a GM car so Mitchell got the final word to park it for good, GM bought it back from him, repainted it silver with corvette nametags and it was parked next to the SS. (Book of Corvettes 5) It was 16 and corvette was going through some more big changes to keep up with the changing times. The solid rear axle was taken out and a new system was put in, called i.r.s (independent rear suspension). The body of the new 16 Vette was like the sting ray they had built a few years ago, and they called it none other then the corvette sting ray.

Over the past 0 years the Vette has been altered, updated, and tweaked to adapt to the changing times once again. Next time you're out driving around and see a vintage corvette or even a new C5, just think about how the car has changed. One thing is for sure thought, it will always be labeled as America's Sports car.

Please note that this sample paper on Corvette: An American Dream is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Corvette: An American Dream, we are here to assist you. Your cheap custom college paper on Corvette: An American Dream will be written from scratch, so you do not have to worry about its originality.

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Aspects of Health Psychologuy

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Aspects of Health Psychology

Many researchers over the years have been carrying out research to find out why eating disorders occur. An example of this is a journal paper on " Attachment Research On Eating Disorders". The journal paper will be briefly identified and evaluated critically. Then using the journal paper as a starting point the role of psychological processes in health will be reviewed.

The journal paper outlines the fact that insecure attachment is common in the disordered population. The historical perspective was considered, stating the 'broad clinical literature on eating disorders predating the development of attachment theory but replete with references to abnormal familial or mother-daughter interactions' ( Ward & Ramsay & Treasure 000).

It is within the family structure and mainly the mother-daughter relationship, that a girl first learns her outlines of her social role. During adolescence the mother-daughter relationship loses none of its intensity or ambivalence. A mothers feeling about her daughters sexual development are experienced within the relationship. The mother herself has lived through the pressures of having a fashionably attractive body. Then the mother watches over the food her daughter eats (Obarch 186).

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Alternatively many mothers are threatened by their daughters developing sexuality so they are unable to welcome and legitimate the exciting body changes that the young woman is going through. So the daughter seeks confirmation outside the family in magazines, which preach thin is beautiful in society. This is where anorexia originates from the pressures of today's society.

In the journal, Bruch (174) says 'the important aspect is whether the response to the child's need was appropriate, or was the superimposed according to what the mother felt he needed often mistakenly'.

Bruch also went onto discuss the interrelationship between early feeding interactions and attachment, pointing out the interactive nature of the feeding situation.

'At the age of 1 months, the infants in whom feeding interaction had been most appropriate to their needs, permitting them active participation, showed the strongest attachment to their mothers, with the clear cut tendency to seek her proximity and to express distress at her absence. In contrast babies with inappropriate feeding experience, showed little or no tendency to seek proximity, interaction or contact with the mother. The third group included the pseudo-demands of overfeeding (e.g. when the mother is impatient with the child and starves them off with food), in which children were distressed by seperation. They generally showed more maldaptive behaviour in relation to new and strange situations' ( Ainsworth & Bell 16)

The developing attachment theory described above, the mother-child interaction at 1 months was later formalised as strange behavior (Ainsworth 178). These behaviours become internalised as working models of attachment in later life. If seen from a psychoanalyst point of view, one can see how Bruch's developing ideas could be seen fro an attachment perspective.

This is similar to what Melanie Klein described as object relations the 'good' and 'bad' breasts. If the child does not get enough of the breast they become unsociable and withdrawn.

However despite the differences in approach the other the other clinical literature strongly suggests insecure attachment patterns in anorexic patients.

Attachment theories alone cannot account for the attachment disruption. Thus Halmi has proposed a model in which bulimia and anorexia nervosa develop after the stress of dieting. This stress of dieting experience is influenced by antecedent's conditions that included genetic and physiological vulnerability and psychological predispositions that are often affected by the family and societal influences (Halmi 17).

'Addiction, obesity, starvation (anorexia nervosa) are political problems, not psychiatric, each expresses a contest between the individual and some other person in his environment over the control over the individuals body (Szasz 174).

The studies used in the journal fell in to two main categories a clinical group and a non clinical group of female college students in which eating difficulties are categorised by using questionnaires.

Anorexia also affects adolescence men aswell as women. Therefore the paper is bias, as it has selected noral and anorexic, bulimic females. Between 1 in 16 and 1 in 1 anorexic are male. Sufferers are usually in their adolescence but the disorder can appear at any time between 1 to 44 years ( Gilbert 000).

The journal made particular use of questionnaires and interviews. Their were questions on parental attachment, relationships, attachment history, adolescent attachment and adult attachment interview.

The main findings of the research literature are that abnormal attachment patterns exist in eating disordered population.

The preponderance of insecure attachment is also consistant with older clinical literature on the subject, in particular the ideas of Bruch.

The journal uses tables, which fail to give a clear picture of what is being said. Insecurity is rife in individuals with eating disorders, but the more precise associations are lost. The study of non-patients groups has blurred the picture.

Eating disorders are complex conditions that arise from a combination of long standing, behaviour, emotional, psychological, interpersonal and social factors (National Eating Disorders Association).

Eating disorders become the way that people cope with difficulties in their life. Eating or not eating is used to block out painful feeling. For some dieting, binging and purging may begin as a way to cope with painful emotions and to feel in control of their own life, but ultimately, these behaviours will damage a person's physical and emotional, self-esteem and sense of competence and control.

Dieting can lead to a condition called anorexia. Anorexia is characterised by self starvation and excessive weight loss (National Eating Disorders Association).

An individual with anorexia restricts the amount of food they eat and drink, sometimes to dangerous levels. They focus on their food in an attempt to cope with life rather than starve to death. It is a way of demonstrating they are in control of their body weight and shape. Ultimately however the illness itself takes control and the chemical changes in the body affect the distort thinking, making it impossible for the person to make rational decisions about food (Eating Disorder Association).

Bulimia nervosa is another eating disorder. The term bulimia nervosa means literally 'the hunger of an ox'. The hunger is however a emotional need that cannot be satisfied by food alone. After binge eating a large quantity of food to fill the hunger gap the person will immediately get rid of the food they have consumed, they will do this by vomiting or by taking laxatives (or by both), or they will work off the calories by exercise. This is an attempt to prevent gaining weight.

Eating disorders are associated with early attachment theories but they can also be related to environmental pressures. When a child is young he/she is not consciously aware of the surrounding they are in, but as they grow older they develop their conscious. This is when they become aware of the social surroundings (environment) they are in and they then act upon the environment.

'Many experiences will shape our lives and indeed 'social learning theory' suggest that our social environment is responsible for shaping our behavior, where there is a continuos and recipicol interaaction between a behavior and its controlling condition' (Jenner 1).

Our modern society idolises slimness and denigrates fatness (Gilbert 000). The changing cultural trends in the female body shape are an obvious explanation of why women strive to be and remain thin (Hepworth 1). Thinness became the feminine new look of the 1th century. During the 160's and 170's the media created an impression that the ideal female body was thin (Hepwort 1).

These cultural developments were the fundamental to the social-cultural explanation of the onset of anorexia nervosa (Wooley & Wooley 18).

There have been many studies stating the increase in slimness of cultural, stereotype of feminine beauty as evidenced in the ever decreasing size of models in women's magazines ( Silverstein et al 186).

Women are surrounded by images of beautiful women, which are mostly thin women. Whose body represents a contemporary idea of femininity have 10 to 15 per cent fat compared to to 6 per cent healthy, normal rate women (Brownell 11).

Being overweight or some would say being fat is seen as unpretty. But people forget beauty is only skin deep.

There has to be a link between the media and cultural factors portraying a certain female body size as beautiful, with eating disorders. When we switch on our televisions we are bombarded with images of thin people and advertisements such as weight watchers including individuals who have lost some weight claiming they feel much better and more confident now they are thinner. Why didn't these people feel good about the size they were before?

'It is surely more than a coincidence that societal changes in attitudes to female body shape and dieting have occurred at the same time that diagnosis of anorexia appear to have multiplied (Malson 1). A fear of fatness and preoccupation with body weight are relatively recent phenomena in anorexia (Russell 186).

The ideal of a thin female body increased its presence in the western culture. 'Anorexia appears to be a largely western phenomena (Edwards 1).

Anorexia is also associated with low self esteem, with lack of sense of self, of independences autonomy and control as well as the fear of fat or relentless pursuits of thinness (Bruch 17).

Anorexia can be expressive of societal concerns with the consumption, personal display, the fashion for dieting, slimness and the individualistic competitiveness of late capitilism therefore it can be culturally bound (Brumberg 188).

Anorexia can also be related to stress, anxiety and depression. When an individual has had enough, anorexia can take its toll. When you are feeling vulnerable, lonely, insecure, lacking confidence or have a low self esteem, eating or not eating might be the only way of handling things, therfore these conditions can cause eating disorders.

As well as attachment theories there are other causes of anorexia. From a personal point of view, I feel the media is very much to blame for eating disorders. As being a young woman myself, I have realised that where ever I seem to look or whom I ever I speak to, being thin is definitely associated with beauty.

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Destruction in Women in Love

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'Oh yes, ultimately,' he said. 'It means a new cycle of creation after ----but not for us. If it is the end, then we are the end ---fleurs du mal, if you like. If we are fleurs du mal, we are not roses of happiness, and there you are.'

'But I think I am,' said Ursula. 'I think I am a rose of happiness.'

'Ready-made?' he asked ironically.

'No-----real,' she said, hurt.

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'If we are the end, we are not the beginning,' he said.

'Yes, we are,' she said. 'The beginning comes out of the end.'

'After it, not out of it. After us, not out of us.'

'You are a devil, you know, really,' she said. 'You want to destroy our hope. You want us to be deathly.'

'No,' he said, 'I only want us to know what we are.'

'Ha!' she cried in anger. 'You only want us to know death.'

(Chapter XIV- Water Party, Page 178)

Destruction and dissolution are two fundamental elements of D.H. Lawrence's Women in Love. It is a novel which quite clearly reflects a society that did not survive the first world war or its revolutionary aftermath. The presence of this theme is so strong that when he had almost completed the final revision in November 116, Lawrence himself wrote, "the book frightens me; it is so end-of-the-world,". With detail upon detail Lawrence reinforces this process of dissolution, which exists in every aspect of society, both within the sphere of personal relations, and in the hearts and minds of the individual characters.

As the passage above indicates, this process of dissolution is deeply embedded in the minds of many characters, particularly the novels protagonist, Rupert Birkin. In this dialogue between Birkin and Ursula, Birkin clearly recognizes this deathly nature within himself, and attempts to persuade Ursula toward the same self-recognition. As one observes from the very beginning of the novel, Birkin is a character who is much more pessimistic about the nature of man and the possibilities of escape than the others. The reader is frequently given a glimpse of his views about the natural cycle of life and it's inherent relationship with destruction. As scholar Moynahan argues "He (Birkin) assumes early on that his generation is involved in a natural cycle of destruction preceding a fresh cycle of creation into which neither he nor anyone else can survive." This is precisely the sense one gets from his exchange with Ursula in this passage.

Birkin further equates man with the French term "Fleurs du mal", which means flowers of evil, clearly exemplifying his pessimistic view of the human race. While Birkin's thoughts are rooted in a sense of fatalism, Ursula makes it her task to persuade him otherwise. An examination of this passage however, indicates that Birkin is quite insistent on making Ursula see that the world as she knows it, and the ideals of that world, are all destined for doom. In particular, his skepticism is rooted in his attitude towards love. For Birkin the conventional attitude towards love is entirely conditioned by the present form of society, and because he strongly views this society as destructive he views this form of love in a similar fashion. It is no wonder then, that both Ursula and Birkin as in the passage above, engage many a times through the novel in debates about the nature of both love and dissolution.

An obvious example of Ursula and Birkin's relationship or contribution to the process of dissolution can be seen in their actions after they decide to get married. One of the first things they do after making this decision, is send written resignations from their jobs. Birkin being a school inspector and Ursula a teacher, are clearly active members of society. However, if society is as dead and dying as Birkin argues it to be then by resigning their respective positions both Birkin and Ursula are quite brutally abandoning the defenseless young to a fate which has nothing more than destruction waiting for them.

It is argued therefore, that the process of dissolution is closely linked to the character, Rupert Birkin, and exists both in his individual self and in his relationship with others.

Gerald Crich, is another character for whom the process of dissolution is evident throughout the novel. From the very beginning of Women in Love, Gerald is put under a sort of cloud of fatality, which can be seen in many respects. First, he comes from a family that is mysteriously defective, who "can do things but…cannot get on with life at all." Second, Gerald has been adversely conditioned by his parents, who share a mutually destructive relationship; a marriage that drives his mother into mental alienation and his father into cancer. Finally, he has his own particular defect, a flaw that causes him in his childhood to kill his own brother. It can be argued therefore that Gerald Criche is a character that has an air of destruction surrounding him from the very beginning of his life. By the end of the novel Gerald, who is already defective by inheritance, conditioning, and fate becomes a product of chaos and destruction. As his self-identity begins to disintegrate, he strays to the path of self-destruction and dissolution.

Gerald's relationship to the theme of death and destruction can be seen in many instances throughout Lawrence's Women in Love. For example in the chapter titled 'Death and Love', we see that Gerald is unable to handle the prospect of his father's death and reacts in an almost hysterical manner. Some scholars such as Gavriel Ben-Ephraim have suggested that Gerald is unable to handle his father's death because he already carries so much death inside him. Similarly, he is attracted to a woman he meets in London by the name of Miss Darrington; his attraction to her is triggered by "the film of disintegration in her eyes". Miss Darrington, or Minette is herfelf along with the rest of her caf friends involved in a form of social dissolution and Gerald's relationship with her is evidence of his destructive tendencies even within the sphere of his personal relations.These and many other such incidents illustrate the extent of dissolution that exists around the character of Gerald Criche.

A more dramatic example of Gerald's relation with destruction and death occurs in the chapter titled 'Water-party'. After bravely diving in after his drowned sister, Gerald makes utterances that foreshadow the destruction of man, quite possibly himself. "There's room under that water for thousands…a whole universe under there; and as cold as hell, you're as helpless as if your head was cut off." Though in its respective sequence in the novel this scene may appear to be simply peculiar, it is only after one has completed the novel in its entirety that one realizes its full symbolic importance. The icy cold feeling that Gerald experiences under the water in this scene is clearly a hint at what his eventual death is like, where he meets his death in the frozen Alps.

There are other symbolic scenes which also quite brilliantly serve the theme of dissolution in this text. A striking example is the scene in which Gerald forces his horse to stand at a railroad crossing while a train passes. "He bit himself down on the mare like a keen edge biting home, and forced her round… He held on her unrelaxed with an almost mechanical relentlessness, keen as a sword pressing into her." This scene demonstrates Gerald's destructive tendencies, and also depicts the typical product of Gerald's energy ---the transformation of the organic into the mechanical. Gerald defends his brutal subjugation of the mare as necessary to make her useful to him. Clearly, this is an example man imposing his destructive will on the natural world. The terror of the horse and the cold violence with which Gerald asserts his is all correlative to the thematic process of dissolution.Finally, one of the most obvious symbolic scenes in Wome in Love comes near the ending where Gerald and Gudrun partake in a corrosive death struggle in the Alps. It can be argued that in many respects Gudrun is just as destructive a force as Gerald. The fundamental difference being that Gudrun has a far greater survival capacity, making her a stronger figure then the will-driven Gerald. However, though Gudrun physically survives in the end of the novel, in essence her fate is just as doomed as that of Gerald. A close analysis of the text allows the reader to both equate and distinguish between Gudrun and Gerald's ways of dissolution. Though Gerald is explicitly a destructive force, Gudrun is also quite cold blooded. For example in the scene with the mare, one would assume that Gudrun would react in anger and hostility towards Gerald's treatment of the horse. However, after watching the incident Gudrun's "soul (is) calm and cold, without feeling." Even such extreme brutality, which occupies her mind only for a moment essentially fails to have any lasting effect on her cold control.

The process of dissolution is one that is universal in D.H.Lawrence's Women in Love. It exists in the very form of the society represented, and determines the nature of the experiences the characters within it undergo. Many critics have explained the over powering theme of destruction as a reflection of what Lawrence felt in the aftermath of the first world war. The destructive tendencies that take place within the novel can be argued then to be those which Lawrence detected in his own society. Lawrence is said to have loathed the war, he utterly disbelieved in the necessity of it, and tended to blame its outbreak on the perverse will of mankind in general. Although the war is not mentioned explicitly anywhere in the novel, it is clear that the underlying theme of destruction and dissolution is inspired by it. Clearly the deathly society that exists in the pages of Women in Love, is a reflection of what Lawrence's Europe was experiencing in the days he wrote this book.

As an informed reader then, it is our duty to fully comprehend the symbols and themes that underlie this complex narrative. One comes to appreciate the effort and detail that Lawrence has put into the brilliant integration of this theme in his work. Clearly, the process of dissolution exists within every aspect of the society in Women in Love. For the characters in this text both death and destruction exist not only in the sphere of their personal relations, but also within their own hearts and minds. One can conclude then that the principle statement the novel makes is a deeply pessimistic one. It says that any man or woman who embraces the social destiny offered to them by their industrial society is in essence embracing their own dissolution. If not for the reader this is certainly the case for the characters in Lawrence's Women in Love.

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Flowers for Algernon

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Flowers For Algernon, by Daniel Keyes, tells the story of a mentally disabled man named Charlie Gordon, who undergoes an experimental procedure that increases his intelligence. Through Charlie's story, we find that one theme involves whether man possesses the right to play God and change the natural state of things. Several characters in the book question whether scientists or doctors should change what God intends or try to correct the mistakes of nature. Along with this theme of man versus the natural state, Keyes uses another theme in the book related to the importance of friendship. Charlie values his friends more than anything in his life and these friendships influence many of the decisions he makes. The story unfolds through progress reports that Charlie writes, beginning at the time he learns he will undergo an experimental procedure that will increase his intelligence, and ending nine months after the procedure. Prior to Charlie, only a mouse named Algernon underwent this procedure with successful results. As the first human subject, no one can predict the short and long term effects of the surgery. Charlie undergoes the procedure and over a short period of time, he experiences a great increase in his intelligence to a genius level. Charlie's progress reports indicate that this increased intelligence causes many problems and issues to arise that didn't exist before. Although Charlie's intelligence increases, his social skills do not, so he must learn how to behave as an adult. He also begins to recognize that many of the people he thought of as friends actually view him as someone to make fun of. He can now remember his past and his family, which causes many unhappy emotions to come out. Finally, Charlie's increased intelligence enables him to discover a flaw in the experiment, which eventually leads to a regression for him and Algernon. At the end, Charlie watches what happens to Algernon and realizes that he will go back to his previous state. The experiment eventually fails, but Charlie hopes that his experience contributes something to science, and he vows that he will never stop reading books or trying to "get smart."

The main character of the book, Charlie Gordon, a thirty-two year old developmentally disabled man, starts out at the beginning of the story with an I.Q. of 68. He works as a janitor in a bakery during the day and he attends a school for disabled adults during the night. He exhibits a trusting, loving nature and the most important aspects of his life consist of his friends, trying to please others, and "getting smarter". Charlie learns that he will soon undergo an operation that will make him smarter and the doctors request that he write progress reports describing his experiences. At first, the reports contain many spelling and grammatical mistakes. After the procedure, Charlie's intelligence increases dramatically, and the progress reports reflect this increase. Charlie's new intelligence brings many conflicts and changes to his life. He must learn to behave in social situations and how to maintain adult relationships; he must learn how to deal with the realization that people he used to think of as friends take advantage of his low intelligence by teasing and making fun of him; and he must deal with the anxiety that occurs when he remembers negative things about his past and his family. Further, he must deal with peoples' criticisms that his new intelligence does not represent what God or nature intended for him. Regardless of the new problems Charlie faces, he always maintains that friendships represent the most important thing in his life. He constantly tries to please others so they will like him. Since Charlie doesn't maintain any contact with his parents or sister, his friends at the bakery and at the school develop into family substitutes for him. He doesn't want to do anything to jeopardize these friendships. "This intelligence has driven a wedge between me and all the people I knew and loved, driven me out of the bakery. Now, I'm more alone than ever before. I wonder what would happen if they put Algernon back in the big cage with some of the other mice. Would they turn against him?" P. 75. Prior to the operation he maintains much simpler relationships with people because he never understands the real meaning behind people's actions and words. But after his operation his greater understanding causes him some conflicts. His new intelligence drives away his friends because they don't think that anyone should change what God gives to people, or because they now believe themselves inferior to him. The operation that he desperately wanted actually ends up working against him in certain ways. Yet the value he places on friends never decreases. Even in his regressed state he still continues to think of his friends as he commits himself to an institution so he won't burden anyone and he requests that someone remember to put flowers on his friend Algernon's grave.

Alice Kinnian plays a major role in the book because she illustrates the theme of friendship and she moves the plot along. Alice teaches at a school for disabled adults, and meets Charlie because he attends her class. Alice represents the only person who acts as a true friend to Charlie both before and after the surgery. In fact, Alice recommends him for the experimental procedure when she notices Charlie's strong motivation to learn. She does not disappoint Charlie as many of his other friends do, since she always treats Charlie with respect and honesty. As Charlie's mental state changes from very low intelligence into a genius, her involvement with Charlie changes from friendship into love. Although frustrated at times with the way Charlie treats her as his intelligence increases, she continues to exhibit loyalty and love towards Charlie. Even when Charlie discovers the flaw in the experiment and he realizes he will soon regress, she still wants to spend time with him. "Alice knows everything about me now, and accepts the fact that we can be together for only a short while. She has agreed to go away when I tell her to go. It's painful to think about that, but what we have, I suspect, is more than most people find in a lifetime." P. 05. Even as Charlie regresses into his previous state and he tells Alice not to visit him or help him anymore, she doesn't abandon him. She demonstrates the meaning of a true friend as she desperately tries to maintain ties with him even though he pushes her away.

Gimpy represents a minor character in this book who works at the bakery with Charlie. Before Charlie's operation, Gimpy and the other workers at the bakery make fun of Charlie, but Charlie doesn't really understand it; he just enjoys their company and wants them to like him. After the operation, Charlie realizes how they make jokes at his expense and he recognizes some negative things about his co-workers that he didn't realize before. This leads him to question the worthiness of their friendship. He discovers that Gimpy often steals money from the bakery by undercharging customers and pocketing the extra money. Charlie's loyalties lie toward the owner, someone he considers a friend, but also to Gimpy, since he considers Gimpy a friend too and doesn't want to get him fired. He finally shows loyalty to both Gimpy and the owner of the bakery. He confronts Gimpy with his knowledge and says that he won't tell the owner if Gimpy will stop stealing immediately. Gimpy reluctantly agrees to stop and doesn't even realize that Charlie's loyalty and friendship just saved his job. Charlie leaves the bakery as his intelligence increases since others find it difficult to maintain a relationship with him as he reaches the genius level. But, at the end of the story when Charlie regresses to his original state of intelligence, he goes back to the bakery and asks for his old job. "Later Gimpy came over limping on his bad foot and he said Charlie if anyone bothers you or trys to take advantage you call me or Joe or Frank and we will set him strait. We all want you to remember that you got frends here and dont you ever forget it. I said thanks Gimpy. That makes me feel good." P. 15. Gimpy and the others he worked with before finally show true friendship qualities as they protect him and support him when some of the new people make fun of him. Gimpy thought that Charlie betrayed them by reaching an intelligence level greater than theirs. But now, his friends at the bakery accept him as he returns to his original state.

Cheap University Papers on Flowers for Algernon

Clearly, Keyes wants us to examine the issues that arise when man changes the natural state of things. Should scientists and doctors play God and try to improve things or does that cause more problems? Charlie's transformation from a man who possesses low intelligence, to a genius, produces many complications in his life. In addition, the experiment ultimately fails, which means Charlie must go through extreme disappointment and possibly even regress further than before. The book's very good quality of writing moves the story along at a fast pace. Telling the story from Charlie's perspective makes it more interesting because you can hear his thoughts as he goes through the various stages of the experiment. I recommend this book highly because of the suspense of finding out what happens to Charlie.

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Is Richard III a study of how to structure a play or is it a study of how to gain political power?

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Is Richard III a study of how to structure a play, or is it a study of how to gain political power?

For different minds, Richard III could be percieved as a fine example of both how to structure a play and how to gain political power. Critics would probably be more intersted in the construction of Richard III than a person seeing the play for the first time. In my opinion, the configuration of Richard III is of equal importance as the plot.

Shakespeare uses several succesful devices in structuring the play, that make the audience feel like insiders. Dramatic irony, for example, allows the audience to know something that the other characters dont, to be in on the plan. Another of these is parralel scenes, where the audience sees events that are happening simultaneously, but to different people. This creates dramatic tension int the play.

Another device is dramatic irony, especially when Richard relates his plots to the audience. When Richard says

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Dive thoughts, down to my soul. He lets the audience know what he is thinking, but means to keep his thoughts hidden from the other characters. These aside speeches and soliloquys are particularly fascinating because they are the only parts of the play when we see Richards true nature. The fact that Richard has to be very cautious as to whom he discloses his real nature is very important. Even Buckingham does not know Richards mind throughout the play. Richard only shows his true character to those who he feels pose no threat, and those who do see it, are usually disposed of soon afterwards. However, it should be most detrimental to his reputation should someone of importance to his plots see his character for what it really is.

The play is structured around several important themes. These are Richards ambitions, -his aspiration to the crown, irony, -how he decieves everybody and yet no-one suspectshim, fate, -Justice being done to Richard, good triumphing over evil, and morals, -that teach the audience a lesson about good and evil.

At regular intervals, Richard discloses his intentions to the audience in soliloquys. In the first scene, Richard reveals his plots to drive a wedge between his brothers, King Edward and Clarence, to play them off one another, then to have Clarence imprisoned and quietly murdered. Plots

to set my brother Clarence and the King in deadly hate the one against the other, and if King Edward be as true and just as I am sublte, false and treacherous, this day should Clarence be closely mewed up, about a prophesy which sais that G of Edwards heirs the murderer shall be.

This exemplifies to the audience Richards mercenary and remorseless nature, his willingness to kill anyone who interferes with his political pursual, regardless of his relationship with them.

Irony plays an important role in the play in many ways. For instance, dramatic irony, when the audience know something the other characters dont. Also when Richard drops hints of his villainy and plots to unsuspecting characters and when other characters oblivious words or actions prophesise outcomes, for example in Act Scene , Stanley tells Hastings of a dream he has had of Richard revealing his true nature, and endangering Hastings. Hastings dismisses this entirely and mocks Stanley for believing in dreams. He reassures Stanley wrongly of Richards kind and virtous disposition. This ties in with another theme fate, as Elizabethans were particularly intersted in the idea of interpreting dreams and omens.

Margaret, Hastings and the Duchess of York all prophesise Richards nemesis

Margaret Sin, death and hell have set their marks upon him.

Hastings I prophesy the fearfulst time to thee.

Duchess Bloody thou art, and bloody will be thy end, Shame serves thy life and doth thy death attend.

Fate also is an important theme of the play. The Medieval idea of the Wheel of Fortune that supposedly controlled ones fate suggests that Richards luck rose and fell in large fluctuations. It appeared to climax when Richard became King, but fell sharply almost as soon after he was crowned. The audience of the day would have identified with this, as Elizabethans were very superstitious.

Richards plight is supposedly parallel with the ancient Greek dramas. For example, the Greek tragedy of Phaedra, a young man who had an affair with his Fathers lover, and paid with his life as a consequence.

Though in my opinion, the fundamental, most crucial theme of the play is morality. Elizabethan people either were, or liked to appear very pious and devout, so plays with ethics or a moral lesson appealed to them.

Although Richards behaviour is scandalously immoral, the outcome is favourable to the audience of the day, because Richard is punished and good triumphs over evil. Richard certainly does not soften as the play progresses. He is willing to kill anyone who steps in the way of his political aspirations, including his own brother. He is willing to force his niece into an incestuous marriage with him, so as to secure his political gains.

The play appears to be of two halves. The first half, Acts One, Two and Three are focused on Richards success. The second half, Acts Four and Five, are centred around Richards plight. Richard seems to lose his power in the second half of the play, the audience see his weakness when people start to lie to him.

Elizabeth appears to aggree to woo her daughter for him, but secretly plans to get her daughter quickly married to Richmond

Shall I go and win my daughter to thy will? and

I go, write to me very shortly, and you shall understand from me her mind.

Stanley also lies to Richard about his loyalty

Most mighty sovereign, you have no cause to hold my friendship doubtful, I never was, nor never will be false.

Whereas once, Richard was able to command the devotion of his courtiers, he now feels that he has to blackmail Stanley with his nephews life, in order to keep Stanley loyal to him.

Not only is Richards downfall historically correct, but Shakespeare has enforced this with reccurring themes of right and wrong in the play. This seems so because Shakespeare knows this is what the audience wants to happen. However, it is true to say that Richard III is a biased play because

Elizabeth I was of the opposing Lancastiran family and Shakespeare embellished the truth to please her by diminishing Richards character, qualities and appearance. Although it has never been proven to be true, it is thought that Richard murdered his nephews. This was another point on which we cannot be sure of its testemony. His deformity in the play, was also not true to life.

I also believe thatRichard III is a study of how to gain political power.

The play closely narrates Richards ambitions and success in acquiring and maintaining his power. Richard appears to have a deep inferiority complex throughout the play. I think that this unprovoked bitterness stems from his deformity. Richard feels that his disfigured looks leave him unsuccessful in sexual exploits. He therefore states that

Since I cannot prove a lover, to entertain these fair and well spoken days, I am determined to prove a villain and hate the idle pleasures of these days.

Richards psychological acrimony is supported in his hatred towards the Woodville family, as he has no motive to justify his resentment.

Richard loses what little moral sense he has due to his political ambitions and is completely remorseless, unimpressed and almost amused by the way people are manouvered and manipulated by him...

Relenting fool, shallow changing woman. Richard mutters to himself after he thinks that he has successfully persuaded Elizabeth to woe her daughter for him. Richard knows exactly how to behave honourably and virtuously when trying to win peoples good favour.

For instance, in Act Three, Richard has to impress the Mayor with his piety, ironically because he masks his corruption and evil with unnervingly convincing performances.

In fact, throughout the play, Richard appears amiable and charming on the surface, concealing his true nature; a ruthless and bitter disposition completely devoid of feeling, though he is able to affect sentiments of sanctity and compassion when fooling others, which is unusual in a villain.

Richard, despite his deformities, is a proud character. Because he cares for no-one, he fears no-one. His arrogance dismisses Richmond as a threat, therefore Richanrd is defeated when he underestimates Richmonds strength. Fundimentally, Richards pride condemns him.

Although Richard appears to be composed 100% villain, he has some attractive qualities which would appeal to the audience; his humour, charm, wit, intellect and dramatic skills are all highly admirable. In terms of politics, I think that Richard would make a successful, clever King. His major flaw is that he would need to control his conceit. If he could overcome that, I think he would be able to easily outwit enemies with tactical ruthless actions.

However, he would probably be harsh and obstinate with his subjects as he is not compassionate, though his eloquent performances would prove successful in debating, persuading and in situations where he is required to behave diplomatically.

Though the construction and characterization of Richard III are of equal importance, I believe that the sequence of events has more initial impact on the audience. It is Richards success and eventual downfall that is of dominant interest in the play, but Richards intricate character is something to analyse on reflection.

A contemporary audience would find the play harder to perceive due to circumstances, such as the difference between the authority the monarchy had in Richard IIIs day, than today. Also, certain topics, such as witchcraft, have been provenand dismissed as irrational superstition.

However, an audience today would probably have a much more light hearted approach to the play because society today is much less restrained, where dysfunctional families and personalities are discussed a lot more freely and psychological disorders are researched treated and accepted today.

Though the different audiences over the years have different reactions to the play, the most common attitude towards Richard has stayed the same. Most viewers think that Richards ruin was a punishment for his wrongdoings.Please note that this sample paper on Is Richard III a study of how to structure a play or is it a study of how to gain political power? is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Is Richard III a study of how to structure a play or is it a study of how to gain political power?, we are here to assist you. Your persuasive essay on Is Richard III a study of how to structure a play or is it a study of how to gain political power? will be written from scratch, so you do not have to worry about its originality.

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