Anatomy of the Human Stomach Essay Example

Life structures of the Human Stomach Essay Example Life structures of the Human Stomach Essay Life structures of the Human Stomach Essay The stomach is partitioned into five areas, every one of which has various sorts of cells and capacities. The stomach lies between the throat and the initial segment of the small digestive tract (the duodenum). It is on the left half of the stomach cavity, the fundus of the stomach lying against the stomach. Lying underneath the stomach is the pancreas, and the more noteworthy omentum swings from the more noteworthy ebb and flow. Like different pieces of the gastrointestinal framework, the stomach dividers are made of various layers. Beginning inside the stomach (the lumen) going out, the principal principle layer is the mucosa. This comprises of an epithelium, the lamina propria underneath, and a meager piece of smooth muscle called the muscularis mucosa. The submucosa lies under this and comprises of stringy connective tissue. It isolates the mucosa from the following layer, the muscularis externa. The muscularis in the stomach varies from other GI organs in that it has three layers of muscle rather than two. Under these muscle layers is the adventitia, layers of connective tissue consistent with the omenta. The epithelium of the stomach frames profound pits, called fundic or oxyntic organs. Various kinds of cells are at various areas down the pits. The cells at the base of these pits are boss cells, answerable for creation of pepsinogen, an idle antecedent for pepsin, which corrupts proteins. The emission of pepsinogen forestalls self-absorption of the stomach cells. Further up the pits, parietal cells produce gastric corrosive, which murders the greater part of the microscopic organisms in food, invigorates hunger, and actuates pepsinogen into pepsin. Close to the highest point of the pits, nearest to the substance of the stomach, there are bodily fluid creating cells considered cup cells that help shield the stomach from self-assimilation. The muscularis externa, as recently referenced, is comprised of three layers of smooth muscle. The deepest layer is diagonally arranged, this isn't seen in different pieces of the stomach related framework, this layer is answerable for making the movement that stirs and truly separates the food. The following muscle layers are the round and afterward the longituditinal, which are available as in different pieces of the GI tract. The antrum has thicker muscle in its dividers and performs more compelling withdrawals than the fundus. The pylorus is encircled by a thick round strong divider which is ordinarily tonically choked shaping a practical (if not anatomically discrete) pyloric sphincter, which controls the development of chyme into the duodenum.

The Importance Of Performance Assessment Education Essay

The Importance Of Performance Assessment Education Essay Presentation Evaluation had experienced a significant move from that as a proportion of understudies execution in pencil and paper test to surveying a more extensive region that doesn't just incorporate understudies information and seeing yet additionally fundamental abilities. These aptitudes for example, correspondence, critical thinking, examination and in any event, thinking abilities are not many of the proposed capacities that are required for instructors to impart in their educating. These are likewise one of the points of the Ministry of Education in the new training framework, SPN 21. In Brunei itself, the optional schools have started to actualize such undertaking in their educational program. Brunei Common Assessment Task or also called BCAT has begun in the year 2011. Understudies are surveyed base on their presentation on the assignment by utilizing rubric which included three evaluated measurements. The principal measurement is information and comprehension while the subsequent measurement incorporates thinking expertise, critical thinking and examination ability and the last one is correspondence aptitude. The Importance of Performance Assessment Execution appraisal, otherwise called other option or valid evaluation, is a type of testing that expects understudies to play out an errand as opposed to choose an answer from an instant rundown. It is intended to give an increasingly complete image of understudy accomplishment in a specific territory (Sweet, 1993). At the end of the day, understudies are surveyed through watching their exhibitions and looking at the items they have delivered all through the exercise. The reason for execution appraisal is to assess the real procedure of doing an object of learning. Understudies are relied upon to have the option to apply information learnt in class to take care of issues in the errand. Aside from that, understudies may need to utilize their speculation ability so as to finish the undertaking. Educators as evaluators will have the option to pass judgment on the nature of their understudies capacities, witness their understudies advance and encourage them to a more elevated level of calculated and procedural information (Slater, n.d.) during which the assignment is led. Undertakings that are significant may improve understudies enthusiasm towards science learning as they could understand what they realized while performing (Ng, Koh, Kelly Yue, 2009). With further comprehension on the errands, understudies will have the option to apply numerical ideas learnt, in actuality, setting (Goldman Hasselbring, 1997; Lim, Tan Wei Lin, 2011). Not just that by giving execution appraisal undertakings understudies are all around guided on their degree of accomplishment as they get quick input based from the rubric surveyed by their instructors. Self and companion evaluation are additionally urged so as to recognize their degree of abilities in that specific subject. The significance of execution task doesn't concentrate on the understudies as it were. Educators likewise advantage from executing such undertakings in their instructing. Various themes could be coordinated into one execution task, in this manner instructors need not to surrender certain points or most loved exercises in their homeroom and time would be overseen proficiently. This sort of joining alongside conventional testing would give a thorough image of understudies execution. The previously mentioned was recommended by Hibbard, Wagenen, Lewbebel et al. (1996) whereby conventional testing ought to be all the while working with the presentation task so as to create a superior method to convey the educational plan (Figure 1). http://www.ascd.org/ASCD/pictures/distributions/books/hibbard1996_fig1.gif Figure 1. Understudies education. Understudies Difficulty in Learning and Understanding on Fractions The subject being surveyed was on parts, all things considered. Portion is viewed as one of the most troublesome points experienced by understudies. Numerous examinations had revealed of its challenges where understudies battled in understanding the idea on divisions. Suffolk and Clements (2003) considered understudies in Form 1 and Form 2 from 27 optional schools in Brunei had discovered that numerous understudies were encountering genuine troubles with basic portions undertakings. Another examination by Zurina (2003) including Form 4 (N-Level) understudies found that understudies had exceptionally poor information and comprehension of portions and decimals. The major contributing elements were that educator invested huge measure of energy in getting ready understudies for high-stake assessment, in this manner the customary drill and practice technique was for the most part utilized by instructors. She further remarked that instructing and evaluation strategies were not producing towards the ideal nature of the understudies. Portrayal of the Task The assignment included six inquiries with the initial four identified with one another. The following two inquiries are the application issues which are very like the initial four (allude to Appendix A). Question 1 until 4 surveys the understudies information and comprehension of their idea on portions. These incorporate the translation of division and understanding the catchphrase which is remaining and leftover portion. In the interim Question 5 and 6 are the use of activity in division to take care of issues, through which the reasoning abilities, critical thinking and examination, and relational abilities are evaluated (allude to Appendix B for rubrics). Each measurement were given a score from 1 to 5 contingent upon the various models as expressed in Appendix B. Exercise plan for completing the assignment was planned earlier the class (allude to Appendix C). Class Observation The undertaking was directed on the 27th September 2012 of every an all young ladies school in Brunei Darussalam. It was planned for Year 7 understudies and the subject being surveyed was on Fraction in Real Life. There were 22 understudies engaged with this examination with a normal numerical capacity. The span of the examination followed the science time frame which was 50 minutes. The meeting began with a concise audit on the theme explicitly on the four activities of portions. Following 5 minutes, the errand sheets were appropriated to the understudies including the rubrics. Understudies were given a clarification of what they ought to accomplish for the assignment and what was relied upon as indicated by the rubric. Understudies were approached to cooperate in a couple and the utilization of adding machines was permitted. Instructors included were making adjusts while giving assistance when important to the understudies all through the exercise. During the exercise, a large portion of the understudies were taking a shot at their errand with not many of the understudies didn't speak with their accomplices. It could be seen that couple of understudies were battling in understanding the principal question. These understudies figured out how to conceal the containers with their shading pencils. Be that as it may, they didn't mark their shadings as they were told in the inquiry. Moreover, understudies were found experiencing issues to continue to the following inquiry. Since the subsequent inquiry was posing to the understudies to conceal three-eighths of the rest of, understudies had concealed three boxes on their outline. More issues emerged as they proceeded onward to the following inquiry where understudies were found to conceal ten boxes instead of four, which was the genuine answer. With respect to the fourth inquiry, since they failed to understand the situation from the second and the third inquiry, their last arrangement was additionally off base. Questions 5 and 6 were the application issues. Understudies need to comprehend the issues and think before they could continue. The initial segment of the inquiry was a simple and straight forward inquiry which a ton of the understudies figured out how to reply. While the second piece of Question 5 was hard for understudies to tackle despite the fact that it was a comparative issue to those in Questions 1 to 4. Question 6 was the least replied by the understudies during the exercise. Results and Discussions Table 1 Mean Scores for Each Dimensions Information and Understanding Thinking Skills, Problem Solving and Investigations Relational abilities 3.59 1.77 1.68 From the examination of the rubrics, it was discovered that the mean score for each measurement were as appeared in Table 1 above. Based from the outcomes, most understudies had the option to show right portion charts in Question 1, 2 and 3. This indicated the understudies had essential information on parts yet little on understanding the issue. In the mean time, understudies just figured out how to apply a methodology and get deficient answers for both application issues which demonstrated that they couldn't arrive at the standard planned for their level. This further influenced their relational abilities by which they couldn't delineate and reason their answers. From the perceptions, instructors discovered that there was a slight improvement all through the exercise for information and understanding measurement as it were. This was on the grounds that the understudies invested more energy evaluating Questions 2 and 3 contrasted with the remainder of the inquiries, a motivation behind why Question 6 was the least replied. This was likewise the motivation behind why the instructors included couldn't rate the understudies on the other two measurements during the exercise directed.. Examining at each question, all the understudies had no issue with endeavoring Question 1. In any case, understudies were experiencing issues in seeing the correct number of squares as concealed in Question 2 and 3. This was for the most part because of the misconception of the word staying in the inquiry. Understudies were utilizing the first number of squares to see the quantity of squares as concealed in Questions 2 and 3. This prompted their failure to locate the right reaction for Question 4. With respect to Questions 5 and 6, understudies were additionally having comparable issue of understanding the word remaining and leftover portion as posted in the past inquiries. This brought an effect towards the general execution of the understudies for these two application questions. Not many attempted the inquiries yet were ineffective in finding the right solutions, others left it unattempted. Reflection and Conclusion From the above conversation, it could be presumed that by and large the exercise ran easily and just the primary target was accomplished as shown from the

Analysis of the figuritive language in th Poems Richard Cory by Edwin Essay

Examination of the figuritive language in th Poems Richard Cory by Edwin Arlinton Robinson and Paul Simon - Essay Example Applying these standards in the two variants of Richard Cory would help choose which of the two sonnets is all the more meriting merit. Distributed in 1897, Richard Cory by Edwin Arlington Robinson is the first form of the sonnet. Robinson delineates the sadness and passing of a well off man in his sonnet. Fundamentally, the language utilized is folkloric. A legends is an oral custom passed on starting with one age then onto the next. In this manner, the character of Richard Cory and his experience gives off an impression of being a gossip, a fantasy. The phonetic components of the sonnet bolster this thought. To start with, the lines of the sonnet carefully follow a typical cadenced example with the first and third lines and the second and fourth lines rhyming. This may appear to be ungainly when revealing about self destruction as it nullifies the common articulation of a self destruction story. Second, the line of thought causes the language to seem climactic, therefore causing th e sonnet to show up excessively abstract and unnatural. Like any story, the sonnet begins with the presentation of the character, in this way in the primary refrain, Richard Cory is portrayed as â€Å"a honorable man from sole to crown,/clean-supported and magnificently slim† (l. 3â€4).

Women in Shakespeare, Taymor, and Atwood The Tempest Reworked - Literature Essay Samples

The practice of theatrically adapting Shakespeare’s works has been popular for close to four hundred years (Fischlin and Fortier 1); the high points of appropriation were the Restoration and the second half of the twentieth century. Recent adaptations often adapt his plays to fit other mediums, such as film or the novel. Fischlin and Fortier remark that â€Å"adaptations . . . often attempt to re-contextualize Shakespeare politically† (5). According to Terence Hawkes, the meaning ascribed to a text at a certain point in time is always ideologically dependent and contextualized by history and occasion; therefore, assigning a final, context-free truth or meaning to it is impossible (1-10). Placing Hawkes’ notion of the dependence of meaning on context in the area of adaptation studies suggests that every adaptation of, in this case, Shakespeare, creates its own meaning by reworking the original text in a new context. Shakespeare’s works lend themselves so we ll for the purpose of adaptation or appropriation because of the gaps he left; his works often exclude motivations or depth of character, making it alluring for adapters to attempt and fill these gaps, often to enforce a certain perspective. In most of Shakespeare’s plays, female characters fall quite flat; their motivations are vague or non-existant, and they seem to exist solely to assist the men in reaching their goals, or act as their motivation. A curious theme seems to be the absence of mothers: â€Å"mothers are conspicuously absent from The Tempest, King Lear, Othello, The Merchant of Venice and Measure for Measure. Even more striking, in the six most celebrated romantic comedies (Love’s Labour’s Lost, The Taming of the Shrew, A Midsummer Night’s Dream, As You Like It, Much Ado About Nothing, and Twelfth Night) no mothers appear at all† (Rose 292). The angle of feminism or gender has been used in many adaptations; Paula Vogel’s Desdemona: A Play About a Handkerchief, for example, re-contextualizes Othello to call attention to the role of women. The main and only characters that deliver dialogue and appear on stage are Desdemona, Emilia and Bianca, female characters that a ppear quite flat in the original play; Desdemona is Othello’s obedient wife, an upper-class lady; Emilia is her servant who is very loyal to her husband Iago; and Bianca is a prostitute. According to Fischlin and Fortier, â€Å"the society of women . . . is at best a minor element in the Shakespearean original† (234). In Vogel’s play, though they occupy the same positions in society, these women are more rounded and dynamic characters; they get to express their wishes and motivations, which are in some regards opposite to those of their namesakes in Shakespeare’s work: Bianca wants to get married and settle down, Emilia is a cunning but naive woman who above all longs to climb the social ladder (even if that would require the death of her husband) and Desdemona fills in for Bianca on Tuesday nights, enjoying the freedom of being a prostitute and fantasising about travelling the world.Another example of reworking a Shakespeare play to enforce a feminist pe rspective is Lear’s Daughters by Elaine Feinstein and the Women’s Theatre Group: written as a prequel to the original play, this work attempts to explain why Cordelia opposes her father and Regan and Gonerill turn out to be so wicked, by describing the hardships they faced in their youth at the hands of their malicious father. Placing the blame of their development on King Lear’s shoulders, by turning him into an abusive, adulterous man with incestuous tendencies, justifies the future behaviour of his daughters to a certain extent. The women are moved to the foreground of the story and given a background, a more developed personality and clear motivations for their actions. The Tempest, one of Shakespeare’s last plays, tells the story of Prospero, the former Duke of Milan. His brother Antonio envied his position and conspired with Alonso, the King of Naples, to remove Prospero, sending him and his daughter Miranda off to sea on a raft; they survive and end up on a desert island, because of the charity of Gonzalo who brings them supplies and Prospero’s books of magic. They remain on the island for twelve years, time Prospero uses to enslave both a spirit called Ariel and a native by the name of Caliban. When a boat carrying his enemies and their associates appears in proximity of the island, Prospero raises a tempest to force them off the ship and strategically disperses his enemies and acquaintances over the island in order to execute his complicated plan to get his former position back. The only women that feature in the play are Miranda, Claribel and Sycorax, who are heavily outnumbered by ten males. Furthermore, the latter two of these three women appear only briefly in description, and therefore have no dialogue: Claribel is Alonso’s daughter, who has recently been married to the Prince of Tunis; the sole purpose of her character is to serve as material for snide remarks towards Alonso for selling out the kingdom, as well as to explain why Alonso, Ferdinand, Sebastian, Antonio, Gonzalo, Stephano, and Trinculo are on a boat in proximity to Prospero’s island. Sycorax, a malignant witch who was banished to the island, died several years before the story of The Tempest begins. She is Caliban’s mother and imprisoned Ariel in a tree; she serves as a foil character for Prospero, contrasting her dark with his white magic, and functions as a justification for Caliban to claim ownership of the island. Prospero also constantly reminds Ariel of Sycorax’s cruel treatment to maintain the spirit’s service. Both women exist to motivate and justify the men’s actions; Sycorax also makes Pr ospero and Miranda look good by comparison. Miranda has a more prominent role as the only woman with dialogue. However, she seems to be merely a piece on Prospero’s political chessboard: â€Å"Like Caliban, Miranda has been colonized and tricked and exists only as mans other side, his denied, abused, and hidden side. She has constantly been the embodiment of a nonculture† (Feral qtd. in Donaldson 68). Miranda is used by her father to restore his position, by making her and Ferdinand, the Prince of Naples, fall in love: â€Å"His motivation for arranging Ferdinand and Miranda’s marriage is not arranging for his daughter’s happiness, but for his own safety† (Flaherty 146). Even protecting Miranda from being raped by Caliban is not an action performed out of love or care: â€Å"His primary concern as a father is to maintain Miranda’s virginity intact at all costs. Only thus can he . . . sustain the prize that the desirable groom Ferdinand requ ires in his wife† (Sachdev 232). Caliban’s motivation for his attempt at raping Miranda is â€Å"I had peopled else the isle with Calibans† (1.2.503-4); it seems possessing Miranda equals taking back possession of the Island. Thus, Miranda is established as a submissive territory that can be won or claimed (Flaherty 170). As in many of Shakespeare’s plays, women are not fully-realised characters in The Tempest, ensuring a gap perfect for appropriation. In Julie Taymor’s The Tempest, a 2010 film adaptation of the play, the issue of female underrepresentation is addressed by casting Hellen Mirren as the female Prospera. By changing the protagonist’s gender, the oppression of Prospero/a also symbolizes female oppression and sexism: Prospera, former wife to the Duke of Milan, is accused of killing her husband using witchcraft and removed solely because she is a woman. The translation of The Tempest from paper to screen brings new possibilities for conveying emotions, and the film utilizes this opportunity to stage a new dynamic between Miranda and her parent. Both Propero and Prospera claim â€Å"I have done nothing but in care of thee, my dear one, thee, my daughter† (1.2.104), but considering the development of the plot Prospero does not seem to come across as genuine. Prospera’s words seem more credible due to the way she looks at Miranda whilst uttering these words, staring into her daughter’s eye s while touching the nape of her neck (Taymor). Where Prospero mostly treats Miranda as a political object he can use to get what he desires, Prospera seems to harbour genuine affection for her daughter: several times the movie shows her caressing or looking at Miranda affectionately. Taymor states Prospera had her whole life taken away from her because she was a woman (Breznican), and she wants to save her daughter from the same fate. Prospera’s gender can also be interpreted as a way to make her powers seem even more impressive; a woman trapping a group of men on an island, taking her revenge and succeeding in getting her life back demands more respect than a man doing the same, especially in those times. Ariel’s part is not changed; however, the dubious nature of their gender is emphasised by blurring their genitals and showing them with and without breasts at different times. Apart from its radical change concerning Prospero’s gender, Taymor’s film st ays relatively true to the original play; the dialogue mostly consists of the original lines from the play, and added lines are still in Shakespearean style. The plot undergoes some other changes, but all relatively minor from a feminist perspective: the masque is replaced by Ferdinand’s song, and Prospero’s epilogue is omitted. Taymor’s adaptation attempts to stay true to the original play in many respects, and the change of gender concerning the protagonist does not carry an intended critical message towards Shakespeare: the director claims I wanted to do it because there are actresses like Helen Mirren who never get to play these fantastic parts because they were not written for women (Breznican). Wanting to give actresses a chance to play male parts can be interpreted as a feminist motive, but it seems it was not Taymor’s direct intention to give the movie itself a feminist undertone. She previously adapted Shakespeare’s Titus Andronicus to the screen in her movie Titus, which implies her appropriations are either a case of idolatry or an attempt to exploit the Bard’s cultural heritage. Margaret Atwood’s Hag-Seed is far more liberal with the materials borrowed from Shakespeare: the novel is a metafictional work that contains a fictional theatre production of The Tempest as well as a plot that, to a certain extent, mimics the plot of The Tempest. The protagonist, Felix, is a well-known theatre director. His wife died after childbirth and meningitis proved fatal to his three-year old daughter Miranda, but memories of Miranda haunt him daily. Felix is planning a production of The Tempest; however, after an unsuspected act of treachery, he is removed from his position and decides to spend the rest of his life in exile. After twelve years, Felix gets the chance to teach a theatre course at a nearby prison; he takes the job under a false name, and after several years gets the opportunity to take revenge on the men who destroyed his career. Fittingly, a production of The Tempest is used as the trap to snare his enemies in. In both layers of the plot, the figure of M iranda is singled out and elevated by Atwood. Felix’s life outside of the prison theatre, which will be henceforth referred to as the main plot, features no living Miranda; instead, she lingers in his life as a spirit. Felix is consumed by grief; his first attempt at staging The Tempest is motivated by Miranda’s untimely death: â€Å"right after the funeral . . . he’d plunged himself into The Tempest. It was an evasion . . . but it was also to be a kind of reincarnation. Miranda would become the daughter who had not been lost† (Atwood 15). Felix plans to play Prospero himself to complete the imagery: at least in the play, he’d be able to protect his daughter. The play becomes an unhealthy obsession for him, for â€Å"inside the charmed bubble he was creating, his Miranda would live again† (17). As his life in exile progresses Felix starts imagining Miranda as she would be aging, a practice that quickly turns into a half-belief she is actuall y there with him. He starts seeing her and conversing with her, but keeps reminding himself she is not actually real. Having Miranda around in this way is beneficial to Felix: â€Å"she scolded him gently when he didn’t eat enough† (46), she warns him not to wear himself out, encourages him to eat more vegetables and he finds in her a conversation partner. By killing her, Atwood paradoxically gives her a greater importance in the story. The affection of Felix or Prospero in the main plot towards Miranda is emphasised. Interestingly, Atwood merges the characters of Ariel and Miranda by making her a spirit. When Felix leaves a copy of The Tempest lying around, Miranda finds it and insists on playing Miranda, but Felix forbids it; when she decides to understudy Ariel, however, he is supportive: â€Å"She’s found the one part that will let her blend in seamlessly at rehearsals. Only he will be able to see her, from time to time. Only he will hear her. She’ll be invisible to every eyeball else. ‘My brave spirit!’ he cries† (180). The use of language mimics that of Shakespeare’s play: â€Å"invisible to every eyeball else† (1.2.443-4) and â€Å"my brave spirit!† (1.2.326) are literal quotes, both directed at Ariel in the original work. In the performance of the play with the prisoners, Miranda is indeed present, and her voice can be heard by others as well. She prompts her lines and progresses the action. At the end of the novel, Felix realises he has to let go of the past: â€Å"What has he been thinking – keeping her tethered to him all this time? Forcing her to do his bidding? How selfish he has been! Yes, he loves her: his dear one, his only child. But he knows what she truly wants, and what he owes her. ‘To the elements be free,’ he says to her. And, finally, she is† (Atwood 283). Again, a direct quote from the original play is used to set Miranda/Ariel free. Attribu ting Ariel’s role – which is of crucial importance in Shakespeare’s work – to Miranda gives her a bigger and more important part to play in Atwood’s story. Miranda is placed front and centre as the key motivator of the main plot of the novel, from beginning to end. The metafictional subplot of the novel, the staging of The Tempest by the inmates Felix works with, also features a Miranda. The inmates who are to be the actors are all males, but Felix decides to hire an actress – Anne-Marie Greenland, the same he casted for his previous production – to play the part. Though there are some doubts about the risk of having a woman perform with convicted inmates, she manages to impress and direct them without trouble. Again, Felix casts himself in the role of Prospero. Anne-Marie has a prominent role in organising the play, she helps Felix with costumes, props, and inspires the inmates to give it their all: she even helps the people working on Caliban to add their own rap performance to the play. She seems to be the added link between Felix and the inmates, Prospero and the others, who ensures everything runs smoothly. Atwood â€Å"has consistently named [Shakespeare] as one of the most important influences on her own work† (book jacket), and writes â€Å"The Tempest is especially intriguing because of the many questions it leaves unanswered† (book jacket). This adaptation, then, seems to be a modern, complicated version of the original play, written with a sense of idolatry, which attempts to fill gaps that Shakespeare left. Prospero’s attitude towards, and treatment of, Miranda is addressed in both of these adaptations, but in vastly different ways: Taymor leaves most of the original content of The Tempest intact, whereas Atwood reshapes the entire story and plot into a metafictional novel. From a feminist angle, both emphasize the dysfunctional relationship between Prospero and Miranda; by changing the gender of the main character and utilising the medium of film, Taymor creates a closer bond between parent and daughter, as well as adding a strong female character to a plot that previously did not prominently feature one. Atwood gives Miranda a more prominent role plot-wise, though she is absent physically, and enhances her role and influence by merging her character with that of Ariel. In the metafictional subplot, Miranda becomes a strong, influential female that influences the actions of the men, much like Prospera in Taymor’s film. The adaptations use different mediums but can both be seen as incorporating a feminist note in their characters, filling the gap Shakespeare left with the underrepresentation of women. Works Cited Atwood, Margaret. Hag-Seed. London: Vintage, 2016. Print. Book jacket. Margaret Atwood, Hag-Seed. London: Vintage, 2016. Print. Breznican, Anthony. â€Å"First look: Helen Mirren in lead role in Julie Taymors Tempest†. USA Today. 5 July 2010. Web. 9 Nov. 2016. Donaldson, Laura E. â€Å"Review: The Miranda Complex: Colonialism and the Question of Feminist Reading† Diacritics 18.3 (1988), 65-77. Web. 7 Nov. 2016. Feinstein, Elaine and the Women’s Theatre Group. Lear’s Daughters. Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present. Ed. Daniel Fischlin and Mark Fortier. New York: Routledge, 2000. 215-32. Print. Fischlin, Daniel, and Mark Fortier. General Introduction. Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present. By Fischlin and Fortier. New York: Routledge, 2000. 1-22. Print. Flaherty, Jennifer. â€Å"Chronicles of our time: Feminism and Postcolonialism in Appropriatios of Shakespeare’s Plays†. Diss. U of North Carolina, 2011. Web. 8 Nov. 2016. Hawkes, Terence. â€Å"By.† Meaning by Shakespeare. London and New York: Routledge, 1992. 1-10. Web. 25 Sept. 2016. Rose, Mary Beth. â€Å"Where are the Mothers in Shakespeare? Options for Gender Representation in the English Renaissance†. Shakespeare Quarterly 42.3 (1991), 291-314. Web. 10 Nov. 2016. Sachdev, Rachana. Sycorax in Algiers: Cultural Politics and Gynecology in Early Modern England. A Feminist Companion to Shakespeare. Ed. Dympna Dallaghan. 2nd ed. New Jersey: John Wiley Sons, 2016. 226-42. Web. 7 Nov. 2016. Shakespeare, William. The Tempest. London: Penguin, 2016. Print. The Tempest. Screenplay by Julie Taymor. Dir. Julie Taymor. Disney, 2012. Film. Vogel, Paula. â€Å"Desdemona: A Play About a Handkerchief.† Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present. Ed. Daniel Fischlin and Mark Fortier. New York: Routledge, 2000. 233-54. Print.

Drugs and Musicians in “Sonny’s Blues” by James Baldwin Essay

When first reading â€Å"Sonny’s Blues† by James Baldwin, it may initially seem that the relationship between musicians and drugs is synonymous. Public opinion suggests that musicians and drugs go hand and hand. The possibility lies that Sonny’s passion for jazz music is the underlying reason for his drug use, or even the world of jazz music itself brought drugs into Sonny’s life. The last statement is what the narrator believes to be true. However, by delving deeper and examining the theme of music in the story, it is nothing but beneficial for Sonny and the other figures involved. Sonny’s drug use and his music are completely free of one another. Sonny views his jazz playing as a ray of light to lead him away from the dim and dismal future†¦show more content†¦The story mentions at one point that the music stops and so does the barmaid. It has her full attention and she waits for it to start back. The music is the manipulator and she is i ts marionette waiting for it to guide her again. A few more examples that music soothes and comforts the soul are the mother gently humming while Sonny is out on the streets, Sonny’s brother, the narrator, whistles to keep from crying after reconciliation with Sonny fails. At first glance these may seem to be insignificant details, but when analyzed they prove that music is a source people lean on for comfort whenever they are in a state of worry or despair. Perhaps one of the strongest demonstrations of the power of music in â€Å"Sonny’s Blues† is the street revival. Everyone has seen these types of revivals before. Every song has been heard by the crowd, but when the music starts everyone stops, watches, and listens. â€Å"As the singing filled the air the watching, listening faces underwent a change, the eyes focusing on something within; the music seemed to soothe a poison out of them; and time seemed, nearly, to fall away from the sullen, belligerent, bat tered faces† (57). The music from the street revival helps lifts the hopelessness from the crowd and provides a sense of relief. Music is able to bring people from all walks of life together. It gives them a sense of calm and ease, an assurance that something is there to help. Music listens.Show MoreRelatedAdversity In Sonnys Blues By James Baldwin892 Words   |  4 PagesJames Baldwin’s â€Å"Sonny’s Blues† utilizes race, poverty, stereotypes, and adversity to shine a light on the struggle to escape circumstance. Throughout the text, Baldwin describes the hardships leaching the life out of Harlem’s black community from the narrator’s perspective. Sonny, the narrator’s brother, struggles with his identity and ability to feel emotion leading him to the world of music and drugs, â€Å"To be aware of oneself, Baldwin believes, is to feel a sense of loss, to know where we are andRead MoreJames Baldwin s Sonny s Blues905 Words   |  4 Pagesthere is a work by James Baldwin entitled Sonny’s Blues. What interests me about this work is the quote, â€Å"For, while the tale of how we suffer, and how we are delighted, and how we may triumph is never new, it always must be heard. There isn’t any other tale to tell, it’s the only light we’ve got in all this darkness.† In this connection, the question that I want to research is why would a man like James Baldwin represent a character like Sonny in Sonny’s Blues? James Baldwin is a man of his wordsRead MoreAnalysis Of Sonnys Blues By James Baldwin956 Words   |  4 PagesJames Baldwin was born on August 2, 1924, to a single mother in Harlem. After his mother married his stepfather David Baldwin, who was a Baptist minister, he was adopted by him. Growing up, he didn’t feel as if he was accepted the way his other siblings were, though. In some of Baldwin stories, they often have a similar story line where it seems he is the le ss favored child over everyone else. In â€Å"Sonny’s Blues,† a similar scenario is presented in some ways. While the unnamed narrator often speaksRead More Mending the Relationship of Two Brothers in James Baldwins Sonnys Blues1292 Words   |  6 PagesMending the Relationship of Two Brothers in James Baldwins Sonnys Blues According to Liukkonen, James Baldwin is well known for his novels on sexual and personal identity, and sharp essays on civil-rights struggle in the United States. Sonnys Blues is no exception to this. The story takes place in Harlem, New York in the 1950s and tells of the relationship between two brothers. The older brother, who is the narrator and a participant in the novel, remains unnamed throughout the storyRead MoreDrug Abuse In Sonnys Blues803 Words   |  4 PagesRough Draft James Baldwin’s short story â€Å"Sonny’s Blues† is a timeless piece of literature. In this story, Baldwin captures the reality of drug abuse. He tackles the aspects that accompany it, including the consequences that follow and the impact it has on others. Alongside the underlying themes of this story are memorable characters and an impactive message. â€Å"Sonny’s Blues† leads a story that can easily take place in everyday life. â€Å"Sonny’s Blues† is about two brothers. One whom is an unnamed algebraRead MoreEssay about Sonnys Blues by James Baldwin1003 Words   |  5 PagesSonny and his nameless brother in Sonnys Blues. We learn their mannerisms, hobbies, occupations, and even their addictions. It seems we learn nearly everything about the pair; minus the narrators name, as previously stated. Hearing of their histories and the pains theyve under gone, we see how they deal with their pain, which often truly tells character. Sonnys Blues isnt a story of two brothers living in a rough city; one of whom is a talented musician. The story is so much more, its theRead MoreJames Baldwin s Connections With Sonny s Blues996 Words   |  4 Pages James Baldwin’s Connections with Sonny’s Blues On August 2, 1924, in New York’s Harlem neighborhood James Author Baldwin was born. Known as one of the most influential black writers of the twentieth century, James Baldwin wrote on real issues that many people faced in the United States during his time. His writing dealt with the reality of life and tangled with everything from human sexuality, race, and poverty. 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William Golding s Lord Of The Flies - 1126 Words

Part Three Question 2: In Lord of the Flies, there’s a scene where one of the main characters, Simon has a conversation after he has passed, out with Lord of the Flies. The pig’s head speaks to him in the book version by William Golding. In contrast, in the movie version, directed by Peter Brook, Simon simply stares at the pig head, and listens to the buzzing of the flies all over the pig’s head. If I were the director, I would have done this scene another way with the pig’s head. Rather than no dialogue in the entire scene, I’d show Simon black-out. Then, when he wakes up again, I would have the camera as if it was Simon moving around, so the audience sees what Simon sees in the oncoming scene. Then, when Simon is up and about, I would have Simon’s voice narrating what he’s thinking, such as, when he’s thinking about how he needs to tell the others that the beast really isn’t so bad, after all. This would aid the confusion by putting it in Si mon’s perspective rather than just some buzzing flies on the pig’s head. However, I would still have voices in Simon’s head from the pig’s head. I think that is too key of a detail to leave out of the scene. To clarify, having Simon’s internal monologue in the situation would aid the confusion of the scene from Brook’s movie, and make the scene more intriguing. Big Question: Are Humans Inherently Good or Evil? Quote from the Bible: â€Å"So God created humankind in his image, in the image of God he created them; male and female heShow MoreRelatedWilliam Golding s Lord Of The Flies1263 Words   |  6 PagesResearch Paper: Lord of the Flies William Golding, the author of Lord of The Flies, included adults for only a brief time throughout the novel, playing only a minor role at the end. The absence of adults exemplifies how children require the structure and guidance that only parents can provide, symbolically, how nations newly freed from the British Empire’s control would be better off under English colonial power to survive and maintain order before deteriorating into anarchy. The adults of theRead MoreWilliam Golding s Lord Of The Flies752 Words   |  4 Pagespossible, so a five year old who teases others to Adolf Hitler would be classified as perpetrators of evil. Lord of the Flies is a fictional story about a group of British boys who get stranded on island. The author of the novel Lord of the Flies, William Golding, showcases Zimbardo’s ideas in his story. Zimbardo did not form his theory Through the character development of Jack and Roger, Golding illustrates the intensity of evil when one is impacted by situational forces. Before Ralph and Piggy unifiesRead MoreWilliam Golding s Lord Of The Flies1869 Words   |  8 PagesEssay Outline – Unit 11 Introductory paragraph: Topic Sentence (includes the book title and author) The novel Lord of the flies by William Golding is a type of literature that revolves around an anti-war theme. Main Points that will be discussed in the essay presented in order of weakest to strongest: 1. Lord of the flies was written during WWII and one of the manifestations is the dead man in the parachute presumably a victim of a bombed plane. 2. Faction among the group which is similar toRead MoreWilliam Golding s Lord Of The Flies1282 Words   |  6 PagesWilliam Golding, the author of Lord of The Flies, included adults for only a brief time throughout the novel, playing only a minor role at the end. The absence of adults exemplifies how children require the structure and guidance that only parents can provide, this can be seen how nations newly freed from the British Empire’s control would be better off under English colonial power to survive and maintain order before deteriorating into anarchy. The adults of the novel can be seen as the motherRead MoreWilliam Golding s Lord Of The Flies1389 Words   |  6 PagesA response to Lord Of The Flies Imagine an airplane crash. The heat of flames scorch passengers’ backs in addition to the wind burning their faces. Lucky, this crash was over water and near an island so most passengers survive, with an exception of the airplane staff and the pilot. Even though alive, many are in fits of fear and panic, and others are in shock. After hurried deliberation, a lone member of the group is elected leader in hopes that they will calm the panic, and make the hard, but necessaryRead MoreWilliam Golding s Lord Of The Flies1315 Words   |  6 PagesWilliam Golding’s novel Lord of the Flies was set somewhere on the timeline of World War Two, a war between the Axis and the Allies lasting from 1939 until 1945. Although WWII was fought between many countries in the Pacific and Europe, the main contender was Germany, led by Adolf Hitler. Hitler and his followers, the Nazis, changed the lives of everyone when they attempted to strengthen Germany and brought out all the evil and ugli ness in the world. After WWII, nothing would be able to change theRead MoreWilliam Golding s Lord Of The Flies886 Words   |  4 Pageshow to live their lives not knowing what s right or wrong. Everyone has a different opinion towards different things. Some say gun laws should be banned while some say they want a gun in their house. In Lord of the Flies by William Golding there are clear aspects of leadership shown within the characterization between Jack and Ralph. I m chief, said Ralph, because you chose me. And we were going to keep the fire going. Now you run after food- (Golding 150). There is evident conflict between theRead MoreWilliam Golding s Lord Of The Flies1672 Words   |  7 Pages The Different Social Cognition of the Similar Stories — Synthesis essay of Lord of the Flies Final Project With the development of British culture, the format of Desert Island Literature has an inevitable connection with the geographical and culture heritage of the development of British history. Generally speaking, the setting of such literature is basically around an isolated island which is far from human society. The characters usually follow a primary lifestyle so that illustrate the courageRead MoreWilliam Golding s Lord Of The Flies1745 Words   |  7 Pages1954 novel, Lord of the Flies by Nobel Prize-winner William Golding is a dystopian allegory indicative of vast aspects of the human condition. Set in the midst of a nuclear war, the text details a group of marooned British school boys as they regress to a primitive state. Free from the rules and structures of civilisation and society, the boys split into factions - some attempting to maintain order and achieve common goals; others seeking anarchy and violence. The novel is based on Golding’s experienceRead MoreWilliam Golding s Lord Of The Flies1776 Words   |  8 PagesMaybe the beast is us (Golding 85), in the novel, Lord of the Flies, by author William Golding, Golding uses the entire book as social commentary. The social aspect he focuses on is man’s ability to be evil and destructive. 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Compare and contrast two film adaptations for act 1 scene 5 of Romeo and Juliet Essay Example For Students

Compare and contrast two film adaptations for act 1 scene 5 of Romeo and Juliet Essay The story of Romeo and Juliet is of two people who fall in love only to be torn apart by their feuding families; this was to be the death of them. Act 1 scene 5 focuses on when the two first meet. A party at the Capulets (Juliets family) is being held and a crush of Romeos, Rosaline is to be attending. Romeo and a group of friends acquire invitations and go to the party (as they are not invited because they are Montagues). Romeo quickly forgets about Rosaline when he first sees Juliet. Juliet has been told she is to be married to a man named Paris, she must court him at the family party. She too soon forgets about Paris once she meets Romeo. After the two meet they are told at separate times, by the same person that they infact in love with their enemies children. This play has been filmed for cinemas on many occasions, each with emphasis on any sections. this paper is going to focus on two of the film adaptations, Franco Zeffirelli of 1968 and Baz Lurman of 1997 Franco Zeffirellis version is shot in the appropriate era; it is a costume drama for the period of time it was shot. It is a medieval drama. It was set in Italy and uses characters that look as if they are from an Italian town. Baz Lurmans version however, is set in modern-day America. Lurman has used references from the script and given them a modern twist. For instance the play was set in Verona, Italy. Instead of shooting in Italy; Lurman had shot the play in Verona Beach, in the USA. I would first like to focus on Baz Lurmans version of the play to analyse this scene in detail. The Scene has been set in an extravagant and lavish costume party at the Capulets house. Main characters such as Romeo, Juliet, Lord Capulet, Paris and Tybalt all have costumes significant to their purpose in the play. For instance, Juliet is wearing an angel costume. This is to signify that she is the angelic vision of beauty and her presence is meant to elevate the room in some kind of graceful way. Romeo is wearing a knights suit of armour. This is to show that he is the stereotype of a heroic figure, and this to is linked with the romantic scene of being carried away by your knight in shining armour. Paris is wearing a space suit costume, this to signify the modern day version if the perfect man to carry you away. Tybalt is wearing a devil costume and smoking a cigar. This shows he is somewhat devilish; this is shown in the play when he is seen taunting Mercutio. This leads to the death of Mercutio and the death Tybalt from the hand of Romeo this causes the two lovers to be separ ated from each other and their eventual demise. The mood of the scene was garish opulence and disturbing hedonism. We find an example of this when Lord Capulet is dancing on a table and is wearing a Greek mythological gods costume made in gold fabric and lifts it to reveal a pair of lurid green sparkly underpants. The environment in which the two lovers meet is not normal situation The others characters all wear loud and garish clothes which is meant to symbolise the hedonistic nature of the lives these characters lead. An example of the type of behaviour is when Lady Capulet passionately kisses Tybalt, her nephew. This is not acceptable behaviour in normal attitudes but seems to be accepted here because no one seems to care about what they are doing. .ub9557d930da48a5ef403a705b2b847ca , .ub9557d930da48a5ef403a705b2b847ca .postImageUrl , .ub9557d930da48a5ef403a705b2b847ca .centered-text-area { min-height: 80px; position: relative; } .ub9557d930da48a5ef403a705b2b847ca , .ub9557d930da48a5ef403a705b2b847ca:hover , .ub9557d930da48a5ef403a705b2b847ca:visited , .ub9557d930da48a5ef403a705b2b847ca:active { border:0!important; } .ub9557d930da48a5ef403a705b2b847ca .clearfix:after { content: ""; display: table; clear: both; } .ub9557d930da48a5ef403a705b2b847ca { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ub9557d930da48a5ef403a705b2b847ca:active , .ub9557d930da48a5ef403a705b2b847ca:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ub9557d930da48a5ef403a705b2b847ca .centered-text-area { width: 100%; position: relative ; } .ub9557d930da48a5ef403a705b2b847ca .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ub9557d930da48a5ef403a705b2b847ca .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ub9557d930da48a5ef403a705b2b847ca .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ub9557d930da48a5ef403a705b2b847ca:hover .ctaButton { background-color: #34495E!important; } .ub9557d930da48a5ef403a705b2b847ca .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ub9557d930da48a5ef403a705b2b847ca .ub9557d930da48a5ef403a705b2b847ca-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ub9557d930da48a5ef403a705b2b847ca:after { content: ""; display: block; clear: both; } READ: Compare And Contrast Of Mr. Perry And Mr. Keating EssayAnother could be during Romeos drug induced state we can often hear animal noises emanating from some of the characters mouths. This is possibly there to show the primal element of this scene this also enhances the hedonism found in the scene. This also adds the impurity of Romeo and Juliets meeting. The two first meet when Romeo has dipped his face in water to calm his drug induced behaviour. This is when the music changes from a fast paced and wild beat with a heavy bass to a calm, soothing ballad. They spot each other through the fish tank that separates the bathrooms. This is possibly meant to symbolise the separation of the two characters because they are from rival families. They are also seen running from Juliets mother another indication of what they are about to let themselves in for, by eloping without their parents consent. They are also seen frequently running after each other and being playful. This shows that they are enjoying themselves and is completely different to the behaviour of the parents. Romeos speech about Juliet before they meet has been cut short but still contains the overall message. This is to compliment the scenes in the film have been set and to keep the pace of the scene fast, and flowing while still getting the point across. This is also reflected in the way that the music has been used to accentuate the feelings in the scene. The music during the main bulk of the scene is fast paced dance music that has a strong pulsating beat and reflects the feeling of hedonism. This then melts into a synthesised version of the song that slides along to show what Romeo is feeling or seeing during his drugged state of mind. It is also punctuated with animal noises from the other guests to make the scene seem slightly threatening and frightening, it also shows the wild and sometimes violent way in which, the characters in the play can react. When Romeo has doused himself in water, there is a muffled sound and through that we can hear the music change. The pace of the music changed dramatically and is a slow type of romantic sound that reflects the way that the two lovers should meet. The woman singing the ballad is wearing white. This could symbolise the purity of their meeting. Zeffirellis version is completely different to that of Baz Lurmans interpretation. Zeffirellis is shot in a medieval time and uses opulent sets of the castle in which to hold the party. The colours of the scene are rich with guest are wearing warm and luxurious garments. The setting of the party is in the Capulets house again, because that is in accordance with the play. The Capulets live in an extravagant castle, the party is being held in the main dining hall. The mood conjured in the scene is one of celebration with time appropriate music being played in the background. It is jolly and vibrant and is something that is most likely to be thought of when reading the play itself. The Way in which Romeo and Juliet meet in this version of the play is different to Lurmans version of events. In this, we find Rosaline in this section which we do not in Lurmans version. She at first transfixes Romeo, and then during one of many dance scenes in this piece it follows Rosaline in to the eye of the camera. It cuts away to show Juliet in the brightest and deepest of red dresses to grab your attention or to give the illusion of her overwhelming beauty that catches the eye of Romeo and makes him take notice. .ue640b2f9c205f2341c0ad49123c72de1 , .ue640b2f9c205f2341c0ad49123c72de1 .postImageUrl , .ue640b2f9c205f2341c0ad49123c72de1 .centered-text-area { min-height: 80px; position: relative; } .ue640b2f9c205f2341c0ad49123c72de1 , .ue640b2f9c205f2341c0ad49123c72de1:hover , .ue640b2f9c205f2341c0ad49123c72de1:visited , .ue640b2f9c205f2341c0ad49123c72de1:active { border:0!important; } .ue640b2f9c205f2341c0ad49123c72de1 .clearfix:after { content: ""; display: table; clear: both; } .ue640b2f9c205f2341c0ad49123c72de1 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue640b2f9c205f2341c0ad49123c72de1:active , .ue640b2f9c205f2341c0ad49123c72de1:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue640b2f9c205f2341c0ad49123c72de1 .centered-text-area { width: 100%; position: relative ; } .ue640b2f9c205f2341c0ad49123c72de1 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue640b2f9c205f2341c0ad49123c72de1 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue640b2f9c205f2341c0ad49123c72de1 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue640b2f9c205f2341c0ad49123c72de1:hover .ctaButton { background-color: #34495E!important; } .ue640b2f9c205f2341c0ad49123c72de1 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue640b2f9c205f2341c0ad49123c72de1 .ue640b2f9c205f2341c0ad49123c72de1-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue640b2f9c205f2341c0ad49123c72de1:after { content: ""; display: block; clear: both; } READ: Compare and analyse two short stories - Old Mrs. Chundle EssayRomeo than recites his speech about Juliet in its entirety. In this scene we notice that Juliet has not seen Romeo first. It is his him who catches sight of her first. This is possibly to show that a patriarchal society was still evident when the film was made and it was not appropriate for Juliet to accost Romeo first The music of the scene also compliments the way in which the scene has been structured. The scene that the two lovers meet is also punctuated with a balled sung by a falsetto boy, which was popular for the time the piece was set at. The emotion or passion between the lovers seems to be somewhat muted. However this version relies heavily on the text from the play and uses the emotion given in the text to its best advantage. The structure of the scene was played in exactly the same order as the play. But lines that were originally for Lord Capulet had been given to lady Capulet instead. This I believe was meant to give her a stronger involvement in the scene as in Act 1 Scene 5 she hardly speaks if not at all. Both of the plays host different aspects of the scene that is true to the play; for instance they are both spoken in iambic pentameter they follow the script, the structure of the play is mainly identical. But the differences in the two plays are great. The time periods of the two film adaptations are immense and many would consider that the older play by Zeffirelli followed the script in a better fashion than Lurmans. However, I find that Lurmans version is aesthetically pleasing to watch because of its fast paced mentality and the passion, which I feel, is correctly amplified in this version. I feel that Lurmans Version of Romeo and Juliet is a better adaptation of the play because it uses symbols of the modern era to explain section of the scene that could not be interpreted in such a way for a different time period or film. For instance Mercutios speech is explained in Lurmans version as being a drug-induced occurrence. This probably would not have been done in an older time frame or by another director because it would have been as being inappropriate. Another could possibly be the aesthetic nature of the scene it is brightly coloured and is a treat to look at with many different things going on at once most of which is extremely important because this keeps you on the edge of your seat. It is elements like that in an adaptation that keep the story true but adds elements of something different to make it memorable.