Modernism Art Essay Example for Free

Modernism Art Essay As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an  array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa  Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his today and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning,  organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques, 2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and  geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the  technologically savvy society. The architectural advertisement method Vegas seemed to have adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the  historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience. As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion  the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of  familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and  contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of  clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his t oday and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning, organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques,  2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a  modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the technologically savvy society. The architectural advertisement method Vegas seemed to have  adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the  traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing  with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience.

5 Latest Trends in Housekeeping

5 Latest Trends in Housekeeping Essay on 5 latest trends in the house keeping department encompassing; planning involved in successful housekeeping operations; guest supplies and amenities; guest expectations and essentials. Chapter 1 INTRODUCTION The department of housekeeping is that branch of a hotel which primarily deals with the general upkeep of the hotel and the rooms and any other services that are included there in the hotel Every hotel offers the basic facilities of laundry, dry cleaning and many other such services to make the guest feel comfortable by also offering specialized services to them Hotels these days offer the lodger many choices of restaurants which can offer a lot of different cuisines or places like coffee shops. The hotels are the place where most people come to unwind and escape the burdens of daily life. Where they come to escape from the work load of house chores, depending on the very reliable housekeeping staff. The housekeeping staff not only cleans and sanitizes your room they also restock the utility kit and the mini bar, and also make your bed. They also keep the surrounding area clean and have a great eye for detail. The house keeping department is responsible for maintaining the ambiance of the room along with that of the hotel, they ensure nothing is out of place and everything is neatly put for the guest, and fresh linen is available when needed and anything else that the guest may require it is taken care of by the housekeeping department. Chapter 2 Introduction 2.1 The Best western international hotel was founded in the 1900s by MK Guertin, a Californian hotelier. By the ending of the 2013 fiscal year, the Best Western has 2.163 hotels in North America. The Best Western has over nineteen international partner offices and property- direct relationships with six more regions. About the trend 2.2 Best Western started the trend of cleaning after associating along with revolution and strategy firm, IDEO, whose study recognized a lacking of customer assurance in regards to hotel sanitization, in the small scale hotel market. In addition to this more research was carried out by the BOOZ and Company that found out that the importance of a sanitized and properly maintained hotel has indeed become the number one priority to guests more important than any other service provided by the hotel. Before completely implementing the program a test run was done. The trends started by Best Western are: Ultra violet sanitization wands – the wands are from pure light which are used to sanitize the â€Å"high touch points† such with landlines, clocks, bathroom fixtures, and tables and other appliances. Ultraviolet examination black lights – these black lights are used by the executive housekeeper for examining the area cleaned, and to ensure that no organic particles and other small things that cannot be seen by naked eye. Protecting various items from dust – many items such as pillows and towels are all wrapped up neatly after being cleaned to ensure the guests that their things are cleaned specially for them. Remote cleaners – these devices are exclusive and very efficient. These remote controls are designed so that they sanitize and clean for each guest Before the start of the program in twenty twelve Best Western also initiated a test for the cleaning tools and found a thirteen percent increase in the guest’s overall experience along with a twelve percent growth in sanitization of the room and a twelve point four percent growth in â€Å"intent to recommend† Along with initiating the sanitizing program, Best Western is also exploring a â€Å"cooperative service† package for housekeeping to better aid its guests and their exceptional needs. The research done by Best Western show that their guests during some time see housekeeping as troublesomeness in the duration of their stay. Seeing this Best Western is building a â€Å"cooperative service† procedure so that the guests can choose the time they want their room cleaned and the type of service they would prefer. Chapter 3 TREND 2: GREEN PROGRAM OF THE RENAISSANCE VANCOUVER HOTEL HABOURSIDE 3.1 Introduction In Canada the green key eco rating program is a scoring classification made to distinguish hotels that are dedicated to preserving their environment as well as increasing their profits. Partaking hotels are then awarded with a green key rating founded on the actions followed by the hotel to lessen functioning costs and eco-friendly effects through reduced usefulness consumption, employee training, and supply chain management. A hotel that proposes a host of eco-friendly options would really strive to reduce its eco-footprint. Marriot international is dedicated to following the best practices and green initiatives to sustain and defend the surroundings for ages to come. The Renaissance Vancouver hotel Harbourside has earned the eco-friendly 4 green key rating. The Vancouver hotel’s employees originally in the 90s formed a concerned gathering when they formed the renaissance Environmental Committee. In the beginning their aim was to incorporate a more effective recycling program. Currently, the hotel has environmental programs for: waste reduction and recycling; energy reduction and efficiency; water conservation; sustainable purchasing; and air quality. Waste Decrease and Reutilizing The hotel’s waste decrease and reutilizing plan of work is the basis of a full -spectrum sustainability operation, and includes the recycling of cardboard, paper, aluminum, glass, plastic, toner cartridges, and refundable beverage containers. Energy Reduction and Efficiency The efficient use of electricity and lighting, heating and ventilation, and office equipment speaks volumes to sustainable operations. The downtown Vancouver hotel replaced all incandescent light bulbs throughout the property. Exterior lights were changed to lower wattage fluorescent light and main service areas were equipped with occupancy sensors. Water Conservation The property has also significantly reduced water consumption by installing low-flow showerheads, implementing a linen and towel reuse program and a leak detection and repair program. Moreover, dishwashers are run only when completely full, the water used in ice machines is re-circulated, and infrared sensors operate in the urinals of staff and public washrooms. Air Quality- The staff promotes carpooling and the use of public transit for commuting to work, and encourages guests to use public transit and share taxis whenever practical. Other programs include: †¢ Using HEPA air filters †¢ Implementing no-idling policy for delivery trucks in loading bay †¢Using automatic carbon monoxide detectors Sustainable Purchasing- The Renaissance Vancouver Hotel Harbourside’s good housekeeping practices and appropriately eco-friendly equipment greatly increase sustainability and reduce pollution on the property. The hotel works closely with suppliers to ensure that every measure is taken regarding the purchasing of supplies. These programs include: †¢ Buying locally grown food and wine products – beneficial to the local economy and aiding in the reduction of transportation costs, in turn helping to improve air quality †¢ Purchasing non-hazardous cleaning products †¢ Using â€Å"just in time† purchasing practices to prevent unnecessary waste †¢ Using cloth napkins and tablecloths in restaurant †¢ Using recyclable/reusable packaging materials for food products CHAPTER 4 TREND 3 EARTH PROGRAM IMPLEMENTED IN TAJ HOTELS 4.1 Introduction The company EarthCheck, a global ecofriendly certification company, has partnered with the TAJ group for implementing EARTH (environmental awareness and renewal) program. The company gives certificates to tourism industry based on the principles for ecological growth by the heads of state at the United Nations Rio Earth Summit in the 90s. The EarthCheck is the only global ecofriendly certification program for tourism with contributors in more than fifty countries. EarthCheck is managed by EC3 global. Implementation by Taj 4.2 In an attempt to reestablish its vision and hard work to increase sustainable tourism and incorporate ecofriendly management in all corporate areas. EarthCheck provides the EARTH scheme with autonomous and complete proof of their eco-friendly commitment through the observation and improvement reports EarthCheck will produce to the hotel as part of its certification. Now six Taj hotels have â€Å"green† hotels where the air conditioning is already set to an amiable temperature at twenty four degrees centigrade, up from the usual eighteen degrees saving almost thirty percent of energy which is used up at the lower temperatures. Then when you arrive in the room and insert your key card in the slot the TV switches on and tells you more about the green room which is part of plan EARTH at the Taj hotels. The mini bar is substituted with a snack bar ending the need for cooling and its effluents produced. In the room the bed and bath linen are changed every other day, halving the use of detergent. For Taj inner circle members they receive fifteen percent extra Taj inner circle points on their stay at the green rooms. Green rooms are available at six Taj hotels now the Taj palace hotel- N Delhi, Taj lands’ end Mumbai, Taj Bengal – Kolkata, 51 Buckingham Gate – London, Taj Connemara – Chennai and the Gateway hotel †“ Bangalore.

Reviewing The Tragical History Of Doctor Faustus English Literature Essay

Reviewing The Tragical History Of Doctor Faustus English Literature Essay My third chapter proposes a threefold analysis of the major characters in The Tragical History of Doctor Faustus and The Master and Margarita. First, by comparing Faustus and Margarita, I show how their individual features as well as their relationships with the other characters are marked by elements of feminism, psychoanalysis, Renaissance humanism, affective geography, and role-play. Then, I put forth a parallel between Woland and Mephostophilis meant to reveal that-in both literary works-the devils embody a necessary evil that actually reinforces divinity. Last but not least, an insight into some of the most significant supernatural episodes of these books shall demonstrate that magical realism and Bakhtins theory of carnival laughter offer readers the Faustian myth with a twist. Margarita and Doctor Faustus Starting from the premise that man is created as Gods reflection, in a twofold embodiment of the masculine and the feminine principle (Sergei Bulgakov 150), one might easily assume that both The Tragical History of Doctor Faustus and The Master and Margarita underline the harmonious union between male and female elements-hence Bulgakovs title of his novel and also its dual structure; yet instead, nothing could be farther from the actual ponder of masculine over feminine aspects in both books. In this sense, feminist critics and theoreticians base their approach to either of these two literary works on issues of gender-segregated societies, appellatives, transgender identity, androgyny, and linguistically codified male discourses. Both Marlowes England and Bulgakovs Stalinist Russia are worlds segregated in terms of gender. Eve Kosofsky Sedgwick explains: male friendship, mentorship, admiring identification, bureaucratic subordination, and heterosexual rivalry (quoted in Chedgzoy 247) are all forms of homosocial connections that pervade both Marlowes play and Bulgakovs novel. Thus, Faustus aspirations are foreshadowed at the beginning of the play when he fantasizes about exotic sites, colonial exploitation (attributed to men exclusively), and violent ambitions: Ay, these are those that Faustus most desires. / O, what a world of profit and delight, / Of power, of honour, of omnipotence (Marlowe 52). Faustus deems knowledge the way to gain power. His is not a singular view; rather, it represents the exponent of Marlowes epoch according to historians: during those times, this segregation extends even to theatres where actresses are not admitted and universities where men alone are granted access. Bulgakovs work o f fiction account for a role reversal, although the circumstances are somewhat similar. Margarita-the female Faustus of the twentieth century and therefore the one who assumes a anti-hegemonic role-is swept off her feet by the Master, a God-like figure who is not satisfied with writing about Yeshua (hence the identification with the latter that confers him divine authority) but carries his artistic mission further, which acquires metaphysical connotations. The Master remains unnamed and thus represents a universal symbol of Bulgakovs literary times. He is the exponent of one of the major Moscow literary associations, called Massolit (Bulgakov 11) that rarely if ever includes women writers among its members. Even if this is the case, women are belittled twice: first rejected as writers or second fiercely censored by the state. Feminists seek to rebel against such a misogynistic structure of masculinity; they find the key figures to do that in exactly the same female characters who are initially submissive and oppressed. Both Margarita and Helen of Troy disrupt the authoritative discourse of masculinity. On the one hand, the second part of Bulgakovs novel casts away the Master and brings into focus the beautiful Margarita: She was beautiful and intelligent. () many women would have given anything to exchange their lives for the life of Margarita Nikolaevna (Bulgakov 166). She is now the active protagonist, whereas the Master is the passive one. She is willing to sacrifice body and soul in the name of love, acknowledging her role entirely. On the other hand, Marlowes tragedy depicts Helen as the demolisher of masculine power; her name Helen may be read as made up of the core Hel (referring to hell and destruction) and the particle -en. That is why Helens image is associated with the downfall of Troy but also of Faustus and Wittenberg here. Furthermore, an equally significant element that brings about the subversion of masculine authority is love. Both Faustus and the Master single-mindedly surrender to their mistresses, although this aspect is more obvious at Marlowe. In Bulgakovs book, the Master owes Margarita his salvation and recuperation, whereas in Marlowes tragedy, the play of significances has a greater depth. Doctor Faustus and Helen engage in an androgynous role-play: he plays Semele and Paris: I will be Paris, and for love of thee / Instead of Troy shall Wittenberg be sackd, / () When he appeard to hapless Semele (Marlowe 106), while Helen assumes the prototype of feminine beauty but also the role of Jupiter: Brighter art thou than flaming Jupiter (106). A few lines afterwards, by being associated with Eve, Faustus becomes aware of his sin but he is also left with an undermined masculinity: that tempted Eve may be saved, but not Faustus (108). In The Tragical History of Doctor Faustus and The Master and Margarita alike, even episodic characters or those of lesser importance see women only as a medium of power, as objects rather than agents. Hence Valdes ironic observation: Sometimes like women or unwedded maids, / Shadowing more beauty in their airy brows / Than in the white breasts of the queen of love (Marlowe 54) or Robins declamatory fantasy: Ay, there be of us here that have waded as deep into / matters as other men (73). Mephostophilis himself turns the concept of marriage into an antisocial act because he offers Faustus a devil disguised as woman instead of a wife. Bulgakovs text describes the meeting between Azazello and Margarita on which occasion the former reckons that women are superficial beings: saying ironically: Difficult folk, these women! (174). Another character, Hella-Wolands maidservant-is analogised to Helen of Troy through her name (note the particle Hell): she represents the feminine side of Hell. Twentieth century feminists fight against such patriarchal empowerment. This is the case of Helene Cixous who upholds the idea that gender relations are inscribed in the language we use. Consequently, Cixous turns the invisibility of women back against men, who become the other of the other and hence are cancelled out (Hedges 106). Following in the same line, Luce Irigaray argues that man obliterate differences between them and women as a result of their belief that women represent their reflected opposites; therefore, womens otherness is denied (Hedges 105-6). Additionally, the two protagonists of these literary works are linked by features of humanism. Doctor Faustus definitely embodies the exponent of the perfectible man of the Renaissance whose intellectual curiosity, aspiration for power, and nationalism are expressed rhetorically in the first person singular: Ill have them (à ¢Ã¢â€š ¬Ã‚ ¦) / Ill levy (à ¢Ã¢â€š ¬Ã‚ ¦) / Ill make (à ¢Ã¢â€š ¬Ã‚ ¦) (Marlowe 53). In this respect, Faustus is an overreacher according to Harry Levin as he reaches out to the unconscious, to supernatural forces that might help him remedy the intellectual bases of his age which he perceives as faulty (quoted in Mitchell 55). Although he aims to gain fame through his powers and he aspires to be more than a man, he is permanently haunted by an uneasy consciousness; hence the opposition between the Good and the Bad Angels but also the Seven Deadly Sins that reveal the scholars inner flaws. Margarita too is a representative of twentieth century humanism. She does not seek to gain power through knowledge but through love. Similarly, her being an overreacher is evident in the desire to explore new environments and her acceptance to obey occult forces. Marlowes Faustus and Bulgakovs Margarita are both folk protagonists since they are considered dissidents of their times, in spite the fact that their endeavours target very distinct goals. Paul de Man describes this type of character as the one whose path is strewn with those parts of himself that he had to abandon in the process of his own becoming (398). Faustus symbolizes the opposition brought about by the protestant belief that every individual is responsible for his / her own salvation or damnation. Margarita denotes the opposition against the rigid moral and social rules dictated by the communist regime. The scholars unorthodox practices and his extended travels shed light on the ultimate results which he bargains for: knowledge, fame, and control over other cultures, whereas Margaritas is a more limited aim-she is not at all domineering (although she is appointed queen for a night) but looks for affective fulfillment. However, these central characters are brought together by the development of all their individual possibilities, so that, by being put to test in the world, they might penetrate, come to know, and dominate reality (Lukacs quoted in Hedges 92). Faustus and Margaritas personalities extend to more than their individual scope, they represent a literary reaction to the ardent issues of their times. Moreover, these protagonists are depicted as torn between their affective and their intellectual make-up all throughout the texts. Obviously, the combo of emotion and reason is much more stringent in Faustus case: the oscillation between enjoying life and attaining knowledge reveals that for the scholar, the body is more important than the soul, as he himself puts it: This word damnation terrifies not him (Marlowe 58). Nevertheless, Faustus existence stands not under the sign of eros, (like Margaritas does) but of thanatos (Hermand quoted in Hedges 94)-since his quest leads to death whereas Margaritas grants her access to atemporal bliss. Ultimately, the construction of Marlowes and Bulgakovs central characters is informed by the setting where they are portrayed. Garrett A. Sullivan, Jr. speaks about an affective geography (231)-for instance Faustus study or the Master and Margaritas rented apartment-that shapes the protagonists identity. He further explains that the notion of geography is defined as a conceptual structure through which social and spatial relations are simultaneously materialised and represented (Sullivan 236). In these two literary works, there exists a cyclic sequence of broadness and enclosure. We find Faustus alone in his study both at the beginning and in the end of the play, although he travels extensively during the twenty-four years of the pact, while Margarita swings between the remoteness of her Masters apartment-A completely private little apartment, plus a front hall with a sink in it, little windows just level with the paved walk leading from the gate (Bulgakov 109)-Moscows expansiveness, and the seclusion of their eternal refuge. Thus, the relationship space-identity acquires new dimensions; locations become part of the characters emotional make-up: The axis mundi passes through [Faustuss] Wittenberg study and the Muscovite abode; on it lie Heaven and Hell (Kott quoted in Sullivan 240). Overall, Marlowes play and Bulgakovs prose present two multidimensional characters who-if carefully analysed-are more similar than different in terms of questioning patriarchal discourses through feminist techniques, in terms of revealing humanistic features, and in terms of attaching emotional connotations to their setting or background. The Evil Suite The archetype of the dichotomy good-evil permeates human discourses as well as literary creations since the beginning of time. Evil has forever been opposed to and traditionally vanquished by good forces, regardless of the culture adopting this model. Nonetheless, The Tragical History of Doctor Faustus as well as The Master and Margarita put forth an innovative perspective: not only does evil stem from good, but it also reinforces divine laws and teaches moral lessons. Both Christopher Marlowe and Mikhail Bulgakov deal with metaphysical issues in their works, issues that question the relationship between Heaven and Hell and Gods intervention in humans lives at the same time. In this context, Wolands emergence in Moscow and Mephostophilis in Faustus study foreshadow the obvious religious themes whose manifold interpretations are disclosed in these two works. Wolands mission is to point to the moral collapse of the Stalinist 1930s Moscow through the use of satire and supernatural whereas Mephostophilis task is more limited in scope because it refers to a single individual, Doctor Faustus. However, both demons appear as God-sent messengers swinging between Heaven, earth, and Hell. In Marlowes tragedy but also in Bulgakovs novel, the forces of good and evil are not in competition but coexist on more or less equal terms (225) as Laura D. Weeks tells us in her article Hebraic Antecedents in The Master and Margarita: Woland and Company Revisited. The black magic professor, Woland seems inseparably united with God even from the very beginning of the novel, when the motto taken from Goethe exposes this timeless link: I am part of that power which eternally wills evil and eternally works good (Bulgakov 11). The same may be said about Mephostophilis who-when asked about his origins-replies: FAU. Was not that Lucifer an angel once? / MEPH. Yes, Faustus, and most dearly lovd of God. () FAU. And what are you that live with Lucifer? / MEPH. Unhappy spirits that fell with Lucifer (Marlowe 59). Thus, Woland appears as an intricate and profound character while Mephosto is less thoughtful and more servile. Additionally, having the status of Gods opposites, the two devils actually strengthen His goodness and prove once more that they are His envoys. In Bulgakovs novel, Woland claims to have been an incognito observer of Yeshuas trial; it is paradoxical how-by recounting this first installment to Berlioz and Ivan Homeless-Woland in fact reasserts Gods existence: Theres no need for any points of view, the strange professor replied, he simply existed, thats all' (Bulgakov 18). Likewise, Mephostophilis reconfirms the divine authority when he admits his origins and confesses the sin of having Conspird against our God with Lucifer (my emphasis, Marlowe 59). Moreover, both Woland and Mephostophilis have immense powers, yet they are aware these are limited in comparison to Gods. For instance, when Margarita asks that Frieda be forgiven, Satan admits: Each department must look after its own affairs. I dont deny our possibilities are rather great, () But there is simply no sense in doing what ought to be done by another as I just put it department (Bulgakov 216). Mephosto similarly gives away his limitations when he refuses to tell Faustus who has created the world: Now tell me who made the world. / MEPH. I will not (Marlowe 69) or during all the episodes when he urges the scholar to renew his bond for fear Faustus might be forgiven by God. However, in their attempt to attest Gods existence, both Marlowes and Bulgakovs demons actually want to reinstate theirs. Wolands and Mephostophilis is a peculiar status since they seem to embody both good and evil. On the occasion of the Great Ball when Woland is willing to grant Margarita a wish, the power of mercy surfaces: I am talking about mercy, Woland explained his words, (à ¢Ã¢â€š ¬Ã‚ ¦) It sometimes creeps, quite unexpectedly and perfidiously, through the narrowest cracks. And so I am talking about rags' (Bulgakov 216). Mephostophilis does not mention mercy but regret and despair when he contemplates his everlasting doom in Hell: Thinkst thou that I, who saw the face of God / And tasted the eternal joys of heaven, / Am not tormented with ten thousand hells / In being deprivd of everlasting bliss? (Marlowe 59) or when he advises the scholar: O Faustus, leave these frivolous demands, / Which strike a terror to my fainting soul (ibidem). Under these circumstances, there arise questions about the ambiguous, opposites-marked personalities of Woland and Mephosto; Radha Balasubramanian further explains: the two literary works complicate the matter further by concentrating on the nature of the Devil, raising questions as to who the Devil is, and how he came out being angelic. He is a wanderer, without a name and without a home? Does he also resemble God? Are they the same? Do devils exist as a contrast to God? Are they two sides of the same coin? (1995: 41) Therefore, besides the dominant feature of demonism, The Tragical History of Doctor Faustus and The Master and Margarita endow their devils characters with versatile attributes. The demons incorporate multiple valid truths (Emerson 179), acting as coordinators and bridging the different plans of the two books. In so doing, Woland and Mephosto bring about a multiplicity of perspectives and remind the reader of Mikhail Bakhtins heteroglossia, although Marlowes devil is less distant than Bulgakovs: Except when he is the mouthpiece for an installment of Christs Passion, Woland is a taciturn man. This is appropriate. He shows rather than tells (Emerson 179). Another equally significant aspect is related to the parallel that the two authors draw between devils and religion. Hence, the satire of the Stalinist Moscows society is acquired through a review of the Yershalaim narrative. The same may be averred about a satire of Catholicism at Marlowe through a post-Reformation approach. Whereas the parallel between Wolands visit in Moscow and Yeshuas Passions in Yershalaim indicates time condensation-Moscows literary time became a mythical time that can be structurally correlated with the mythical dimension in the Yershalaim chapters (Balasubramanian, 2001: 90)-there is no such analogy or time contraction in Marlowes tragedy. Instead, the dramaturge describes the meeting between Faustus, Mephosto, and the Pope as the only occasion when the Pope is punished by the devil. In this way, Catholicism is downplayed as the Pope is mocked for failing to exorcize the troublesome ghost (Marlowe 83). Here, religious dissidence is also backed up by newly em ergent ideas of predestination and original sin as advocated by the Elizabethan church. By opposition, the sole religious dispute occurs in the incipit of Bulgakovs novel between Ivan Homeless, Berlioz, and Woland. Furthermore, there are additional thought-provoking implications that seem to pervade only Bulgakovs novel but not Marlowes play. For instance, certain scholars question the source and the narrator of the novel at the same time, attributing these alternatively to Bulgakov, the Master, the Devil, or God (Balasubramanian, 1995: 44). It is evident that endowing Woland with the premise of authorship is an idea reminiscent of Bulgakov himself who has originally planned his novel as a Gospel According to the Devil' (Emerson 178). In this respect, Christs story is defamiliarized by transposing narrative points of view from the apostles to the devil (Balasubramanian, 1995: 44)-the habitual Christian perception is disrupted and the gospel acquires novel undertones. In general, good and evil are the inseparable components of the human nature differentiated only by mans free will. There is no preeminence of evil over good, although there can be no good without evil: Kindly consider the question: what would your good do if evil did not exist, and what would the earth look like if shadows disappeared from it? (Bulgakov 274). By this account, both Woland and Mephostophilis appear as the most reliable source of knowledge in these two literary works but equally as troubled allies of God. Supernatural Encounters At the beginning of the nineteenth century, E. T. A. Hoffmann-a leading representative of German Romanticism-uses the fantasy genre with macabre undertones in combination with realism. A century later, the theoretician Mikhail Bakhtin defines his work as a Menippean satire, fundamentally satirical or mocking in nature and seeking to ridicule different intellectual attitudes and philosophical postures (Cuddon 504). The two literary works herein under scrutiny draw on the category of supernatural and on comedy to give the Faustian myth a twist, although humour serves distinct purposes in The Tragical History of Doctor Faustus and The Master and Margarita. The use of humour and farce in the two books is treated differently by critics. On the one hand, in Marlowes play, the comic scenes have not received that much critical consideration over the years. One reason for this aspect might be the fact that there is still ardent debate nowadays over the authorship of these comic scenes: There is almost unanimous agreement that the scenes of clownage (à ¢Ã¢â€š ¬Ã‚ ¦) and the comic scenes at the papal, imperial, and ducal courts (Jump 22) are not Marlowes but someone elses-hence the variation in length and style between the A-version (1604) and the B-version of the text (1616). Regardless of their origin, humourous scenes do permeate Marlowes play. On the other hand, Bulgakovs comedy episodes have been the focus of much more critical interpretation due to the conviction that, in this case, Bulgakov himself is the author of these scenes. Bulgakovs fiction does not employ humour and pranks only for the sake of comic relief but also to underscore a deeper connotation: the Stalinist Moscows small-mindedness, gluttony, and moral degradation. Certain commentators such as Marie-Hà ©là ¨ne Besnault in Belief and Spectacle at Early Performances of Doctor Faustus (2009) separate humourous episodes into low-comedy and clowning scenes (19). The former category occur in Vatican and at Charles-the German Emperors-court, have Faustus as protagonist, depict people pertaining to the social elite, and are further divided into sub-scenes with a larger number of characters (Besnault 19-20): dukes, attendants, cardinals, and others. The most relevant instances of low-comedy scenes centre on the moments when Faustus and Mephosto steal the Popes food or beat up the friars: POPE. How now! Who snatchd the meat from me? / POPE. My wine gone too? Ye lubbers, look about (Marlowe 82). By opposition, the protagonists of the clowning scenes are Robin, Dick, the horse-courser and their suite (in fact, all of them embodying archetypes of clowns), although the main topic of discussion remains Faustus. Besides, these episodes have a less intricate course of events as well as an equally uncomplicated spatial and temporal frame. Examples that best illustrate this case present Faustus tricking the horse-courser or Robin and Dick being changed to animals: For apish deeds transformed to an ape. / MEPH. And so thou shalt: be thou transformed to a dog, and carry him upon thy back. Away, be gone! (Marlowe 85). Similarly to Marlowes low-comedy that parallels the major events of the play, Bulgakovs novel contains buffoonery scenes meant to counterpoint the main plot. For instance, Natashas metamorphosis into a witch parallels Margaritas: Completely naked, her dishevelled hair flying in the air, she flew astride a fat hog, who was clutching a briefcase in his front hoofs, while his hind hoofs desperately threshed the air (Bulgakov 185). Then, there is also the correspondence between Behemoths noble-like manners and Wolands aristocratic personality: There was now a white bow-tie on the cats neck, and a pair of ladies mother-of-pearl opera glasses hung from a strap on his neck. Whats more, the cats whiskers were gilded (Bulgakov 195). Both Marlowes tragedy and Bulgakovs narrative dwell on the connection between belief and disbelief when presenting supernatural occurrences. T. S. Coleridges willing suspension of disbelief (Biographia Literaria, 1817) justifies the emergence of supernatural, seemingly inexplicable actions in a literary work. Thus, despite being taken aback by multiple extraordinary, uncanny events, the readers of these two books are willing to believe and acknowledge such scenes as literary conventions. Berliozs severed head as predicted by Woland, Behemoth traveling by tram with a paid ticket, Faustus invocation of Alexander the Great, or Wagners summoning devils are all examples that illustrate the abovementioned hypothesis. Unlike Bulgakovs fiction however, Marlowes play draws on an extra element which reinforces the suspension of disbelief (ibidem), namely the fact that the comic scenes seem open to further editing, alterations, or adjustments according to the taste of the audience who watches t he performance of the play onstage. Additionally, magical realism informs The Tragical History of Doctor Faustus and The Master and Margarita alike. In The Penguin Dictionary of Literary Terms and Literary Theory (1998), J. A. Cuddon enumerates some of the key aspects which characterize this literary trend: Some of the characteristic features of this kind of fiction are the mingling and juxtaposition of the realistic and the fantastic or bizarre, skillful time shifts, convoluted and even labyrinthine narratives and plots, miscellaneous use of dreams, myths and fairy stories, expressionistic and even surrealistic description, arcane erudition, the element of surprise or abrupt shock, the horrific and the inexplicable. (488) In the two literary works analysed here magical realism establishes a link between the books reality and a mythological, distant past. In this way, supernatural episodes are bordered by easily recognisable locations and characters that offer readers a dose of certainty. Behemoth alludes to Charles Perraults story The Booted Cat (1697) when he claims: A cat is not supposed to wear trousers, Messire, the cat replied with great dignity. Youre not going to tell me to wear boots, too, are you?' (Bulgakov 195). Koroviev himself hints at various titles as he walks pass the Griboedov House: and a sweet awe creeps into ones heart at the thought that in this house there is now ripening the future author of a Don Quixote or a Faust, or, devil take me, a Dead Souls. Eh?' (268). Furthermore, humour at Marlowe and Bulgakov is not exclusively employed for purposes of comic relief during moments charged with narrative or dramatic tension. Rather, it also mocks, it satirizes individual and social flaws, being marked by ironic undertones. In Bulgakovs novel, the fascination with the folkloric, the demonic and the grotesque (Jones 27) actually indicates a satire of the Stalinist society that has discarded individual reliability and awareness. In this situation, the mockery seems to be directed especially towards people of the artistic sphere: writers, critics, or theatre employees. By comparison, in Marlowes dramatic work readers come across entertaining episodes fraught by sinister underpinnings-for example, Robin and Dicks metamorphoses in animals parody the degradation of the human nature, its reduction to primeval instincts. Moreover, Mikhail Bakhtins theory of carnival laughter may be applied to both Marlowes play and Bulgakovs narrative. In the article entitled Carnival and Comedy: On Bakhtins Misreading of Boccaccio, Adrian Stevens explains that For Bakhtin, carnival is a manifestation of folk laughter; it embodies a folk based culture defined by its antipathy to the official and hierarchical structures of everyday, noncarnival life (1). Bakhtin believes that carnivals influence the various types of comic works in literature by deferring daily constraints and thus liberating humans and also by bringing opposites together. In Bulgakovs and Marlowes books comic scenes unite masters and servants (Faustus and Mephosto-Wagner and his suite; Margarita-Natasha; Woland-his retinue), the righteous and the sinful (Yeshua-Woland; Pope-Mephosto; Good Angel-Bad Angel) but equally the wise and the fool (Faustus-Benvolio; the Master-Ivan Homeless). On the whole, the third chapter of my paper has shown how the personalities of the protagonists in The Tragical History of Doctor Faustus and The Master and Margarita are shaped by elements of feminism, humanism, and affective geography. Afterwards, I have compared the evil entourages in these two works only to reveal that Woland and Mephostophilis are an integrant part of goodness. Finally, by contrasting the supernatural and the comic episodes in Marlowes play and in Bulgakovs novel, I have exposed the fact that humour may acquire deeper implications besides the visible comic relief at the surface.

Christopher Columbus Essay -- Christopher Columbus Essays

Christopher Columbus sailed the ocean blue in fourteen-hundred-ninty-two. He came over from Spain in three ships, the Nina, the Pinta, and the Santa Maria and discovered America, or at least that was what I was taught in elementary school. Since then there has been much controversy going on over the issue of weather or not Christopher Columbus really â€Å"discovered† America because when he landed in San Salvador he was not alone. Native Americans already inhabited the land and they had been there long before Columbus, but this doesn’t mean that he should be atacked stripped of his dignity.   Ã‚  Ã‚  Ã‚  Ã‚  Reed Irvine, chariman, and Joe Goulden, director of the media analysis for Accuracy in Media, state in the acticle History Should Continue to Acknoledge Columbus as a Discoverer:   Ã‚  Ã‚  Ã‚  Ã‚  The â€Å"presence† of the North American Continent had been known to the persons living   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  there for centuries before arrival. But Columbus, and those who followed him, recognized   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  the significance of the New World; in this sense they certainly deserve credit for having   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"discovered† America.   Ã‚  Ã‚  Ã‚  Ã‚  Over five hundred years ago he landed in the Americas and now we are starting to question weather or not he should be given credit for discovering America. This doesn’t seem fare. After so many years without controversy it’s just been recently that we have started to question the lagitamitity of his discovery. What brought on this sudden change? Perhaps is was the coming of the five hundred year celebration of our country that brought this on, or maybe now some of the Native Americans are finally starting to speak out, but no matter what the reason may be it shouldn’t be taking place. Columbus should still be given the credit for discovering America. It was the first time that anyone was recognized for landing on a new continent and he still deserves respect.   Ã‚  Ã‚  Ã‚  Ã‚  Irvine and Goulden feel bad for Columbus, too. â€Å"Poor Christopher Columbus. Five hundred years after the fact, the explorer is beng stripped of recognition as the man who ‘discovered’ America and the New World.†   Ã‚  Ã‚  Ã‚  Ã‚  There are many people who bel... ...;  Ã‚  Ã‚  Ã‚  Ã‚  quest for new frontiers continues today as earthlings burst terrestrial bonds and begin the   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  endless voyage beyond planet and galaxy into the illimitable dark.   Ã‚  Ã‚  Ã‚  Ã‚  That desire to go where no one has ever been before is inside of all of us. All of us enjoy exploring new teritory that we have never been on before. It’s that thrill and excitement that fills our heart and soles.   Ã‚  Ã‚  Ã‚  Ã‚  When Columbus landed on the new land he put a flag in the ground claiming it for Spain. Then he met the Native Americans and was very friendly to them. â€Å"I want the natives to develop a friendly attitude toward us because I know that they are a people who can be made free and converted to our Holy Faith more by love thwn by force,† Columbus wrote in his journal.   Ã‚  Ã‚  Ã‚  Ã‚  From everything that we know thus far there isn’t a big enough reason as to why we should all of the sudden stop recognizing Columbus as the founder of our nation. Therefore, he should be given recignition of his accompishments and still be known as the one who discovered America.

Cluniac Monasticism Essay -- History

Cluniac Monasticism Assess the strengths and weaknesses of Cluniac monasticism between the tenth and twelfth centuries. The nature of Cluny lay in the circumstances of it’s foundation. It was endowed with a measure of independence by it’s founder, Duke William, allowing the monks to elect their own abbot, placing the abbey directly under the guardianship of St Peter and the Apostolic See. As a house dedicated to reviving strict Benedictine observance Cluny was not unique, but it was this indepencence, the succesion of talented abbots and it’s organisation set up by Abbot Berno that laid the foundations of the abbey’s later greatness. The independence granted Cluny in it’s foundation charter was esssential in the development of Cluny free from the interference of lay magnates and local bishops. It’s direct dependence on Rome was not initially of great importence; other foundations had beemn bequeathed to the apostles before. However, this was an important foundation upon which later abbots were to build. By seeking papal approval for Cluniac reforms the abbots forged a valuble direct link to the papacy, whilst gain officail public regognition and endorsement of the Cluniac regieme. In obtaining the right to accept monks from other orders in 931 Odo had confirmed the righht of the Cluniacs to reform others houses, while Cluny gained freedom from the local bishops under Abbot Odilo in 998. it was ‘the subsequent growth, under far straiter papal oversight, of Cluny’s exemption from episcopal control in spiritual matters, that did most to consolidate Cluny’s subject houses under itâ⠂¬â„¢s own central authority’ . This meant Cluny was immune to challenges to it’s authority from both without and within the church. Cluny became of particular note to sucessive Popes, with it’s reputation for reform, and the papacy continued to support the cluniacs, with Pope John XIX giving Cluny’s monks complete freedom from interference whereever they were in 1024. However, this would have been nothing without the exemplary spiritual life that was seen to exist at Cluny. The continual use of vocal prayer was popular with the laity, with many wishing to be included in the prayers of the monks. The personal qualities of the abbots were also much admired, as was the way of life practised at Cluny. The cluniac model of benedictine obervence was seen by many by the time of Abb... ... riches of success. The Cluniacs were criticised by those who favoured a more eremetic style of monasticism, and the stricter Cistercians. They were also criticised by laymen and other factions within the church. As an order, their popularity was on the wane by the twelfth century. The main strenghts of cluniac monasticism lay in its independence, it’s early spiritual energy, it’s observence of the benedictine rule and it’s sainly abbots. These provided very well for Cluny for a significant period, but over-growth of the order led to a slackening in observence of the Rule, and with the disasterous abbacy of Pons and a basic shift in religious opinion these strenghts became weaknesses that Bibliography Evans, Monastic Life at Cluny 910-1157 (Oxford University Press, 1931) Ed. Hunt, Cluniac Monasticsm in the central middle ages, (Macmillan, 1971) Lynch, The Medeval Church, (Longman, 1992) Cowdrey, The Cluniacs and the Gregorian Reform, (Oxford, 1970) Lawrence, Medeval Monasticism, (Longman, 1989) Southern, Western Society and the Church in the Middle Ages, (Pelican, 1970) Ed. Holmes, The Oxford Illustrated History of Medeval Europe, (Oxford, 2001)

Looking for Alibrandi Essay

Good afternoon’s teachers and my peers, today I would like to give my speech about how education leads to a successful life. I am going to discuss three main points in my speech that are; education provides a better quality of life, it expand people mind and helps people to learn values and morals. Firstly education provides better quality of life because it helps people to become successful and smart people by giving knowledge and ideas.Education is key to get good job. It will guide through your life it will help people what job they want to. In this website seek.com.au author was telling thatâ€Å"Now a day every job requires employee to be well-educated and industry are offering high salary jobs to highly educated people and educated people have good chance of getting better occupations. According to jobs qualification website authors was saying that â€Å"without much education one person will end up working 50 hours a weeks while other person with better education makes more money in the half time†. Secondly, Education expand people mind because it help us to understand this world. It teaches us how to make decision, how to think, how to work properly and how to cope with complicated things in life and it makes people hard workers and that give people freedom .it give us power to understand thing in our life and teach us to learn from different experience. An educated people have ability to modify their life in positive way. Without knowledge and Education people would not have develops a meaningful outlook of life. We learn values and moral in school through education that make us right thinkers and it help to act in good manners. We learn values like honesty, kindness that is important in our life. education help us to achieve Successful goal in our life.Educaton open our minds to outside world so it allow people to gain knowledge and values from other cultural. According to ask .com.au (website) author was telling that education help society in different useful ways and without education people would not have highly developed life to live happily and peacefully so people need to have good education. Thank you for listen my speech

Fundamentals of Nevada History Essay

The Nevada constitution was framed by a convention of delegates chosen by the people. The convention met at Carson City on July 4, 1864, and adjourned on July 28 of the same year. On the 1st Wednesday of September 1864, the constitution was approved by the vote of the people of the Territory of Nevada, and on October 31, 1864, President Lincoln proclaimed that the State of Nevada was admitted into the Union on an equal footing with the original states. Nevada’s history of race relations in the 1950s and 1960s was compared by journalists and the National Association for the Advancement of Colored People (NAACP) to that of some southern American states, notably Mississippi. Although not as formalized in law Nevada still provided many examples of racism against minorities in housing, employment, and public accommodation. Early beginnings of the civil rights movement in Nevada can be traced at least as far back as 1959 when planning for the February 1960 Winter Olympic Games at Squaw Valley was underway. The U.S. Justice Department was concerned because of the impact racial discrimination in public accommodations might have on international visitors and was anxious that nothing should occur to mar or blot that event. Likewise, the California Attorney General was concerned because Olympic visitors would be visiting and staying in northern Nevada where people of color would be treated with bias. Mining has been integral to Nevada’s history, from Native American use of its mineral wealth to fashion arrowheads, spear points, and tools to today’s modern industrial mining operations. Nevada’s silver deposits were the key to statehood; a driving force in the state’s economy in the mid-nineteenth century, they were a major reason for Nevada’s admission into the United States in 1864. While gaming and tourism now dominate the state’s economy, Nevada remains a nationally and internationally significant source of metals and minerals. Because of hostility from miners and their sympathizers, Nevada’s territorial and states antigambling laws were mostly unenforced from 1859 until the Comstock Lode mining booms collapsed in the 1870s. After 1881, the state attempted to restrict gambling through licensing and other statutory controls. Opponents of gambling and prostitution became organized and in the Progressive Era at last persuaded state legislators to prohibit gambling statewide in 1910 as part of a nationwide anti-gaming crusade. During the Great Depression in the United States, Nevada legalized gambling terming it gaming in 1931; (the Northern Club received the first license). At the time, the leading proponents of gambling expected that it would be a short term fix until the state’s economic base widened to include less cyclical industries. However, re-outlawing gambling has never been seriously considered since, and the industry has become Nevada’s primary source of revenue today. Gambling taxes account for 34% of state revenue. Also in 1931 the residence requirement for divorce was reduced to six weeks, making Reno a famous mecca for the quickie divorce and people from all over the country to take the cure. In the 1930s, Reno’s Bank Club was the state’s largest employer. It was also the largest casino in the world until Harold’s Club surpassed it in the 1950s. The Second World War was very good to Reno as local bases and those in Northern California helped boost the economy. In the late 1940s â€Å"Bugsy† Siegel helped get Las Vegas on the map by first building the most expensive casino in the world, the Flamingo, and then by being gunned down in his Beverly Hills home. Las Vegas casinos of the 1950s were mostly low-rise building taking advantage of the wide-open spaces that Reno didn’t offer in the downtown area of Virginia Street. However, Las Vegas boomed with new luxurious hotels in the 1960s and the city’s gambling casinos drew players from all over the world, and away from Reno and Lake Tahoe.