Crucible news

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A 40-year-old woman, later identified as Mrs. Ann Putnam, was rushed to the hospital today after neighbours found her unconscious in front of her house. Medical specialists later declared that she had suffered from mild suffocation. Upon regaining consciousness, Mrs Putman declared that before fainting she was desperately searching for the reason behind the deaths of her unborn babies.

This event forces many to believe that in the possibility that supernatural powers were used to kill the Putnam children as well as preventing their mother from finding their killer and avenging their deaths.

Reverend John Hale has been working with city police in a cooperative effort to find the source of this unholy act. So far they have arrested may women who are believed to be working with the devil, but none in connection with this case.

Sources tell us however that Mrs Rebecca Nurse is being investigated as a potential suspect, her motivation being her jealousy towards the Putnam family.

The first suspicions against Goody Nurse arose at an informal gathering at Reverend Parris' house, caused by his daughter's illness, at which time Goody Nurse was quick to refute all suspicions of witchcraft associated with Betty's illness.

In a press release Mrs Ann Putnam stated "The speed at which she brushed aside any possibility of witchcraft associated with my children's deaths was a sure sign of her quilt".

Furthermore, insiders inform us that Goody Nurse's affiliation with Mrs Putnam, as her midwife, is the crucial piece of evidence that could send her to death row.

However, others say that these tragic deaths are in no way a result of witchcraft, but are instead simply the will of God; something that must not be questioned or investigated.

Police say that potential protests in favour of Goody Nurse are to be expected due to her high standing in the town.

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Jack Roosevelt Robinson

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Jack Roosevelt Robinson, the grandson of a slave, was born on January 1, 11 in Cairo, Georgia. He was the youngest of five children. His father deserted the family when Jackie was only six months old. His mother moved the family to California to look for work. (Jackie Robinson,

001)

Jackie displayed extraordinary athletic skills in high school. He excelled at football, basketball, baseball and track. He helped Pasadena Junior College win the Junior College Football Championship and in 1 became a top running back at the University of California at Los Angeles. He left college before graduating and in 14 was drafted into the U.S. Army. He was discharged as a lieutenant in 145 and that same year joined

Custom Essays on Jack Roosevelt Robinson

the Kansas City Monarchs of the Negro Baseball League. (About Jackie, 00)

On October , 145, Robinson signed a contract with Brooklyn Dodger president, Branch Rickey. Many owners and sportswriters were against this integration, claiming that it would destroy major league baseball. Spring training in Florida was rough for Robinson due to segregation

laws. He was forced to ride in the back of buses, and some games in which he was scheduled to play were canceled due to his presence. He was subjected to threats, racial insults and hate mail. Fans would yell obscenities

at him from the stands. Pitchers often threw balls directly at him and base runners would spike him with their cleats.

Despite the adversity he faced, Robinson led the league in stolen bases and was named Rookie of the Year. In 147 he was name the National League's Most Valuable Player. He went on to play Major League Baseball until his retirement in 157 and in 16 he was inducted into the Baseball

Hall of Fame. (Tygiel, 18)

Jackie Robinson made significant strides in bringing racial equality to not only the sports arena, but to other areas as well. By breaking the color barrier in baseball, he courageously challenged racial segregation in both the

North and the South. Jackie Robinson is honored as the man who stood against racial inequality. His life has had a profound influence on the American culture.

African Americans are the largest U.S. ethnic minority group. The African American population has been growing at a faster rate than the total population. They have experienced a long history of struggle yet with the educational changes that have been made their future is brighter and more optimistic. They are receiving more opportunities in employment, education and housing which will allow for an improved standard of living.

And educators are better trained in diagnostic approaches and individualized education, which will better equip African Americans to succeed in every area of life. (Manning and Baruth, 000)

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Oh Yeah!

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Searched the web for colonial similarities and differences. Results 11 - 0 of about 51,600. Search took 0.14 seconds.

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

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Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!

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Although every culture has its own distinct folklore and mythology, there are certain image patterns that seem to be universal. These image patterns, or archetypes, are closely related to both oral and written storytelling, and strike †'some very deep chord' in human nature (Guerin 158), eliciting a common response, whether conscious or subconscious, from the reader or listener. Archetypes appear time and time again in literature; their presence can determine whether or not a piece of writing is considered a classic. Charlotte Perkins Gilman's short story, †The Yellow Wallpaper, is a voyeuristic examination of the psyche of a woman suffering from †temporary nervous depression â€" a slight hysterical tendency (Gilman 1), who is driven to full-fledged hysteria after being trapped in a yellow-wallpaper-ed prison. Jungian Archetypal theory is an offshoot of psychological analysis, as Jung was one of Freud's students, and therefore the two theories are often closely linked in literary criticism. Archetypal analysis is appropriate for this psychological story because it includes aspects of Freud's theory while giving it a broader scope. †The Yellow Wallpaper contains several reversed or negative archetypes that appear as the narrator furthers her inverted ‘quest' to free her shadow, or her descent into insanity.

As archetypal analysis deals quite often with the conscious and subconscious mind, the two parts of the †Self (Jung ) figure greatly in this critical theory. In †The Yellow Wallpaper, the narrator is trapped in a prison-like room, and sees images in the wallpaper that come to look like a woman trapped behind bars. This †creeping woman is, in Jungian terms, the narrator's shadow,

or a dissociation of her Self. Shadows and dissociations often contain the darker, more aggressive or sexually liberated aspects of the person's psyche (Jung 7) in this instance a sort of freedom of thought as well as escapism. The trapped woman can get out in the daytime, creeping around the garden or †away off in the open country, creeping as fast as a cloud shadow in a high wind (Gilman, 1). The narrator, on the other hand, can only creep behind the locked doors of her prison, when she is completely alone.

The shadow could also be the woman's animus- †the male personification of the unconscious within a woman (Jung 18). Even though she is female, the shadow is more aggressive than the passive, nervous narrator, embodying what are traditionally considered more ‘masculine' traits. And while the animus does not quite represent the Jungian †demon of death (Jung 1), in this story, it does, in a way, herald the death of the narrator's sanity. Just as the woman behind the paper serves as a manifestation of the struggle between the two forces of the narrator's Self, her contradictory monologues and the swings in her mental state as shown through her journal entries are a written expression of her internal conflict that eventually leads to her losing her mind.

Help with essay on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!

These two forces of the narrator's Self come together in a very symbolic scene, where the two women meet at the bars and work together to get †the poor thing out (Gilman 1). From then on the narrator says †I and not †she, having completely identified with her woman behind the wallpaper, and declined into complete madness. With this, Gilman suggests that a person can release the

dark recesses of his or her psyche and combine the different aspects of the self, but not retain stability, as an imbalance is created.

One of the most important and commonly seen Jungian Archetypes is the Hero archetype of transformation or redemption, who comes in three stages Quest, Initiation and Sacrifice (Guerin 167). The narrator in Gilman's story falls into the latter Hero archetype (transformation), going through her own personal quest, initiation and sacrifice, although not as a scapegoat or atonement. Her

quest is inverted, more of a descent, really, as she spends the summer in the room with the hideous yellow wallpaper and becomes increasingly ill despite her physician husband John's protestations of †Really dear you are better (Gilman ). At first the narrator finds the paper †repellent, almost revolting; a smouldering unclean yellow (Gilman ), but gradually feels that she is the only one who can understand it and not be affected by it. Her quest changes as she sees the image of a trapped woman in the paper, and she devotes her attentions to getting this woman out, eventually realizing that she herself is trapped. Her impossible initiation tasks are not epic or mythological in the conventional literary sense, but her internal struggle is no small feat. The sacrifice at the end is of her mind. She has been driven to this hysterical state by the repressive nature of her husband's care and the sheer pressure and intensity of her physical and psychological prison. Unlike the typical Jungian Heroic sacrifice, however, nothing is achieved at the end of the story; the land is not restored to fruitfulness by her sacrifice.

Gilman, Charlotte Perkins. †The Yellow Wallpaper and Other Stories.

Mineola, New York Dover Trift Editions, 17.

Guerin, Wilfred L., et al. A Handbook of Critical Approaches to Literature.

New York Oxford University Press, 1.

Jung, Carl G. Man and His Symbols. New York Dell Publishing Co. Inc., 164.

Please note that this sample paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE! is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!, we are here to assist you. Your cheap custom college paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE! will be written from scratch, so you do not have to worry about its originality.

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Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE! paper right on time.

Out staff of freelance writers includes over 120 experts proficient in Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE! paper at affordable prices !

Although every culture has its own distinct folklore and mythology, there are certain image patterns that seem to be universal. These image patterns, or archetypes, are closely related to both oral and written storytelling, and strike †'some very deep chord' in human nature (Guerin 158), eliciting a common response, whether conscious or subconscious, from the reader or listener. Archetypes appear time and time again in literature; their presence can determine whether or not a piece of writing is considered a classic. Charlotte Perkins Gilman's short story, †The Yellow Wallpaper, is a voyeuristic examination of the psyche of a woman suffering from †temporary nervous depression â€" a slight hysterical tendency (Gilman 1), who is driven to full-fledged hysteria after being trapped in a yellow-wallpaper-ed prison. Jungian Archetypal theory is an offshoot of psychological analysis, as Jung was one of Freud's students, and therefore the two theories are often closely linked in literary criticism. Archetypal analysis is appropriate for this psychological story because it includes aspects of Freud's theory while giving it a broader scope. †The Yellow Wallpaper contains several reversed or negative archetypes that appear as the narrator furthers her inverted ‘quest' to free her shadow, or her descent into insanity.

As archetypal analysis deals quite often with the conscious and subconscious mind, the two parts of the †Self (Jung ) figure greatly in this critical theory. In †The Yellow Wallpaper, the narrator is trapped in a prison-like room, and sees images in the wallpaper that come to look like a woman trapped behind bars. This †creeping woman is, in Jungian terms, the narrator's shadow,

or a dissociation of her Self. Shadows and dissociations often contain the darker, more aggressive or sexually liberated aspects of the person's psyche (Jung 7) in this instance a sort of freedom of thought as well as escapism. The trapped woman can get out in the daytime, creeping around the garden or †away off in the open country, creeping as fast as a cloud shadow in a high wind (Gilman, 1). The narrator, on the other hand, can only creep behind the locked doors of her prison, when she is completely alone.

The shadow could also be the woman's animus- †the male personification of the unconscious within a woman (Jung 18). Even though she is female, the shadow is more aggressive than the passive, nervous narrator, embodying what are traditionally considered more ‘masculine' traits. And while the animus does not quite represent the Jungian †demon of death (Jung 1), in this story, it does, in a way, herald the death of the narrator's sanity. Just as the woman behind the paper serves as a manifestation of the struggle between the two forces of the narrator's Self, her contradictory monologues and the swings in her mental state as shown through her journal entries are a written expression of her internal conflict that eventually leads to her losing her mind.

Help with essay on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!

These two forces of the narrator's Self come together in a very symbolic scene, where the two women meet at the bars and work together to get †the poor thing out (Gilman 1). From then on the narrator says †I and not †she, having completely identified with her woman behind the wallpaper, and declined into complete madness. With this, Gilman suggests that a person can release the

dark recesses of his or her psyche and combine the different aspects of the self, but not retain stability, as an imbalance is created.

One of the most important and commonly seen Jungian Archetypes is the Hero archetype of transformation or redemption, who comes in three stages Quest, Initiation and Sacrifice (Guerin 167). The narrator in Gilman's story falls into the latter Hero archetype (transformation), going through her own personal quest, initiation and sacrifice, although not as a scapegoat or atonement. Her

quest is inverted, more of a descent, really, as she spends the summer in the room with the hideous yellow wallpaper and becomes increasingly ill despite her physician husband John's protestations of †Really dear you are better (Gilman ). At first the narrator finds the paper †repellent, almost revolting; a smouldering unclean yellow (Gilman ), but gradually feels that she is the only one who can understand it and not be affected by it. Her quest changes as she sees the image of a trapped woman in the paper, and she devotes her attentions to getting this woman out, eventually realizing that she herself is trapped. Her impossible initiation tasks are not epic or mythological in the conventional literary sense, but her internal struggle is no small feat. The sacrifice at the end is of her mind. She has been driven to this hysterical state by the repressive nature of her husband's care and the sheer pressure and intensity of her physical and psychological prison. Unlike the typical Jungian Heroic sacrifice, however, nothing is achieved at the end of the story; the land is not restored to fruitfulness by her sacrifice.

Gilman, Charlotte Perkins. †The Yellow Wallpaper and Other Stories.

Mineola, New York Dover Trift Editions, 17.

Guerin, Wilfred L., et al. A Handbook of Critical Approaches to Literature.

New York Oxford University Press, 1.

Jung, Carl G. Man and His Symbols. New York Dell Publishing Co. Inc., 164.

Please note that this sample paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE! is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!, we are here to assist you. Your cheap custom college paper on Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE! will be written from scratch, so you do not have to worry about its originality.

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Loot by Joe OrtonThe Central Concerns of the Play and How they are Dramatised

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Loot by Joe Orton

The Central Concerns of the Play and How they are Dramatised

Loot is a satire the normal moral conventions of behaviour in civilised, Western, society are turned upside down and the rules are broken down. This is epitomised by Truscott as a symbol of law and authority doing what he should not do. He does not uphold the law and he breaks the law in his investigation by deception, violence and dishonesty and corruption. Orton wrote the Play in the 160's which was a time of social re-evaluation and he attacks all the bastions of the Western world religion, law and order, love and marriage, and respect for the dead. He relies on dramatic irony and the collusion of the audience to understand the moral message hidden in the comedy of the Play.

The structure of the Play mirrors a detective story in many respects. A crime has been committed and a detective has to solve it. Truscott is a parody of the detective novel detective with his pipe and magnifying glass and pedantic language. In Act One the exchange between Truscott and Fay reads like an Agatha Christie or Sherlock Holmes novel with the totally unrealistic reading of clues

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TRUSCOTTMy methods of deduction can be learned by anyone with a keen eye and quick brain. When I shook your hand I felt a roughness on one of your wedding rings. A roughness I associate with powder burns and salt. The two together spell a gun and sea air. When found on a wedding ring only one solution is possible.

The characters are mainly stereotypes and the dialogue offers no insight to their feelings. They have no psychological depth and are merely over-simplified images used to comment on the institutions or conventions they represent. Fay is a nurse who kills rather than heals and is the archetypal hypocritical religious plaudit who uses Catholicism for her own ends. This is acknowledged by her comment on Mrs McLeavy believing in some of the Ten Commandments. Hal represents truth in that he cannot tell a lie and McLeavy represents innocence. Truscott is the law, justice and authority. Dennis is less easy to categorise as he is a truly dishonest and totally unsympathetic character.

Orton uses the audience's feelings to create a contrast. They presumably have decent moral feelings that react to the complete absence of feelings in the characters on the stage. One would expect certain emotions from a son whose mother has just died, but they are not present. McLeavy shows some regret, but the audience cannot take his sentiments seriously when he shows more feeling and interest in the flowers for the hearse than he does for his wife. This collusion with the audience is part of the technique and nature of satire, but Orton goes further by using as his material the subject of the death of a mother and wife while showing no respect for the dead and no grief. He dramatises the fact that he is dealing with the conventions associated with the situation and not with the emotions.

One of the central concerns of the Play is hypocrisy and this is neatly dramatised by the lack of emotion while following the conventions and formal rites of religion associated with death the pageantry of the funeral car procession, the flowers, the black dress (borrowed from the dead woman), the veil of mourning and the book of the Ten Commandments. Orton criticises almost every sacrosanct element of religion with his priest who cannot keep confidences after confession and his religious fanatic nurse who is a murderer. Orton is also questioning the matter of the truth. Hal is unable to tell a lie and he always speaks the truth, but he is not honest. Sometimes he is not believed and on other occasions he does not tell all

TRUSCOTTBut he is stupid. He's just admitted it. He must be the stupidest criminal in England. Unless - unless, unless he's the cleverest.

Orton uses simple dialogue and everyday vocabulary in a realistic way, however, it does not always say what it appears to and one of the frequent comedy techniques of his writing is verbal misunderstandings and double meanings. He uses dramatic irony in that the audience know of Hal and Dennis' guilt and of Fay's intentions. What is not clear until the end of the Play is that it is a form of double irony as it appears that Truscott knew more than we thought.

There is a consistent motif in the Play concerning deception and how things are seen. There are symbolic tools and non-verbal messages representing hiding and disguise, such as the coffin, the wardrobe and the screen and much of the comedy derives from hiding the body and the potential discovery. But this is more than a comic device, it is part of the satire and the attack on social norms and hypocrisy. It is dramatised especially effectively by the false eyes of the corpse being false and of the wrong colour. If eyes are taken to represent the windows to the soul, as well as being the most identifiable part of the body then this is still more shocking. The corpse is no longer a person as it has no innards (no heart) and no eyes and truly is just the 'dummy' that Hal and Fay pretend it is. Yet, this is how most bodies are buried. There is all the pomp and ceremony of the funeral and 'respect for the dead' over a body that has already been defiled and rendered neutral.

A repeated conflict in the Play is that between truth and honesty - how things appear and how things really are. In a Shakespearean play this would be represented by two different worlds, but Orton shows us the world beneath the surface in one world and asks us to reflect upon ourselves and our society. Orton is saying that the innocent and the 'meek' shall not inherit the earth and that the winners are those who know the rules. However, with the expert cut of his satire the audience knows that his message to us is that this is not how life should be. Although the title of the Play is "Loot" this does not seem to be a central concern of satire unless one takes it to mean that money and the desire for wealth have overturned all moral values, displacing respect for the dead as it displaces the body in the coffin.

Please note that this sample paper on Loot by Joe OrtonThe Central Concerns of the Play and How they are Dramatised is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Loot by Joe OrtonThe Central Concerns of the Play and How they are Dramatised, we are here to assist you. Your cheap research papers on Loot by Joe OrtonThe Central Concerns of the Play and How they are Dramatised will be written from scratch, so you do not have to worry about its originality.

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The grimm vs disney

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Every Girls Dream An Anaylsis of The Tale of Cinderella Through Time and Culture

Remember back to sitting in a large circle in kidergarten. The game is Telephone; the game starts with the first person whispering a phrase in to the next person's ear and that person repeats the phrase into the next, and so on and so forth. When it come to the last person the line stops and they say the sentence aloud and it usually ends up being much different then that of the what the first person said. The more people in the cicle the more distorted your phrase becomes. This is the best metaphor to use when describing what happens to fairy tales as they cross through cultures and generations although the character, plot, or moral (s) stays the same the detail of the story changes to suit the current society. Fairy tales as we know them today are much different then they used to be, originally fairy tales were meant for adult audiences and were not intended for children's ears for they contained gruesome acts, and sexual conduct. It was not until the Victorian era that fairy tales became stories meant for children. Also it wasn't until the Victorian era that the fairy tales were told by men, prior to this era, fairy tales were told and written by educated women, the Victorian era brought about middle class men writing fairy tales, and even still many of them admitted to collecting or being inspired by women for their tales. This is when most of the drastic "cleaning up" of the stories took place, and this process of sweetening up has continued in to the present. One of the world's most famous fairy tales of all time is Cinderella a classic fairy tale whih has been dated back to the stone ages. Through all the various versions of Cinderella it creates the ideal story for a children's fairy tale and in all of the versions ultimately shows the triumph of good over evil and shares a universal theme despite it's cultural influences in additional characters and setting to becomes the world's most popular and timeless classic.

In all of the versions of Cinderella is the man's daughter, and he always obtains an evil stepmother, who has another daughter or two who are as evil as the mother herself. The fact that Cinderella is always the daughter of the man due to historical accuracy and the talling of the real life in the times that these fairy tales started, many times women died during labour. And that the stepmother is evil because many times men would be presauded in to marrying some one who is not nice because they wanted a women to raise the child because they were better at it then men were. Also the evilness of the other women in the household is brought out by jealousy

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