Demanding Rights From The Beginning Franklin And Caillat...

Demanding Rights from the Beginning: Franklin and Caillat Fight for Respect We hear all the time that we learn from our past, but is that true? Inequalities have been around for thousands of years; we are still surrounded by prejudice and differences every day. So do we truly learn from our past? Women’s rights and women’s equality issues have been around for a long time because of the need for respect, equality and voting rights. Two songs relating these issues include â€Å"Respect† by Aretha Franklin (1967) and Try by Colbie Caillat (2014). Respect was originally written by Otis Redding (1965), but the reason I chose the Aretha Franklin version (1967) was to use her voice and her style of music to set and relay the theme of women s rights. Try is a Colbie Caillat (2014) original which is about being yourself no matter what society thinks of you. Most women obsess over their image because of how society has shaped us to think that we, as women, should wear makeup and conform to society. Society has lowered women’s confidence lev els because â€Å"social norms† consist of women wearing makeup, curling or straightening our hair, or painting our nails. When we conform to the â€Å"social norms† we are lowering our confidence because we feel as if we cannot go out in public without â€Å"making ourselves up†. Both songs speak about the same issue of women’s rights; they also have the same tone of being respected, being worthy, and being confident. Some people think that respect is a value

Analysis Of Jodi Picoult s My Sister s Keeper Essay

Existence precedes essence. These three words sum up existentialism in a nutshell and is the single most important of all of its theories. Originating from a nineteenth century Danish philosopher, this theory is still found throughout many literary works. Among these literary works is Jodi Picoult’s My Sister’s Keeper, a novel in which the theory of existentialism is actively present and found in many elements of the story. These elements, upon further observation, exhibit the six major concepts or existentialism: existence, freedom, facticity, despair, absurdity, and atheism. It can be noted therefore, that the critical theory of existentialism is evident in Jodi Picoult’s My Sister’s Keeper, as all of the aforementioned concepts are present in various elements within the novel. The term existentialism is derived from the word existence, which means simply to have a physical presence. To exist is the only thing that is predetermined, while the essence-which consists of the identity of a person-, comes second, and is created by the individual. Life has no purpose; therefore it is important that an individual embraces the idea of merely existing. Jean Paul Sartre, a famous French existentialist, writes in his work - Existentialism is Humanism, â€Å"Man exists, turns up, appears on the scene, and, only afterwards, defines himself† (Sartre). Since it is up to the individual to determine their own meaning to life, they are responsible for themselves only, and no one else. AnnaShow MoreRelatedMy Sisters Keeper and Morality1345 Words   |  6 PagesMy Sister’s Keeper – Jodi Picoult Where is the line with choices? How is a decision determined to be right or wrong? These are some of the questions that summarize the concept of the book My Sister’s Keeper by Jodi Picoult. Anna, the protagonist, files a law suit against her parents, Brian and Sara, because they forced her to make medical decisions that were not her own. Anna is sympathetic with her sister’s condition and has given all she can to ensure Kate’s recovery from leukemia. Yet the

Sicut Cervus free essay sample

Giovanni Pierluigi da Palestrina was an Italian Renaissance composer of spiritual music and the best ­known 16th ­century representative of the Roman School of musical composition. He has had a marvelous influence on the development of church music, and his work has often been seen as the culmination of Renaissance polyphony. Palestrinas masses show how his compositional style developed over time. One of the symbols of Palestrinas music is that dissonances are typically credited to the weak beats in a measure. This produced a smoother and more consonant type of polyphony which we now consider late Renaissance music, given Palestrinas position as Europes leading composer. In this piece, Sicut Cervus, Palestrina uses the smooth style of 16th century polyphony. It speaks of a deer longing for spring, a soul longing for you, and God. He had written three sections of music, with parts taken out then added in. Palestrina wrote this piece as the first part of a double motet. Musical Content In this piece, Palestrina is using metaphoric context to describe how an individual longing for God is exactly how a deer longs for springs of water. It starts out with the tenor part singing â€Å" As the deer longs for springs of water†, which is when overlapped by the other parts because it is emphasizing springs of water which is compared to God. So all throughout the middle piece, each part sings back and forth beautifully, which represents a musical â€Å"sigh†. As the notes soar, the longing builds and you can see that Palestrine was trying to imitate an almost perfect expression of the human yearning for God . At the end of the song, everything is taken into a peaceful manner because you are going to praise God. Everyone is trying to be at peace because they all want to see and praise God. The song comes to a peaceful end on a note of hope that one day they shall all see God together. Type of Piece This piece here Palestrina created is a polyphonic texture. It is in duple meter and is also a motet in the F major key. Also, it from Psalm 42. The translation of the piece is â€Å" As a deer longs for springs of water, so my soul longs for you, O God†. The Strategic Plan Palestrina had a simple but complex way when it came to his strategic plan in this piece. The piece is text ­ driven as is written as a simile. Palestrina used Aesthetic appeal, emotional power, and intellectual depth to make this piece a true masterpiece. Part of Palestrina is strategic plan was to write the piece as a simile. He used the translation from Psalm 42, â€Å" As a deer longs for springs of water, so my soul longs for you†. First off, this line is represented throughout the motet, like a simile. The deer longing for springs of water is a simile as to how the soul longs for God. Each part is put into three sections, because Palestrina is comparing â€Å" As a deer longs for springs of water† and â€Å" my soul longs for you†. Palestrina also uses â€Å"so† or â€Å"ita† to put the simile together, he uses this to show what is being compared and to help show that the deer longs for water is the same as the soul longs for God. Palestrina also shows text ­painting when has the notes flowing just like the flowing of water when it says water. The springs of water is a comparison to God. Also, he when it states in the piece ,† my soul longs† the notes go down because the soul is connected to Earth. This is also a connection to how the notes go higher when it reaches God because God is up in heaven. As a result, the strategic plan was to make the piece a simile and show how towards the end God and the soul come closer together, which would be considered the stretto, because it symbolizes God and the human soul together at last. Compositional Techniques Used This piece is text driven, beginning with â€Å"like† or â€Å"as† which means it has a simile in the piece. Similes have three parts in the sentence? the first comparison, the â€Å"like† or â€Å"as† and the second comparison. Palestrina has three parts, or sections right when the cadences happen. The second section is shorter than one and three, having only two voices. The entrances are a bit imitative, every cadence. The melodic line moves diatonic, complex frame and shows the mood and characters throughout the text, with four voices. Form and Structure Contrast is the form in this 5th species masterpiece, because all three sections had different text painting to construct the feeling, and motion of the piece. With the heroic help of polyphonic texture that happens throughout the piece, it helps balance the voice parts throughout all three sections, and also helps all the voices come to harmonize together throughout the piece, that ALSO help to create the contrast of this masterpiece. Then with all these little pieces of incredible creations coming together to create this masterpiece, also helped create the strong, and powerful structure of this piece. The cause of this strong and powerful structure mainly comes from the word and text painting that comes together to help stabilize the harmony, and balance that is listened to threw out the masterpiece. Sections: There are exactly 3 sections in the motet. Each section connects in some way and has an inner meaning. The first section is based on the springs of water, which is represented through the notes. The next section about â€Å"Ita† which shows how the piece is a simile and it also shows how the soul is connected to Earth just like God is connected to Heaven. Lastly, the third section is the stretto and shows how in the end the soul and God will be together. As a result, each section relates to each other because they are part of a simile, which forms a connection to the strategic plan of the entire piece.

Muses of Marylyn Monroe

What wonderful powers lead people to their fame and success? What or who can motivate and stimulate creativity and talent? Many years ago the antique authors found the answer to this question with developing the myth about the Muses who inspired artists and their teacher Apollo. Nevertheless, the secret of the enormous glory of the famous people was not solved because behind each talent is a unique destiny.Advertising We will write a custom research paper sample on Muse’s of Marylyn Monroe specifically for you for only $16.05 $11/page Learn More When today people speak about the most vivid cultural phenomena and extraordinary figures of the 20th century they always mention the name of Marilyn Monroe. This actress made a real revolution in the public’s minds of the 1950s years and became the forever legend of cinematography in spite of the fact her talents were not appreciated by critics. It is possible to say that her secret was in her extr eme charm and magic attraction because this woman always smiled and looked happy. However, her smile was the mask of her great loneliness, trying to avoid which Marilyn Monroe directed all her efforts to her career success. Thus, the loneliness and desire of recognition became Monroe’s main forces toward the fame, became her Muses which followed her since birth to death. Marilyn Monroe not only devoted her short and vivid life to art of cinematography and Apollo’s goddesses but also she herself became the goddess of the whole cultural era. While observing vibrant pictures in many magazines and colorful posters, it is difficult to imagine all that pain, loneliness, and misunderstanding which were common for Monroe’s everyday life since her early years. Norma Jeane Mortenson, later known as Marilyn Monroe, was born on June 1, 1926 in Los Angeles. Norma’s mother, Gladys, was an ordinary woman, and the father was unknown to the girl. The family suffered from poverty, but the real tragedy of little Norma Jeane was the mental illness of her mother. When Gladys was taken to hospital Norma Jeane began to change the orphanages and foster homes where she could not find the necessary love and support (â€Å"The Marilyn Monroe Biography†). Her character formed under the influence of difficult life conditions and the enormous feeling of loneliness. Norma Jeane was too young when she understood that she can trust only herself, â€Å"I learned also that the best way to keep out of trouble was by never complaining or asking for anything† (Spoto 123). Nevertheless, it seemed that Norma Jeane can get a chance to have a family when her mother’s friend Grace took her from the orphanage, but at the age of sixteen the girl had to look for new ways to cope with her difficult living conditions. Grace decided that the best variant for Norma Jeane could be marrying a good man. Jim Dougherty was considered as the best party for the girl.A dvertising Looking for research paper on biography? Let's see if we can help you! Get your first paper with 15% OFF Learn More Norma Jean got everything she wanted because now she had her own home, family, and the social status (Morgan). However, the feeling of loneliness did not disappear. Norma Jeane’s husband spent a lot of time abroad, and the young girl suffered from boredom. In 1944 Norma Jeane worked at factory, and she with other women from the factory was photographed for the promotion of the working woman’s image in the Army (Morgan). The girl’s interesting appearance attracted David Conover, one of the photographers. It was the start of Norma Jeane’s career as a model and the end of her marriage with Dougherty. Describing her marriage, she said that it â€Å"didn’t make me sad, but it didn’t make me happy either. My husband and I hardly spoke to each other† (Spoto 201). Moreover, the career of a model could gi ve her proving her beauty and the feeling of personal significance because the lack of it influenced the development of her many psychological problems and inner complexes (Leaming). Norma Jeane became a famous model who worked for such magazines as Life and Sir. This fact could become the highest top of her career, but in 1946 she signed the contract with Twentieth Century-Fox Studios. Norma Jeane’s first role in Scudda-Hoo! Scudda-Hay! was too small, but she was happy because this new life seemed to be unfamiliar and very interesting for her, full of surprises (Morgan). Moreover, it was the best way to gain the public’s recognition. To be ready for a successful career of an actress, Norma Jeane chooses the pseudonym ‘Marilyn Monroe’. Marilyn was sure that she could have the wonderful future because even when she worked as a model she tried to improve her appearance and prepared for the public’s attention. Thus, she was waiting for the recognition and praise and persistently tried to achieve it. It was very important for her to gain the status of a movie star (Leaming). In spite of the fact the contract with the studio was not extended, Marilyn continued to take the lessons in order to improve her actress’s skills. She stated: My illusions didn’t have anything to do with being a fine actress. I knew how third rate I was. I could actually feel my lack of talent, as if it were cheap clothes I was wearing inside. But, my God, how I wanted to learn, to change, to improve! (Spoto 209).Advertising We will write a custom research paper sample on Muse’s of Marylyn Monroe specifically for you for only $16.05 $11/page Learn More Monroe’s efforts and charm were noticed, and she got the role in Ladies of the Chorus (1948) in which she sang her first song. However, directors of the studios and the public did not consider her as a serious actress. Marilyn began to receive her first significant roles only in 1950. The movies were known as The Asphalt Jungle (1950) and Clash By Night (1952). Monroe’s acting attracted the critics’ attention, and in 1952 she also received the leading part in Don’t Bother to Knock. However, the film was not successful, and the leaders of the studios began to blame Monroe for her bad acting and the failure of the movie (Morgan). Marilyn thought that it was too injustice, and she was alone with her feelings and sufferings again. She noted that â€Å"creativity has got to start with humanity and when you’re a human being, you feel, you suffer† (Spoto 124). Nevertheless, her inner world was only her territory, and nobody could observe her real feelings. It was typical for her to combine the great optimism with disastrous depressions (Leaming). Marilyn found the way to avoid depressions caused by the enormous feeling of loneliness in love. It was necessary for her to feel the love of the public and of those men who were with her. That is why when she met Joe DiMaggio in 1952 she thought that this man could give her that love the lack of which Monroe felt since her early childhood living without her father. She said about DiMaggio, â€Å"he treated me like something special. Joe is a very decent man, and he makes other people feel decent, too!† (Spoto 126). Nevertheless, DiMaggio was not ready to share his wife with a lot of fans and dreamt about a loving housewife, but not a popular actress (Morgan). Marilyn also felt that her husband did not share her success in such movies as Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953), and Seven Year Itch (1954) (Morgan). When Marilyn began to achieve her goals and her dreams became true she did not feel the support of close people again. To overcome the attacks of depression, Marilyn began to study at Michael Chekhov’s classes. â€Å"As Michael’s pupil, I learned more about acting. I learned psycho logy, history, and the good manners of art – taste† (Barris 78). It was that place where she felt happy and significant, where she felt being a real actress. Her attempts to improve her acting, develop her inner world, and receive some necessary knowledge were motivated by her extreme desire to find herself as a person, to understand her real nature: I’m trying to find myself as a person, sometimes that’s not easy to do. Millions of people live their entire lives without finding themselves. But it is something I must do. The best way for me to find myself as a person is to prove to myself that I am an actress (Barris 137). Trying to find herself, Marilyn lost her husband, the marriage was broken as a result of DiMaggio and Monroe’s misunderstandings. When she had to choose between her career and marriage she chose the career, because she felt that love expressed by her public, and she did not feel the love of her husband who only wanted to change he r (Morgan).Advertising Looking for research paper on biography? Let's see if we can help you! Get your first paper with 15% OFF Learn More During this period Monroe think about the lack of serious roles in her career, she dreams to get a really significant role in an interesting movie. However, she has a definite reputation, and nobody discusses her acting seriously (Leaming). That is why Marilyn joined the Actors Studio in 1955 and began to take the lessons of Lee Strasberg, the famous drama coach. He was one of those few people who could see her talent and considered her as a gifted actress (Morgan). He said that she had â€Å"a luminous quality – a combination of wistfulness, radiance, yearning, that set her apart and yet made everyone wish to be part of it, to share in the childlike naà ¯vetà © which was at once so shy and yet so vibrant† (Barris 154). In spite of Michael Chekhov and Lee Strasberg’s praises and acknowledgements of Monroe’s talents, there always were critics who accentuated only the actress’s weaknesses. According to David Thomson, the American critic, Marilyn co uld not even say two lines at once, and he did not believe that Lee Strasberg really appraised her talents (Leaming). When Marilyn Monroe observed such commentaries she thought that the only way for her was to smile more openly, conceal her real feelings, and do as much as possible to develop her abilities. She was very dependent on the public’s vision of her acting (Morgan). High assessments stimulated her activity and gave her the optimistic state of mood when negative reactions caused her depressions and made her feeling lonely. Monroe could be touchy and sensitive, but she was never indifferent to the other people’s thoughts about her acting and personality. Marilyn also said that â€Å"it’s better for the whole world to know you, even as a sex star, than never to be known at all†, but at the same time she stated, â€Å"I want to be an artist, not an erotic freak. I don’t want to be sold to the public as a celluloid aphrodisical† (Spoto 128). The actress’s way to the Hollywood’s tops always depend not only on her drama talents but also on her appearance. Monroe’s appearance was so remarkable that it determined the special fashion style for the long period of time. Every woman dreamt to look like Marilyn, and every man dreamt about Marilyn. Monroe’s appearance was a result of her everyday hard work. First, Marilyn developed her image because of the desire to be loved by the public and attract its attention. Then her appearance became her main actor’s tool, and it was almost impossible to change the public’s perception of Marilyn as a beautiful doll (â€Å"The Marilyn Monroe Biography†). Nevertheless, in spite of different considerations about Monroe’s talents as an actress, there were very few people who did not admire her as a wonderful woman. Marilyn received the audience’s admiration which was her inner desire from the early years, but now she was not a young dreamful girl. She was a woman who wanted to be considered as a serious actress and, first of all, as a personality. Marilyn ironically noted, â€Å"I don’t want to make money. I just want to be wonderful† (Barris 130). When Monroe met Arthur Miller she was ready to create a real family with analyzing her previous unhappy experiences. Now Marilyn could even choose her family instead of her career successes. Marilyn thought she was happy in her marriage with Miller (Morgan). It seemed that her Muse of loneliness left her, and all her efforts were directed toward creating a lovely nest at home. Moreover, Monroe was pregnant and felt that now she could realize all her love. However, the atmosphere of happiness in Monroe’s family was not long. Marilyn’s pregnancy resulted in the miscarriage, and it was too difficult for her to overcome the following depression. That is why Monroe experienced the drug therapy and used a lot of tranquilizers as the par t of her psychotherapy (â€Å"The Marilyn Monroe Biography†). Her marriage with Arthur Miller was also broken because they were very different people. Marilyn did not receive the necessary support from her husband, and she had to cope with all her problems by herself. The Muse returned with Marilyn’s failures in the private life and stimulated her to act more and more vividly. Her talents developed greatly from Some Like It Hot (1958) to The Misfits (1961) (Morgan). However, the successes in her career could not give Marilyn satisfaction any more. Monroe understood that â€Å"it’s better to be unhappy alone than unhappy with someone†, but once her loneliness became so extreme that only drugs could help her cope with it (â€Å"The Marilyn Monroe Biography†). It was typical for Marilyn to feel guilty for almost everything including her imperfect behavior and acting. The only remedy for Marilyn’s depression could be the public’s praise. â€Å"I feel stronger if the people around me on the set love me, care for me, and hold good thoughts for me. It creates an aura of love, and I believe I can give a better performance† (Barris 29). Even her ex-husband Arthur Miller stated that, â€Å"to have survived, she would have had to be either more cynical or even further from reality than she was† (Spoto 139). Some people said that Hollywood was her single love, and it â€Å"broke her heart† (Thomas). The real peculiarities of Marilyn Monroe’s death in 1962 are still unknown. There are many versions of the tragedy including the possibilities of murdering and committing suicide (Morgan). Monroe’s absence of abilities to survive in the dangerous and cruel world of Hollywood led to her tragic demise. She always tried to become more beautiful, more talented, more perfect, but those people who were close to her rarely noticed her attempts and considered her aims not seriously. It seemed that Mari lyn Monroe’s talents flourished against the critique and mockeries, and her Muse developed on the base of her difficult inner world and private deep feelings. During all her life Monroe tried to get rid of the thought that she is worse than other people because there are so many great talented persons around her (â€Å"The Marilyn Monroe Biography†). Different famous people find their inspiration and their Muses in various things. The secret of Marilyn Monroe’s fame was in her inner tragedy and enormous loneliness. Marilyn did not feel the support of her mother and father in the childhood. She also did not feel the support of her husbands when she became the famous actress, and the public which now praises her comedian gift was not always so merciful to Monroe’s works. However, Marilyn always tried to find the powers and go with her head up, but one day in 1962 her lonely way ended. Works Cited Barris, George. Marilyn: Her Life in Her Own Words. USA: Cita del, 2001. Print. Leaming, Barbara. Marilyn Monroe. USA: Three Rivers Press, 2000. Print. Morgan, Michelle. Marilyn Monroe: Private and Undisclosed. USA: Carroll Graf, 2007. Print. Spoto, Donald. Marilyn Monroe: The Biography. USA: Cooper Square Press, 2001. Print. The Marilyn Monroe Biography. n.d. Web. Thomas, Michelle. Hello Again, Norma Jean. 18 Jul. 2006. Web. https://www.sun-sentinel.com/news/fl-xpm-2006-07-18-0607170102-story.html This research paper on Muse’s of Marylyn Monroe was written and submitted by user Jaxon E. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.