Shakespeare's The Tragedy of Romeo and Juliet and Sophocle's Antigone

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An unknown author once wrote, "Courage is measured by an individual's willingness to continue fighting even when the likelihood of victory is small." This anonymous author believed that if you don't give up even when the chances of victory are slim you will still have more courage than if you just succeeded and it was easy. Shakespeare's The Tragedy of Romeo and Juliet and Sophocle's Antigone both prove the unknown author's quote to be correct.

Shakespeare uses characterization and conflict effectively in The Tragedy of Romeo and Juliet. Romeo and Juliet are romantic, love struck, and dramatic. Through these traits and the literary element characterization Shakespeare proves the quote correct. Romeo and Juliet are both love struck and because of that they show courage and do not give up even though the likeliness of succeeding is small. When Romeo goes to the Friar and tells him that he wants to get married to Juliet he shows tremendous courage because both of their families hate each other but they still go through with it. Romeo is romantic and courageous when he goes back to Juliet's house to say good bye even though he is banished and could be killed. Juliet drinks the sleeping potion for Romeo even though she has to risk being buried alive. By detailing conflict Shakespeare proves the anonymous author's quote. Romeo and Tybalt both hate each other and have many opportunities to prove this, person vs. person. When Tybalt first challenges Romeo to a fight Romeo states that he will not fight him. Romeo shows a lot of courage by backing down to an enemy. However, when Tybalt comes back the second time Romeo is forced to fight him and he kills Tybalt. Romeo still does not give up and sticks to Juliet. Juliet gets in a fight with her father, Lord Capulet and does give in to him even though he states that she will marry Paris. She shows courage by standing up to her father in this conflict. Shakespeare proves the unknown author's quote correct in many areas.

Sophocles also uses conflict and characterization in Antigone and proves the anonymous author's quote correct. Sophocles gives Antigone the characteristics of being defiant, stubborn, and strong willed. Antigone does what she feels the gods would want her to do. She always believes in the gods and shows courage doing what she feels is right even if the chances of victory are small. When Antigone buries her brother, Polyneices and goes against her Uncle Creon's order she shows defiance and courage.

She admits to burying him to Creon's face and told him that what she did she believed was right. This shows courage because she knew that the penalty would be death but she didn't give up and did it any way. Sophocles uses person vs. person conflict to detail how Antigone won't give up even if the chances of succeeding were small. Creon and Antigone get in many arguments and conflicts but Antigone never backed downed. She told Creon what she did and said she believed it was right, he was furious with her and sent her to death. Antigone still believed that what she did was right and never gave in to Creon by telling him she was wrong.Cheap custom writing service can write essays on Shakespeare's The Tragedy of Romeo and Juliet and Sophocle's Antigone

Both The Tragedy of Romeo and Juliet by Shakespeare and Antigone by Sophocles use literary elements that prove the unknown author's quote correct. When the odds of victory are small, don't give up and you will show the most courage of all.

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INEQUALITY EXPRESS

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The Inequality Express

Every gun that is made, every warship launched, every rocket fired, signifies in the final sense a theft from those who hunger and are not fed, those who are cold and are not clothed. (President Dwight D. Eisenhower, 15).

Between 147 and 170 all income groups in America experienced economic advancement. In fact, lower income families had higher growth in annual income than families of higher income. However, in the early 170s this pattern changed. The higher income families, mostly within the top 0 percent income bracket, continued to increase there income, while families in the bottom 40 percent, experienced declining incomes.

The difference in income between the lower income brackets and the higher income brackets, which continued through the mid-10s, was due to a slowdown in productivity growth. Profits and wages depend largely on how much we produce, within approximately 5 years, productivity decreased and therefore there was less, which made the wages for the lower income brackets to go down.Do my essay on INEQUALITY EXPRESS CHEAP !

In approximately October of 15, productivity began to increase, averaging .6 percent annual growth since then, and reaching an extremely high growth of 6.4 percent annual rate in the last quarter of 1. For the workers that have been unemployed more then 6 months, dropped dramatically from almost two million in 1 to just 67,000 As of September of 000. "The unemployment rate of high-school dropouts declined from almost 1 percent in 1 to less than 7 percent now. The unemployment rate among blacks is 7. percent, the lowest since the Bureau of Labor Statistics began compiling comparable unemployment data by race in 17." (George Akerloff, University California, Berkely, 00.)

1.1 Distribution of Net Worth (by population segments)

Wealth Class 18 18 1 15 18

Top 1% .8 7.4 7. 8.5 8.1

Next 4% . 1.6 .8 1.8 1.

Next 5% 1.1 11.6 11.8 11.5 11.5

Next 10% 1.1 1.0 1.0 1.1 1.5

Next 0% 1.6 1. 11.5 11.4 11.

Middle 0% 5. 4.8 4.4 4.5 4.5

Bottom 40% 0. -0.7 0.4 0. 0.

Source Edward N. Wolff, Recent Trends in Wealth Ownership, 18-18, April 000. Table . Available on the website of the Jerome Levy Economics Institute at www.levy.org/docs/wrkpap/papers/00.html

1. Change in Average Household Net Worth by Wealth Class

Source Edward N. Wolff, Recent Trends in Wealth Ownership, 18-18, April 000. Table . http//www.levy.org/docs/wrkpap/papers/00.html

1. Household Net Worth by Wealth Class, 18

Wealth Class Average Net Worth Threshold

Top 1% $10,04,00 $,5,100

Next 4% $1,441,000

Next 5% $6,500 $475,600

Next 10% $44,00 $57,700

Fourth 0% $161,00

Middle 0% $61,000

Bottom 40% $1,00 (Negative)

Source Edward N. Wolff, Recent Trends in Wealth Ownership, 18-18, April 000. Table and note to Table 5. http//www.levy.org/docs/wrkpap/papers/00.html

1.4 Top 1% Share of Household Wealth

Source Edward Wolff, Top Heavy, 16, New Series Households data, pp. 78-7 (for years 1-8) and Recent Trends in Wealth Ownership, April 000, Table (for years 1-8) http//www.levy.org/docs/wrkpap/papers/00.html

1.5 Share of Total Ownership of Stocks, Mutual Funds, and Retirement Accounts, 18

Source Edward N. Wolff, Recent Trends in Wealth Ownership, 18-18, April 000. Table 6. http//www.levy.org/docs/wrkpap/papers/00.html

1.6 The Racial Wealth Gap, 18-8

18 18 1 15 18

Median Net Worth

White $71,500 $84,00 $71,00 $65,00 $81,700

African-American $4,800 $,00 $1,000 $7,00 $10,000

Hispanic $,800 $1,800 $4,00 $5,00 $,000

Median

Financial Wealth

White $1,00 $6,00 $1,00 $1,00 $7,600

African-American $0 $0 $00 $00 $1,00

Hispanic $0 $0 $0 $0 $0

Homeownership Rate

White 68.1% 6.% 6.0% 6.4% 71.8%

African-American 44.% 41.7% 48.5% 46.8% 46.%

Hispanic .6% .8% 4.1% 44.4% 44.%

Note Financial Wealth is Net Worth minus the value of owner-occupied housing.

Source Edward N. Wolff, Recent Trends in Wealth Ownership, 18-18, April 000. Tables 8 and . http//www.levy.org/docs/wrkpap/papers/00.html

1.7 Richest Individuals and Families in the U.S., 00

Name Net Worth Source

Bill Gates $4 billion Microsoft

Warren Buffett $6 billion Berksire Hathaway

Paul Allen $1 billion Microsoft

Alice Walton $1 billion Inheritance Wal-Mart

Helen Walton $1 billion Inheritance Wal-Mart

Jim Walton $1 billion Inheritance Wal-Mart

John Walton $1 billion Inheritance Wal-Mart

S. Robson Walton $1 billion Inheritance Wal-Mart

Lawrence Ellison $15 billion Oracle Corp.

Steven Ballmer $1 billion Microsoft

Michael Dell $11 billion Dell Computer

John Werner Kluge $10 billion Metromedia

Forrest E. Mars $10 billion Inheritance Mars Candy

Jacqueline Mars $10 billion Inheritance Mars Candy

John Franklyn Mars $10 billion Inheritance Mars Candy

Source Forbes 400 website http//www.forbes.com/00/0/1/rich400land.html Data retrieved Sept. 0, 00.

1.8 Median Wealth in the U.S. in 18 dollars

Source 18 1 15 18

Arthur B. Kennickel

Federal Reserve Board $5,700 $56,500 $60,00 $71,600

Edward N. Wolff

New York University $58,400 $4,00 $48,800 $60,700

Source Analyses of the Survey of Consumer Finances, conducted every three years by the Federal Reserve Board. Kennickel and Wolff apparently interpret net worth differently. Kennickels work is summarized in Recent Changes in Family Finances Results from the 18 Survey of Consumer Finances, Federal Reserve Bulletin, January 000, available at http//www.bog.frb.fed.us/pubs/oss/oss/8/scf8home.html. Wolffs numbers are from his article Recent Trends in Wealth Ownership, 18-8, Table 1, available on the website of the Jerome Levy Economics Institute at www.levy.org/docs/wrkpap/papers/00.html

1. Total Household Net Worth in the U.S. (in trillions of dollars)

185 186 187 188 18 10 11 1 1

14. 15.8 16.8 18.4 0.1 0.6 1. .8 4.0

14 15 16 17 18 1 000 001 00

(Q)

4.7 7.6 0.1 . 7. 4.4 4.0 41.1 40.1

Source Federal Reserve Board, Flow of Funds Accounts, September 16, 00.

1.10 Number of Millionaires in the U.S.

17 18 1 000 001

1,800,000 ,060,000 ,480,000 ,180,000 ,0,000

Sources Merrill Lynch / Gemini Consulting, World Wealth Report 000, Figure , and Merrill Lynch / Cap Gemini Ernst & Young, World Wealth Report 001, Figure 1.

1.11 Number of Millionaires in the World

17 18 1 000 001

5,00,000 5,00,000 7,000,000 6,00,000 7,100,000

Source Merrill Lynch / Gemini Consulting, World Wealth Report 000, Figure , and Merrill Lynch / Cap Gemini Ernst & Young, World Wealth Report 00, Figure 1.

1.1 Number of Billionaires in the U.S.

16 17 18 1 000 001 00

17 0 07 8 66 8

Source Forbes 400 website http//www.forbes.com/00/0/1/rich400land.html

1.1 Number of Billionaires in the World

10 1 16 1 000 001 00

74 4 465 470 58 47

Source Merrill Lynch / Gemini Consulting, World Wealth Report 000, Figure 8, citing Forbes Magazine; Forbes, July 5, 1; Forbes, July , 000,; Forbes, July , 001, and Forbes website http//www.forbes.com/00/0/8/billionaires.html

• In 1, more than half of all estate taxes were paid by the wealthiest one of every 700 people who died. (Center on Budget and Policy Priorities analysis of IRS data http//www.cbpp.org/6--0tax.htm)

• Since the mid-170s, the most fortunate one percent of households have doubled their share of the national wealth. They now hold more wealth than the bottom 0 percent of the population. (NYU Economist Edward N. Wolf, Top Heavy)

• In 001, 16. percent of American children lived in poverty, a lower rate than 1 (.7 percent), but higher than the 17 rate of 14.4 percent. (U.S Census Bureau Current Population Survey http//www.census.gov/hhes/poverty/histpov/hstpov.html/)

• Nearly one quarter of all workers more than 8 million in all -- earn less than $8.78 an hour, the amount needed to lift a family of four above the poverty line with full-time work (about $18,00 a year). (Economic Policy Institute, The State of Working America 00-0, p. 55)

• In 18, the top 1 percent of Americans owned 47.7 percent of all stock, while the bottom 80 percent owned 4.1 percent. Between 18 and 18, nearly 5 percent of all stock market gains went to the top 1 percent of shareholders. 64 percent of American households have stock holdings worth $5,000 or less, or own no stock at all. (NYU Economist Edward N. Wolff, cited by Economic Policy Institute, The State of Working America 00-0, pp. 86-8)

• Between 15 and 18, the total wealth of the typical American household rose from $58,800 to $61,000. The average value of stock holdings rose $5,500, the value of non-stock assets (mostly homes) climbed $8,500, and household debt increased $11,800. (Economic Policy Institute)

• Middle-class families enjoyed .8 percent of the stock market gains between 18 and 18, but accounted for 8.8 percent of the increase in household debt. (Economic Policy Institute)

• In 000, 6.4 percent of private sector workers had employer-provided healthcare, down from 70. percent in 17. 4.6 percent of private sector workers have employer-provided pension plans. (Economic Policy Institute, The State of Working America 00-0, pp. 14-14)

• 60 percent of U.S. workers say that if they were laid off, their savings are sufficient to maintain their current standard of living for a few months or less. Only percent said they are able to save for the future. 40 percent say they earn enough to be comfortable, but not to save, while 7 percent said they earn only enough to get by, and percent said they are unable to pay their bills. (Fleet Bank, contact Rena DeSisto, 1-70-161)

• 64 percent of U.S. workers say they would rather have more time than more money. Even in households earning less than $5,000, 4 percent said they would still prefer time over money. (Fleet Bank)

• Fewer than 50,000 estates -- percent of the total -- paid federal estate taxes in 1. (Internal Revenue Service)

• A study by Treasury Department economist David Joulfaian found that eliminating the estate tax would reduce charitable bequests by about 1 percent. (United For a Fair Economy, citing Center on Budget and Policy Priorities analysis of IRS data http//www.cbpp.org/6--0tax.htm)

• While the top tax rate is 55 percent, on average, estate taxes represent 1 percent of the gross value of the estate. (United For a Fair Economy, citing 1 Internal Revenue Service data.)

• Among the industrialized nations, the U.S. has the highest concentration of individual wealth--roughly times that of the No. nation, Germany. (UN Human Development Report, 18)

• As of 18, the richest five percent of U.S. households held more than 5 percent of the nations private wealth. The top 1 percent of households held 8 percent of the wealth. (NYU Economist Edward N. Wolff, cited by Economic Policy Institute, The State of Working America 00-0, p. 81)

• Between 18 and 18, households in the bottom 0 percent of the population saw their net worth's decline from -$,00 to -$8,00 in 18 dollars. Meanwhile, the net worth of the middle fifth of the population rose .7 percent, and the net worth of the top 1 percent rose 0%. (NYU Economist Edward N. Wolff, cited by Economic Policy Institute, The State of Working America 00-0, p. 81)

• In 18, the typical black household held only 1 percent of the wealth of the typical white household. With housing excluded, that figure would be percent. More than 7 percent of black households (and nearly15 percent of white households) have no net worth. (NYU Economist Edward N. Wolff, cited by Economic Policy Institute, The State of Working America 00-0, p. 84)

• Most Americans in the highest-earning one percent of the population (median annual income $0,000) dont consider themselves rich. (Worth-Roper Starch Survey)

• As of 18, 48 percent of American households owned stock either directly or through a mutual fund or some sort of retirement plan. Over 86 percent of the value of all stocks and mutual funds, the top 10 percent of the households held including pensions. (Economic Policy Institute, The State of Working America 00-0, pp. 86-87)

The attacks of September 11th, 001, revealed some truths about the American economy that that has been hidden for many years. One is how much of our economy is made up of the working class. Which make up about 70% of the work force. Over the years the media saw economic trends through the eyes of rich business executives, to the point where it seemed that they represented the working class of America. And according to Jeff Faux, (newsweek, 001) "No one could hardly find a more fitting symbol of the new global economy than the World Trade Center -- surrounded in the evening with a herd of sleek limousines waiting to serve the masters of the universe at the end of the day."

And yet, it turns out, that the building was run by thousands of data clerks and secretaries, waiters and dishwashers, janitors and telephone repairmen. Thousands still mourn everyday for the men and women who were lost that day firefighters, hotel and restaurant employees, police, communication workers, service employees, teachers, federal employees, pilots and flight attendants, engineers, electrical workers, federal employees, building trades, and state, county, and municipal employees. And many were in no union, meaning job insecurity, no benefits, and certainly no limousines.

For two decades, politicians of both parties have celebrated the pursuit of private gain over public service. "Shrinking government has become a preoccupation of political leaders through deregulation, privatization, and cuts in public services." (J.Faux,001) One result is that the U.S. is the only major nation that leaves airline and airport security in the hands of private corporations, which are motivated to spend as little as possible. Training has been inadequate and supervision has fallen through the cracks. "Turnover was 16 percent a year and the average employee stayed in airline security for only six months"(J.Faux, 001). In an anti-government political climate the airline corporations were able to shrug off the government inspections that consistently revealed how easy it was to bring weapons on board.

"Private provision of public services has been the dominant philosophy of government in our time. Only natural, the economists told us. People were motivated by money. Its human nature. Greed is good, said the movie character in the send-up of Wall Street -- a sentiment echoed by politicians of both parties. Collective solutions are a thing of the past. The era of big government is over. You are on your own. Public service was old economy, just for losers. A teacher in New York City schools starts at $0,000. A brand new securities lawyer starts at $10,000. Does anyone believe that this represents sensible priorities? And does anyone believe that the firefighters who marched into that inferno did it for money? Does anyone think that people working for a private company hiring people for as little as possible would have had the same motivation -- would have been as efficient? At the moment when efficiency really counts? " (J.Faux, 001)

"When all else fails, where do we turn? To the governments firefighters, police officers, rescue teams. To the nonprofit sectors blood banks and shelters. And to Big Governments army, navy, and air force. During his campaign, the president of the United States constantly complained that the people knew how to spend their money better than the government did. Overnight, we just appropriated $40 billion for the government to spend however it sees fit. Who else would we trust? The stock market itself made one point. Despite calls for investors to exercise patriotic restraint, the market opened with an avalanche of sell orders, driving the Dow to its largest point loss in history. As one broker said, This is how capitalism is supposed to work. Just so. The market is about prices, not values." (J.Faux, 001)

Finally, perhaps we learned something about our national identity. For many, Americas exceptionalism means that it is the best place to get rich. For others, it is our unique set of laws -- our Bill of Rights. Still others see America not in national terms at all, but as a group of ethnic groups.

In Conclusion, Those who risked and gave their lives on September 11th, 001, show what this country is built upon, both the public servants and the brave civilian passengers who rushed the terrorists and forced the airliner down in Pennsylvania before it could get to Washington, are unlikely to have acted out of reverence for the stock market or for our court system or for some ethnic or religious loyalty.

It is obvious that we can no longer rely on our exceptionalism to keep us safe. In the years to come, we are likely to be reminded of that. To get through this, we need to get rid of the thought that we are all on our own. Americas strength, like the strength of any other society, is in our ability to be there for each other.

Works Cited

Post, James E., Lawrence, Anne T., Weber, James. Contemporary Business Issues (1) 87-.

Abelda, Randy, Robert W. Drago, and Steven Shulman. Unlevel Playing Fields Understanding Wage Inequality and Discrimination. Economic Affairs Bureau, Inc., 001

Ackerman, Bruce with Anne Alstott. The Stakeholder Society. Yale University Press, 1.

Anderson, Sarah, John Cavanagh with Thea Lee and the Institute for Policy Studies. Field Guide to the Global Economy. New Press, 000.

Freeman, Richard with Lawrence Katz. Rising Wage Inequality The United States vs. Other Advanced Countries. In the anthology Working Under Different Rules. Russell Sage Foundation, 14.

Karoly Lynn A. Anatomy of the U.S. income distribution Two decades of change. Oxford Review of Economic Policy. 16; 177-6.

Wolff, Edward. Recent Trends in the Size Distribution of Household Wealth. Journal of Economic Perspectives. Summer 18.

Please note that this sample paper on INEQUALITY EXPRESS 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 INEQUALITY EXPRESS, we are here to assist you. Your cheap college essays on INEQUALITY EXPRESS will be written from scratch, so you do not have to worry about its originality.

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'The Adoration of the Magi'

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Morris and Company

Founded by William Morris

(b. 184, Walthamstow, d. 186, London) Help with essay on 'The Adoration of the Magi'

Designed by Edward Burne Jones 1880

'The Adoration of the Magi'

100-10

Wool and Silk Textile, 4 m x m approx.

AGSA

Within the tapestry, the scene tells the story of the Magi who arrive from the east, bearing gifts for the newborn Jesus Christ.

There are symbolic references throughout this piece, and also an obvious contrast between poverty and wealth portrayed between the characters in this composition.

The holy family are positioned to the left of the composition within the sturdy little shelter. They appear humble and they're dressed in basic robes coloured red and blue with worn out leather sandals, an obvious depiction of poverty.

The Christ child is covered with a fine silk sheet. He lies upon his mother's lap who is seated upon bales of wheat, which signifies the harvest, reaped from sowing the Gospel.

Joseph stands next to the shelter with a bundle of twigs in his right hand, which signifies the crown of thorns that was worn at the crucifixion.

The shelter, which forms the shape of a cross, is made of tree trunks and covered with either wheat or barley.

The shelter is bound with vines, a symbol of Christ, the true vine and creeping red roses, which is symbolic of heavenly joy.

Amongst the vines and roses sit, either, Swallows which represents incarnation and resurrection or, Goldfinches that symbolizes Christ's passion, either way both may be significant.

The symbol of birds was a late development in Christian art. Partly, because when it was mentioned within the scriptures it was difficult, as I've just shown, to positively identify any species. Therefore there were many different interpretations.

To the right of the Virgin Mary are white lilies, which are known as 'Madonna Lillie's'. These symbolise purity, which characterizes the Virgin Mary.

Behind the shelter is a pond full of crystal clear water, which symbolises baptism.

The Angel is suspended in air by its soft-feathered wings and placed in the centre of the composition. The Angel is dressed in a beautiful gold and pale green robe, with an embroidered pattern and decorated with jewels. The Angel holds a ball of pure white light, which possibly symbolizes the presence of GOD.

Under the Angel's feet lies a gold crown decorated with jewels, this symbolises temporal rule subservient to spiritual rule.

The Magi who are standing to the right of the Angel are bearing gifts. They're all dressed elaborately in lavishly coloured robes, which are embroidered with gold and lined with jewels.

In the background, the forest is studded with a thick band of trees. Trees also have symbolic references; I can't tell the species, I won't even begin to try and define them.

There is a carpet of dark grass covered with the white lilies in the foreground; this may suggest the splendour of the Garden of Eden.

I found it quite interesting how there was a significant contrast of wealth and poverty. It amazes me how to this day, religious groups still believe that we as a society have a better chance of going to heaven if we live in poverty and subject ourselves to martyrdom, and wealth is a sure ticket to hell as it destroys us. Somehow contradictory to part of this composition, where the wealthy seem to be bearers of gifts, or are they paying for a position in heaven?

References

AGSA

Plaque beneath tapestry, The Adoration of the Magi

Christian Symbolism [Online] Available

http//landru.i-link-.net/shnyves/Christian_Symbolism.html

[Accessed18 June 00].

Symbols in Christian Art and Architecture [Online] Available http//home.att.net/~wegast/symbols/symbols.htm

[Accessed 18 June 00].

The Adoration of the Magi [Online] Available

http//www.nga.gov/collection/adoration.htm

[Accessed 18 June 00].

Please note that this sample paper on 'The Adoration of the Magi' 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 'The Adoration of the Magi', we are here to assist you. Your cheap custom research papers on 'The Adoration of the Magi' will be written from scratch, so you do not have to worry about its originality.

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Art Works of Judy Chicago, Nam June Paik, Robert Smithson and Bruce Nauman

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on Art Works of Judy Chicago, Nam June Paik, Robert Smithson and Bruce Nauman. 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 Art Works of Judy Chicago, Nam June Paik, Robert Smithson and Bruce Nauman paper right on time.

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This world is full of different concepts, ideas and emotions that artists tries to express in their works. Every each one has it is own unique way and in this assignment I learned about some Earth Art, Conceptual Art, Visual and Installation Art.

The first artist I want to write about is Paik, Nam June who was born in 1 in Korean. He is an American performer and conceptual artist works mainly with video, integrating visual images with music. His works like Fin de Siecle II, Three Elements and Electronic Super Highway incorporated hundreds of television monitors, challenging the viewer with many unforgettable images and sounds. Holding a magnet to the face of a TV screen distorts the picture in strange and wonderful ways.

Reconsidering and challenging our ideas about the way television or video should appear or perform is the main idea of Nam June Paiks art. He was educated as a musician in Japan and Europe and in 164 he arrived in New York to bring his ideas in the so called Fluxus art movement then changed the limits of conventional artistic theory. He proceeded to experiment with film and video even though his most experience was in music and he also had a performance background. His production of spectacular installations of video monitors built into indoor as well as outdoor sculptures. Converting regular TVs into a machine building wall maps of the Unites States using invisible lines around dozens of video monitors, Paik has created a vivid movement of the 0th century. Recent exhibition at the US Museum, this book opened up an excellent overview of Paiks involvement with the New York art world of the Sixties, of his growing fame as a designer of freestanding video sculpture, and of the numerous video works. "The World of Nam June Paik" is the best description of Paik works (Guggenhteim 15).

Paik has left an incredible footprints in the art world. He was very popular and worked with a lot of famous people like Joseph Beuys, John Cage, Merce Cunningham and the Fluxus founders . He created some of the most popular works in 50's and 60's , with his destroyed pianos and his Charlotte Moorman variations. He has generated a long trail of single-channel videos, famous performances, landmark exhibitions, and impressive catalogs, along with an extensive secondary critical literature. He had been sponsored by major US Companies and has produced giant works, including a piece designed for the 188 Olympics in Seoul that contains over a thousand video monitors. He created bigger piece for the Atlanta Olympics (Nguyen ).

Paiks "superhighway works" has two main ideas one leads to the past and historical forms of transport and communication, and another underlines the present, the electronic highway, two big video installations with forty-eight projections and five hundred monitors. Paik's is bringing the question of time with ought bias. Although he used the word, he didnt address the future (Guggenhteim 15).

Paik's works considered to be historical, extraordinary even though many consider TV performances unrelated to art. Paiks robots, built from old TV sets, are all about history--the history of design, of art, of TVs centrality to our lives. They are a tribute to the past and a commentary on the present. The Family of Robots series speaks to TVs fifty years of familiarize, the news, network, and families. Unlike the movies, which are about romance and the youthful couple, TV constructs extended families, often including several generations (Guggenhteim 15).

The second artist is Robert Smithson who is considered to be a controversial artist. For some people, he is the last great avant-garde artist , while for others he is one of postmodernisms artist. There are many interpretations of artist Robert Smithson, with extremes ranging from the image of a socially engaged artist to that of a hopeless nature romanticist, from an important writer but insignificant artist, a genial filmmaker, and so on (Reynolds 1).

Nerveless, Robert Smithson still remained a symbol to contemporary art throughout the twenty-five years that have passed since his death. Smithsons works challenge, in a surprising and unforgettable way, underlining the subjective and our relationship to visual elements.

Robert Smithson had a collection of his personal papers and his library, which were donated to the Smithsonian Institutions Archives of American Art, concentrated on the historical and principal ideas to recognize Smithsons complexity, in both artistically and philosophical way. Smithson created art narrow vision worlds boundaries. Robert, considered New Jersey a place where he could create works for specific sites while enjoying outside beauty of nature, and it's creative process. Reynolds his reader to follow Smithsons way of thinking through his own notes and sketches. His articles, the images he clipped from magazines, and the photographs he took. The unforgettable project was discussed with jargon and has stereotypical approach that may confuse the reader. Reynolds concentrates at one of the major artists of the 160s, art critic and historian Better that opens up a new era of Earthworks movement and its exponents. His chronological survey reconsiders political, philosophical activities of the late part of the decade (Reynolds 6).

His 1 color and black-and-white images; highly considered for all art collections, academic libraries, and large public collections as well.

During this period, there was great ambivalence about the purity of art, the need for a market to support it. With clarity and insight, the author traces the careers of the artists and their relationships to their work, one another, and the world of art critics and dealers. The result is a remarkable combination of insight and intellectual enthusiasm that, rare in a scholarly work, is easily accessible and a pleasure to read (Elizabeth 1).

Judy Chicago isn't only an artist but also author, feminist, educator. She was an active social feminist thorough her entire life and an author of many publications throughout the world. Her art is popular not only in the United States but also in Canada, Europe, Asia, Australia, and New Zealand. In addition, a number of the books she has authored have been published in foreign editions, bringing her art and philosophy to thousands of readers worldwide (Hamel 1).

After a long time of professional art practice, Chicago allowed Feminist Art and art education through a new program for women at California State University. Judy brought her program to the California Institute of the Arts where, with another artist, she created the Feminist Art Program. The famous Womanhouse, was the first work that underlined female point of view in art . The Womanhouse had an unbelievable influence of and this ideas provoked to initiating of a worldwide Feminist Art movement (Doubleday ).

In 174, Chicago brought up the issue of womens history to create her most influential work, "The Dinner Party". This multicultural project became a symbolic history of women in Western Civilization. "The Dinner Party" became the biggest issue of art history and is had been published in many fields. The importance of The Dinner Party, along with Chicagos role as the founder of the Feminist Art movement, was examined in the 16 exhibition, Sexual Politics Judy Chicagos Dinner Party in Feminist Art History (Denham 4).

Chicago's other big project was the "Birth Project". She designed a monumental series of birth and creation images for needlework which were made under her supervision by skilled needle workers around the country. The Birth Project, exhibited in more than 100 venues, employed the collaborative methods and a similar merging of concept and media that characterized The Dinner Party. Exhibition units from the Birth Project can be seen in numerous public collections around the country including the Albuquerque Museum where the core collection of the Birth Project has been placed to be conserved and made available for exhibition and study (Bruce 7).

While completing the Birth Project, Chicago also focused on individual studio work to create Powerplay. In this unusual series of drawings, paintings, weavings, cast paper, and bronze relief's, Chicago brought a critical feminist look to the gender concept of masculinity, exploring how dominant definitions of power have became the world in general - and men in particular. The thought processes involved in Powerplay, the artists long concern with issues of power and powerlessness, and a growing interest in her Jewish heritage led Chicago to her next body of art (Wallen 1).

Another of her big works was the Holocaust Project From Darkness Into Light, which premiered in October, 1 at the Spertus Museum in Chicago, continued to travel to museums around the United States until 00. Holocaust Project evolved from eight years of inquiry, travel, study, and artistic creation; it includes a series of images merging Chicagos painting with the photography of Donald Woodman, as well as works in stained glass and tapestry designed by Chicago and executed by skilled artisans.

For many decades, Chicago has produced works on paper, both monumental and intimate. These were the subject of an extensive retrospective which opened in early 1 at the Florida State University Art Museum in Tallahassee, Florida. Organized by Dr. Viki Thompson Wylder, who is a scholar on the subject of Chicagos oeuvre, this was the first comprehensive examination of the body of Chicagos art (Wallen ).

Chicago returned to teaching , having accepted a succession of one-semester appointments at various institutions around the country - beginning with Indiana University where she received a Presidential Appointment in Art and Gender Studies. In 000, she was an Inter-Institutional Artist in Residence at Duke University and the University of North Carolina, Chapel Hill. In 001, with her husband, photographer Donald Woodman, she undertook a project with students at Western Kentucky University commemorating the thirty-year anniversary of Womanhouse. Working with students, faculty, and local artists, Chicago and Woodman developed a project titled At Home, reexamining the subject of the house, this time from the perspective of residents of Kentucky who have a keen sense of place and home. In 00, Chicago and Woodman will team-teach again, facilitating an ambitious inter-institutional project in Pomona, California (Wallen 4).

Bruce Nauman was born in 141 in Fort Wayne, Indiana. He has been recognized since the early 170s as one of the most significant and provocative of America's contemporary artists. Nauman inspiration is in the everyday simple activities like speech, walking. Bruce soon after graduating from the University of Wisconsin and then the University of California, realized he will become a very famous and successful artist. At this point art became more of an activity and less of a product. He started to work with the mediums of sculpture, video, film, printmaking, performance, and installation, Nauman concentrates less on the development of a characteristic style and more on the way in which a process or activity can transform or become a work of art. A survey of his diverse output demonstrates the alternately political, prosaic, spiritual, and crass methods by which Nauman examines life in all its details, mapping the human arc between life and death. The text from an early neon work proclaims "The true artist helps the world by revealing mystic truths" (Danto 1).

Bruce Nauman's works have a lot of commands, and since views on language are said to have had a marked influence on Naumans art, it is some time useful to think of those works as having absolute straight logic of language games--which means, since the commands are often directed at us, that we are meant to do something in response. Naumans in contrast with works of art like Judy's Chicago that provokes only an aesthetic response that sometimes more serious and selfish but in a way more active, on our part. Designed as plays in language games, they address us less as viewers than as participants. His works of art is very hard not to appreciate but sometimes hard to fully analyze and understand (Danto ).

For example, we can analyze some of the commands that would be easily understood. Then at the game the base ball, striking is a way of not playing the game. So he is thinking of what we might call strike-proof games, where it is, as Continental thinkers like to say, always already too late to refuse to do what one is asked. Some times reading the information can be easily compared to a game the analogy would en example with a baseball game. Alongside such commands one might think of logically non-nondisobeyable ones or Dont read this sentence! The next time conversation flags, you might try to think of some examples of your own. It is interesting but true. Most of the time we do not realize how many times a day we respond to commands and Nauman is trying to get our attention on it (Adams 4).

He want us to analyze everyday routine thinks and commands. Command and fashioned it into a work of art that his devotees admire extravagantly Pay Attention! Well, this in fact comes in more than one version. Of this the critic John You writes By describing both our experience and our specific existence, Pay attention. . . successfully integrates our awareness with our sensations. We do what we see. This work is not in the show of Naumans work at the Museum of Modern Art (which runs until May ), but a kinder, gentler version is Please pay attention, a collage this time. Of this, the shows curator, Robert Store, writes, By reading the words on this collage, one automatically grants their plaintive request. Much of Naumans work . . . draws the viewer into its constructs and often controls the way it is absorbed, either by demanding feats of concentration or imagination or by limiting the viewers movements. The main point of this peace is to make spectators think about everyday commands our responds (Adams 7).

Regular museum experience wouldn't make you think about things like that. We do what we see remember. And our so doing is the meaning of the work. S o viewing is but a stage in our response, and the rest is something the philosophical cross-examiner will force us to admit was an action. Admittedly, a fairly mild and tepid action, even if, once in front of the work, we could not help performing it. We did pay attention.

Older art works were already discuses and viewed by many people as well as Art historians. But nobody would think about paintings and other art works so much in depths. So artists were instructed to represent Christ and the martyrs as suffering, and it is reasonable to suppose that the tremendous expressiveness of these representations was calculated to arouse feelings of compassion in the viewers that could not help but strengthen the latters bonds with those subjects of torture, humiliation and crucifixion. I have deliberately lapsed into the idiom of viewers, but of course those upon whom these works were to have had the desired effects were first of all Christians, and then too were usually engaged in some religious activity like praying before an altarpiece when they experienced it (Adams ). The altarpiece was composed in such a way as to enhance the bond between the saint prayed to and the supplicant. Whether or not this worked out was a matter of how astute Baroque psychology was and then how manipulative Baroque artists were capable of being. But the hope was something religious art often and political art always aspires to that some change of state would be induced by seeing the work. And certainly that happens sufficiently often that only against a formalist aesthetic would it be remarked upon at all. We approach works of art as viewers but leave them as altered beings, whether the alteration was something calculated or may be will be some time later. Even though, this alteration is something that may happen or not; it is not something entailed. Similar the ordinary game of command and obey, in which there is space for insubordination, the soul may not respond Some of those work looks too contrived, or too cold, or one is simply not in the mood. Grateful Baroque patrons would then have been for a form of response that cannot go wrong, where simply to view the work is to be in the altered state, however one may want or try to resist--where resistance is, strictly speaking, unthinkable. To see Pay Attention is to pay attention. Until now, the question cannot but raise as to what, beyond having been trumped in a forced language game, has been achieved. What have we been paying attention to? To the command and to nothing else. This moment we pay attention to the lettering, to whether the lettering goes forward or backward, to whether the command is plaintive or ugly, we are no longer in compliance with the directive but rather are attentive in the ordinary way in which we regard works of art in galleries--we are outside the horizons of the language game. So the artists victory is fairly trivial. It is a kind of joke. Like writing Behold! when there is nothing to look at but the imperative itself (Elizabeth 1).

It may seem a rather minor work for this degree of critical examination, but it typifies the Nauman idea. It is peremptory, invasive, aggressive; it uses coarse language (in its lithographic version); it straddles (in the collage version) the boundary between a work of art and a poster--an admonition on the wall of the machine shop to watch what one is doing--and hence raises the deep ontological questions that have been with us since at least ; it similarly straddles the boundary between writing and image that has come to define an entire genre of art-making; and it uses (again in the collage version) unprepossessing, even proletarian materials, which defined the Minimalist movement with its various ideologies and established an aesthetic axis between American art in the late sixties and such European art movements as Arte Povera, winch gave Nauman a widely appreciative audience on the Continent. All this has made Nauman the cynosure--the focus of rapt attention, to make an internal connection between artist and work--of our advanced curatorial. Four outstanding curators have collaborated in bringing this exhibition to their respective institutions (Adams ).

In conclusion, while working on this assignment I got to learn few new concepts got to reed in depth about the works of feminist Judy Chicago, absolutely amazing Nam June Paik, beautifully creative Robert Smithson and deeply philosophical Bruce Nauman. I think each and every artist is very unique and interesting. I personally liked most Nam June Paik for his creativity. I also found earthworks of Robert Smithson very touching and beautiful. Judy Chicago and Bruce Nauman have some similarities in a way that they both very analytical and philosophical and both were involved in social issues. Overall, I can say I enjoyed this assignment very much and hopefully one day I will get a chance to see those works in real life not on a picture.

Please note that this sample paper on Art Works of Judy Chicago, Nam June Paik, Robert Smithson and Bruce Nauman 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 Art Works of Judy Chicago, Nam June Paik, Robert Smithson and Bruce Nauman, we are here to assist you. Your cheap custom college paper on Art Works of Judy Chicago, Nam June Paik, Robert Smithson and Bruce Nauman will be written from scratch, so you do not have to worry about its originality.

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The Initial Physical Evidence as it relates to the Spirit-Baptism

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It is in Acts chapter 11-7 that one can clearly derive and make a case that one of the initial signs of Spirit baptism is the fact that they spoke in tongues. In this chapter, Luke records Paul laying hands on some disciples. Paul understands that receiving the Holy Spirit is different than salvation and water baptism and yet asserts that it is certainly possible to know whether or not a person has, in fact, received the Holy Spirit.

Just as the interpretation of Acts 11-7 are many, so there are various theologies and doctrines concerning the baptism in the Spirit, and tongues as the initial evidence happens to be one with much controversy surrounding it.

What are tongues? In early manuscripts we find the word 'glossolalia,' the act of speaking in a language either unknown to the speaker or incomprehensible (in both Old Testament and New Testament the word 'tongue' sometimes refers to a language, frequently an alien or incomprehensible language).

The Biblical basis of tongues is really quite simple and the book of Acts is its foundation stone. If the book of Acts were excluded from the discussion there would be no other source of information since the only other passage in the New Testament that discusses tongues at any length is 1 Corinthians 1 thru 14 which clearly teaches all do not speak in tongues (1 Cor.10). Surely, if our non-Pentecostal friends dare to base doctrine on the silence of the Word, we can safely base doctrine on the express statement of the Word. However, let us not forget that Paul's reference to tongues indicates that the phenomenon is familiar to his original readers. Also, Paul examines tongues as one of many differing spiritual gifts that are given freely by the Spirit after one has been baptized by the Spirit into the body of Christ (1 Cor. 11). The Gospels add no support since the Spirit baptism is something that is prophesied but not realized until the time period discussed in Acts (Mt. 11, Acts 1-4). Mark 1617 mentions tongues in a group of other signs marking the messianic era, Isaiah predicted that the sick would be healed and that mute tongues would speak (Is 55�6), and that God's people would be witnesses for him (Is 410). The powers here attributed to believers are the sort that characterize many of the Old Testament prophets. No purpose is assigned to this gift and therefore no additional insight may be gained.Order custom research paper on The Initial Physical Evidence as it relates to the Spirit-Baptism

The material, from which this doctrine is developed, then, is to be found exclusively in Acts. As one studies the events found in Acts, it is important that one separates the accidentals from the essentials. The Spirit came, and the people heard the sound of rushing wind, and saw tongues of fire. The Spirit baptized and filled the believers, and then spoke as they praised God in various languages

In particular there are four cases that call for examination. They are significant not because they are the only times people are said to be filled with the Spirit, or somehow moved upon by the Spirit, in the book of Acts. They are, however, the only passages that give any kind of description of the experience itself as it is initially (for the first time) received by the people mentioned.

For example, Acts 4 is the initial filling of the Spirit in the case of the original Apostles and disciples. Acts 41 also mentioned the disciples being filled with the Spirit but it is assumed that this is a second experience by the disciples and did not require the presence of tongues. Therefore, it must be regarded as an unfounded affirmation.

Acts records the initial outpouring of the Spirit on the 10 gathered in the Upper Room. Of course, Acts 4 states that they spoke with other tongues as the Spirit gave them utterance after they were filled with the Spirit. It was this that captured the attention of the multitude that had gathered.

Acts 8 records the preaching of Philip in a city of Samaria. Though the people believed Philips message and were even baptized with water, they had not yet received the Holy Spirit. The Apostles then came down to Samaria in order to lay hands on the Samaritans so that they would receive the Spirit. Many, after coming to faith in Jesus Christ, have later had hands laid upon them and experienced the fullness of the Holy Spirit. Something evidential certainly happened since Simon the magician sought to purchase the power to impart the Spirit just as the Apostles.

In Acts 10 the sign of tongues is again explicitly mentioned when Peter preaches Christ to the household of Cornelius (1044-46). The Spirit came on Gentiles at the house "while Peter was still speaking" the Gospel message. Later Peter argued that this was evidence that Gentiles received "the same gift" as Jewish believers (1115�17). Thus confirming in Acts that speaking in tongues was an outward evidence of the unity of a church just discovering that it was to be composed not only of Jews but of Samaritans and Gentiles as well!

Acts 1 is the final account in which tongues is included. Twelve disciples of John at Ephesus received the fuller revelation of Christ, these people had received a baptism of repentance, which was in itself a good thing, but unlike Apollos (18�5), they did not seem to know anything about Jesus, and were baptized and when the Spirit came upon them they spoke in tongues and prophesied (v. 1-6). The Ephesians' lack of the Spirit in Acts 1 was unquestionable proof that they had not yet come to full Christian faith.

From these four cases several points emerge. First, there are cases where people believe and yet they receive the Holy Spirit subsequently. Acts 8 is the clearest of these cases. Acts would really not provide support for subsequence since all sides of this controversy must grant that no one was baptized with the Holy Spirit prior to this time (Acts 14-5). The new mission of the Holy Spirit was to rest upon all flesh, that is, upon all of God's people and not only upon the official leaders. The promise of this new outpouring of the Spirit would result in new manifestations of prophecy, of visions, and of dreams. They did believe but yet could not receive the Spirit until this gift was in fact given after the glorification of Christ (Jn. 77-).

In Acts 10, though tongues do appear, there is no gap of time between the preaching of the Gospel, faith, and the reception of the Spirit. Thus, we can concur as Peter did, for he described the reception of the Spirit by Cornelius and his household in these words, "the Holy Ghost fell on them, as on us at the beginning" (Acts 1115; 158).

Acts 1 is also not a good case for subsequent since it appears obvious that these disciples had not yet received the full message of Christ. After they did hear the gospel the Holy Spirit came upon them and they experienced two spiritual gifts (tongues and prophecy). There is no good contextual reason for saying that the spiritual gifts here received are any different from what is found in I Corinthians 1-14.

Secondly, Pentecostalism reasons that tongues function as a uniform sign of the Spirit-baptism in each of these cases. Tongues do not appear in only one of the passages and yet even here there is an implied sign of evidential value (Acts 8). Those who defend the Initial Evidence Doctrine rightly argue that something happened in this case and it is reasonable to suppose it was tongues since the three other passages so affirm. Moreover, tongues-speaking fulfills the same function in Acts 1046-47("they received the Spirit the same way we did") and accompanies prophecy in fulfilling the role of evidencing prophetic empowerment in Acts 16.

Not only is the Spirit-baptism distinct from conversion or faith, but it is uniformly accompanied by a visible or audible sign. The next implied argument is that there are no counter examples in the book of Acts. In other words, not only does the Bible positively describe the experience of the Spirit-baptism with an accompanying sign but one will not find examples in which people are baptized with the Spirit without an external sign.

One can conclude then the case for the Initial Evidence Doctrine by saying that it is a teaching based on a discerned pattern in the book of Acts illustrating the way in which early believers experienced the baptism in the Holy Spirit. This pattern demonstrates two key points (1) the baptism in the Spirit is distinct from conversion or faith and () the initial sign of this experience was uniformly that of speaking with other tongues.

Whatever one may believe, The Holy Spirit definitely came upon those believers in Acts and there was definitely some outward sign signifying their experience and after careful examination of the scriptures that Luke recorded, one can conclude the initial evidence of Spirit-baptism is in fact tongues.

Bibliography

Achtemeier, P.J. Harper's Bible Dictionary. San Francisco, California Harper & Row, 185.

Brumback, Carl. What Meaneth This. Springfield, New Jersey Gospel Publishing House, 147.

Campbell, Bob. Baptism in the Holy Spirit Command or Option? Monroeville, Pennsylvania Whitaker Books, 17.

Cartledge, Mark J. Charismatic Glossolalia. Burlington, Vermont Ashgate Publishing, 00.

Clark, Gordon H. The Holy Spirit. Jefferson, Maryland The Trinity Foundation, 1.

Harris, Ralph. Acts Today. Springfield, Missouri Gospel Publishing House, 15.

Holdcroft, L.T. The Holy Spirit A Pentecostal Interpretation. Abbotsford, Canada CeeTeC Publishing, 16.

Hubbard, David A. The Holy Spirit in Today's World. Waco, Texas Word Books, 17.

Keener, Craig S. Crucial Questions about the Holy Spirit. Grand Rapids, Michigan Baker Books, 16.

Maranville, Donald. Speaking with other tongues as initial physical evidence of Baptism in the Holy Spirit. Chapel Sermon Friday, November 15, 00.

McGee, Gary B. Initial Evidence. Peabody, Massachusetts Hendrickson Publishers, 11.

Richards, L. The Teacher's Commentary. Wheaton, Illinois Victor Books, 18.

Stott, John R. Baptism & Fullness The Work of the Holy Spirit Today. Downers Grove, Illinois InterVarsity Press, 164.

Torrey, R.A. The Baptism with the Holy Spirit. New York Fleming H. Revell Company, 185.

Wiersbe, W. The Bible Exposition Commentary. Wheaton, Illinois Victor Books, 1.

Williams J.R. The Gift of the Holy Spirit Today. Plainfield, New Jersey Logos International, 180.

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Aids

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Finding the Cure for AIDS

When AIDS was first discovered twenty years ago, it was believed to a be disease that only occurred within the homosexual community. Now what was once considered to be a problem among a "small group", is now a pandemic that affects not only homosexuals, but their heterosexual counterparts. Recently there has been a lot of controversy surrounding finding a cure for AIDS. While most people support the extensive government research for finding a cure, there are also people who believe that finding a cure for AIDS is morally wrong and will upset the balance of nature. In

Carson's "Nature Fights Back", she explains the importance of maintaining a "balance" within nature and the detrimental effects of any interference.

Billions of dollars have been spent by the U.S. government to find a cure for AIDS. Although a lot of research is being done and new drugs are being developed, things seem to be only getting worse. New strains of AIDS have surfaced, which are have mutated and have become immune to drugs. According to Carson,

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"The "impossible" is now happening on two broad fronts. By a process of genetic selection, the insects are developing strains of resistance to chemicals …But the broader problem, […] is the that our chemical attack is weakening the defenses inherent in the environment itself, defenses designed to keep the various species in check." (456)

Although Carson is talking about the use of pesticides and how certain insects have become immune to them, you can easily relate it to AIDS and how it has transformed and mutated therefore making itself immune to prescription drugs that are currently on the market. Many scientists fail to realize that organisms mutate or transform themselves in order to insure that they survive. This was proved by Darwin's "Natural Selection". Darwin says that, "…in successive generations , some slight advantage over other males, in their weapons, means of defense or charms; and have transmitted these advantages to their male offspring"(444) What Darwin is saying is that organisms make sure that the next generation is "stronger" to insure their survival. Therefore, it's not surprising to see why many strains of AIDS have mutated.

One question that often arises about searching for the cure for AIDS is, whether or not it is moral. AIDS is a pandemic that affects more and more people every year. In Africa, AIDS has been disastrous and many people die because they cannot afford the medication or due to the hospital's poor condition. Many people like to believe that AIDS is "God's Punishment" for homosexuals and drug users. A vast majority of new infections are transmitted during heterosexual sex. And if AIDS is "God's Punishment" for homosexuals, then why are lesbians one of the lowest risk groups for getting the disease? Whether or not the search for a cure is moral cannot be easily answered. According to Gould,

"Morality is a subject for philosophers, theologians, students of the humanities, indeed for all thinking people. The answers will not be read passively from nature. They do not, and cannot, arise from the data of science The factual state of the world does not teach us how we, with our powers for good and evil, should alter or preserve it in the most ethical manner." (48)

What Gould is saying is that morality and science do not mix. But when it comes to the prevention of AIDS, we must realize that morality places a crucial part. AIDS is a completely preventable disease. AIDS is perhaps the first major disease in American history that is 100% avoidable. One shouldn't just look to science to prevent the transmission HIV/AIDS, but they should look within themselves and reexamine their set of moral values.

AIDS isn't just a disease, but a moral issue. While many press for a cure, there are still others who believe that finding a cure upsets the "balance" of nature and natural order. No matter what side you choose, AIDS is still a problem in modern society and as a community, we are all responsible for protecting ourselves and more importantly, others.

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Halfway through the play, the Chorus appears on the scene to announce that the tragedy is on. His speech offers a meta-theatrical commentary on the nature of tragedy. Here, in apparently a reference to Jean Cocteau, tragedy appears as a machine in perfect order, a machine that proceeds automatically and has been ready since the beginning of time. Tension of the tragic plot is the tension of a spring the most haphazard event sets it on its inexorable march in some sense, it has been lying in wait for its catalyst. Tragedy belongs to an order outside human time and action. It will realize itself in spite of its players and all their attempts at intervention. Anouilh himself commented on the paradoxical nature of this suspense What was beautiful and is still beautiful about the time of the Greeks is knowing the end in advance. That is real suspense… As the Chorus notes, in tragedy everything has already happened. Anouilhs spectator has surrendered, masochistically, to a succession of events it can hardly bear to watch. Suspense here is the time before those events realization.

having compared tragedy to other media, the Chorus then sets it off generically, specifically from the genre of melodrama. Tragedy is restful and flawless, free of melodramatic stock characters, dialogues, and plot complications. All is inevitable. This inevitability lends, in spite of tragedys tension, the genre tranquility. Moreover, it gives its players innocence as they are only there to play their parts. Though Creon will later accuse Antigone of casting him as the villain in her little melodrama, the players are embroiled in a far more inexorable mechanism. Again, note the incommensurabilities between Anouilhs theory of the tragic and political allegory. The latter is necessarily engaged in the generally pedagogical passing of ethico-politico judgment, the arbitration of innocence, guilt, and complicity. Though tragic players face judgment, they do so on rather different terms.

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As with Sophocles sistes, Ismene and Antigone appear as foils and rivals. Ismene is reasonable, timid, and obedient, full-figured and beautiful in being a good girl. In contrast, Antigone is recalcitrant, impulsive, and moody, sallow, thin, and decidedly resistant to being a girl like the rest. Though the Chorus emphasizes the plays distance from conventional melodrama, it is interesting to note how, in revision the opposition in Sophocles version, it perhaps imports the good girl/bad girl structure typical of this genre, not to mention a number of rather sentimental scenes. Ismene advises moderation, understanding, and capitulation. They must take Creons obligations into

account.

Anouilh develops another form of rivalry between the sisters with regards to femininity. Whereas Ismene is the appropriate, beautiful girl, Antigone curses her girlhood. Antigone in particular manifests her hatred for the ideal of femininity Ismene incarnates in their childhood, brutally binding her sister to a tree to stage her mutilation. Anouilh attributes Antigones hate and envy in Ismenes capacity to figure as an object of desire, as the woman men want. Thus, in attempting to seduce Haemon and become his woman, Antigone steals Ismenes goods�lipstick, rouge, perfume, powder, and frock�in another act of sisterly dismemberment. Through Ismene, Antigone would be a woman; as we will see, however, such human pleasures are not meant for her.

E. Motifs

The Chorus

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In Greek tragedy, the Chorus consisted of a group of approximately ten people, playing the role of death messenger, dancing, singing, and commenting throughout from the margins of the action. Anouilh reduces the Chorus to a single figure who retains his collective function nevertheless. The Chorus represents an indeterminate group, be it the inhabitants of Thebes or the moved spectators. It also appears as narrator, framing frames the tragedy with a prologue and epilogue. In the prologue, it directly addresses the audience and is self- conscious with regards to the spectacle we are here tonight to take part in the story of Antigone. Like its ancient predecessor, Anouilhs Chorus prepares a ritual, instructing the audience on proper spectatorship. The Chorus then reappears throughout the play, marking its another turning points and futilely interceding into the action on our�that is, the spectators and Theban peoples�behalfs.

Click here for In-Depth Analysis.

Tragic Beauty

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As noted above, Antigones insistence on her desire makes her monstrous, abject. At the same time, her abjection is her tragic beauty. Antigone announces this beauty throughout her encounter with Creon. Specifically Oedipus emerges as its model. Oedipus moment of beauty comes at his moment of total abjection, the moment when he knew all and had lost all servile hope and passed beyond the human community in his transgression of its founding taboo. Like Oedipus, Antigone will become beautiful at the moment of his total ruin. As Ismene notes, Antigones beauty is somehow not of this world, the kind of beauty that turns the heads of small children�be it in fear, awe, and otherwise.

The Tomb/Bridal Bed

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A number of commentators have cast Antigone as a figure between two deaths, what we will refer to here as her death as a social or even human being and her death as her demise. The space between two deaths is most certainly materialized her tomb, the cave in which she, as a tabooed and abject body, is to be immured to keep her from polluting the polis. Her death sentence makes her more wretched than animals; such is her Oedipal beauty, a beauty in her inhuman abjection. As she appears to sense, however, she will not die alone. Her tomb will also serve as her bridal bed, Antigone ultimately bringing Haemon with her to the grave. Strangely, another of the tragedys victim�Queen Eurydice�meets her demise in another tomb that doubles as bridal chamber. Eurydice dies in her bedroom�bedecked by familiar, comforting feminine accoutrements, appearing as a maiden queen of sorts, having scarcely changed since her first night with Creon. The wound in her neck appears all the more horrible in marring her virgin neck. Her death would appear all the more tragic because she dies in all her feminine purity.

E. Symbols

Creons attack

-

Anouilh symbolizes Antigones transcendence of state power with Creons assault on her person during their confrontation. Enraged by her proud defiance and his inability to sway her, Creon seizes Antigone and twists her to his side. The immediate pain passes, however Creon squeezes to tightly, and Antigone feels nothing. Thus Antigone passes beyond the reach of state power and the realm of men.

Halfway through the play, the Chorus appears on the scene to announce that the tragedy is on. His speech offers a meta-theatrical commentary on the nature of tragedy. Here, in apparently a reference to Jean Cocteau, tragedy appears as a machine in perfect order, a machine that proceeds automatically and has been ready since the beginning of time. Tension of the tragic plot is the tension of a spring the most haphazard event sets it on its inexorable march in some sense, it has been lying in wait for its catalyst. Tragedy belongs to an order outside human time and action. It will realize itself in spite of its players and all their attempts at intervention. Anouilh himself commented on the paradoxical nature of this suspense What was beautiful and is still beautiful about the time of the Greeks is knowing the end in advance. That is real suspense… As the Chorus notes, in tragedy everything has already happened. Anouilhs spectator has surrendered, masochistically, to a succession of events it can hardly bear to watch. Suspense here is the time before those events realization.

having compared tragedy to other media, the Chorus then sets it off generically, specifically from the genre of melodrama. Tragedy is restful and flawless, free of melodramatic stock characters, dialogues, and plot complications. All is inevitable. This inevitability lends, in spite of tragedys tension, the genre tranquility. Moreover, it gives its players innocence as they are only there to play their parts. Though Creon will later accuse Antigone of casting him as the villain in her little melodrama, the players are embroiled in a far more inexorable mechanism. Again, note the incommensurabilities between Anouilhs theory of the tragic and political allegory. The latter is necessarily engaged in the generally pedagogical passing of ethico-politico judgment, the arbitration of innocence, guilt, and complicity. Though tragic players face judgment, they do so on rather different terms.

The Sisters Rivalry

-

As with Sophocles sistes, Ismene and Antigone appear as foils and rivals. Ismene is reasonable, timid, and obedient, full-figured and beautiful in being a good girl. In contrast, Antigone is recalcitrant, impulsive, and moody, sallow, thin, and decidedly resistant to being a girl like the rest. Though the Chorus emphasizes the plays distance from conventional melodrama, it is interesting to note how, in revision the opposition in Sophocles version, it perhaps imports the good girl/bad girl structure typical of this genre, not to mention a number of rather sentimental scenes. Ismene advises moderation, understanding, and capitulation. They must take Creons obligations into

account.

Anouilh develops another form of rivalry between the sisters with regards to femininity. Whereas Ismene is the appropriate, beautiful girl, Antigone curses her girlhood. Antigone in particular manifests her hatred for the ideal of femininity Ismene incarnates in their childhood, brutally binding her sister to a tree to stage her mutilation. Anouilh attributes Antigones hate and envy in Ismenes capacity to figure as an object of desire, as the woman men want. Thus, in attempting to seduce Haemon and become his woman, Antigone steals Ismenes goods�lipstick, rouge, perfume, powder, and frock�in another act of sisterly dismemberment. Through Ismene, Antigone would be a woman; as we will see, however, such human pleasures are not meant for her.

E. Motifs

The Chorus

-

In Greek tragedy, the Chorus consisted of a group of approximately ten people, playing the role of death messenger, dancing, singing, and commenting throughout from the margins of the action. Anouilh reduces the Chorus to a single figure who retains his collective function nevertheless. The Chorus represents an indeterminate group, be it the inhabitants of Thebes or the moved spectators. It also appears as narrator, framing frames the tragedy with a prologue and epilogue. In the prologue, it directly addresses the audience and is self- conscious with regards to the spectacle we are here tonight to take part in the story of Antigone. Like its ancient predecessor, Anouilhs Chorus prepares a ritual, instructing the audience on proper spectatorship. The Chorus then reappears throughout the play, marking its another turning points and futilely interceding into the action on our�that is, the spectators and Theban peoples�behalfs.

Click here for In-Depth Analysis.

Tragic Beauty

-

As noted above, Antigones insistence on her desire makes her monstrous, abject. At the same time, her abjection is her tragic beauty. Antigone announces this beauty throughout her encounter with Creon. Specifically Oedipus emerges as its model. Oedipus moment of beauty comes at his moment of total abjection, the moment when he knew all and had lost all servile hope and passed beyond the human community in his transgression of its founding taboo. Like Oedipus, Antigone will become beautiful at the moment of his total ruin. As Ismene notes, Antigones beauty is somehow not of this world, the kind of beauty that turns the heads of small children�be it in fear, awe, and otherwise.

The Tomb/Bridal Bed

-

A number of commentators have cast Antigone as a figure between two deaths, what we will refer to here as her death as a social or even human being and her death as her demise. The space between two deaths is most certainly materialized her tomb, the cave in which she, as a tabooed and abject body, is to be immured to keep her from polluting the polis. Her death sentence makes her more wretched than animals; such is her Oedipal beauty, a beauty in her inhuman abjection. As she appears to sense, however, she will not die alone. Her tomb will also serve as her bridal bed, Antigone ultimately bringing Haemon with her to the grave. Strangely, another of the tragedys victim�Queen Eurydice�meets her demise in another tomb that doubles as bridal chamber. Eurydice dies in her bedroom�bedecked by familiar, comforting feminine accoutrements, appearing as a maiden queen of sorts, having scarcely changed since her first night with Creon. The wound in her neck appears all the more horrible in marring her virgin neck. Her death would appear all the more tragic because she dies in all her feminine purity.

E. Symbols

Creons attack

-

Anouilh symbolizes Antigones transcendence of state power with Creons assault on her person during their confrontation. Enraged by her proud defiance and his inability to sway her, Creon seizes Antigone and twists her to his side. The immediate pain passes, however Creon squeezes to tightly, and Antigone feels nothing. Thus Antigone passes beyond the reach of state power and the realm of men.

Halfway through the play, the Chorus appears on the scene to announce that the tragedy is on. His speech offers a meta-theatrical commentary on the nature of tragedy. Here, in apparently a reference to Jean Cocteau, tragedy appears as a machine in perfect order, a machine that proceeds automatically and has been ready since the beginning of time. Tension of the tragic plot is the tension of a spring the most haphazard event sets it on its inexorable march in some sense, it has been lying in wait for its catalyst. Tragedy belongs to an order outside human time and action. It will realize itself in spite of its players and all their attempts at intervention. Anouilh himself commented on the paradoxical nature of this suspense What was beautiful and is still beautiful about the time of the Greeks is knowing the end in advance. That is real suspense… As the Chorus notes, in tragedy everything has already happened. Anouilhs spectator has surrendered, masochistically, to a succession of events it can hardly bear to watch. Suspense here is the time before those events realization.

having compared tragedy to other media, the Chorus then sets it off generically, specifically from the genre of melodrama. Tragedy is restful and flawless, free of melodramatic stock characters, dialogues, and plot complications. All is inevitable. This inevitability lends, in spite of tragedys tension, the genre tranquility. Moreover, it gives its players innocence as they are only there to play their parts. Though Creon will later accuse Antigone of casting him as the villain in her little melodrama, the players are embroiled in a far more inexorable mechanism. Again, note the incommensurabilities between Anouilhs theory of the tragic and political allegory. The latter is necessarily engaged in the generally pedagogical passing of ethico-politico judgment, the arbitration of innocence, guilt, and complicity. Though tragic players face judgment, they do so on rather different terms.

The Sisters Rivalry

-

As with Sophocles sistes, Ismene and Antigone appear as foils and rivals. Ismene is reasonable, timid, and obedient, full-figured and beautiful in being a good girl. In contrast, Antigone is recalcitrant, impulsive, and moody, sallow, thin, and decidedly resistant to being a girl like the rest. Though the Chorus emphasizes the plays distance from conventional melodrama, it is interesting to note how, in revision the opposition in Sophocles version, it perhaps imports the good girl/bad girl structure typical of this genre, not to mention a number of rather sentimental scenes. Ismene advises moderation, understanding, and capitulation. They must take Creons obligations into

account.

Anouilh develops another form of rivalry between the sisters with regards to femininity. Whereas Ismene is the appropriate, beautiful girl, Antigone curses her girlhood. Antigone in particular manifests her hatred for the ideal of femininity Ismene incarnates in their childhood, brutally binding her sister to a tree to stage her mutilation. Anouilh attributes Antigones hate and envy in Ismenes capacity to figure as an object of desire, as the woman men want. Thus, in attempting to seduce Haemon and become his woman, Antigone steals Ismenes goods�lipstick, rouge, perfume, powder, and frock�in another act of sisterly dismemberment. Through Ismene, Antigone would be a woman; as we will see, however, such human pleasures are not meant for her.

E. Motifs

The Chorus

-

In Greek tragedy, the Chorus consisted of a group of approximately ten people, playing the role of death messenger, dancing, singing, and commenting throughout from the margins of the action. Anouilh reduces the Chorus to a single figure who retains his collective function nevertheless. The Chorus represents an indeterminate group, be it the inhabitants of Thebes or the moved spectators. It also appears as narrator, framing frames the tragedy with a prologue and epilogue. In the prologue, it directly addresses the audience and is self- conscious with regards to the spectacle we are here tonight to take part in the story of Antigone. Like its ancient predecessor, Anouilhs Chorus prepares a ritual, instructing the audience on proper spectatorship. The Chorus then reappears throughout the play, marking its another turning points and futilely interceding into the action on our�that is, the spectators and Theban peoples�behalfs.

Click here for In-Depth Analysis.

Tragic Beauty

-

As noted above, Antigones insistence on her desire makes her monstrous, abject. At the same time, her abjection is her tragic beauty. Antigone announces this beauty throughout her encounter with Creon. Specifically Oedipus emerges as its model. Oedipus moment of beauty comes at his moment of total abjection, the moment when he knew all and had lost all servile hope and passed beyond the human community in his transgression of its founding taboo. Like Oedipus, Antigone will become beautiful at the moment of his total ruin. As Ismene notes, Antigones beauty is somehow not of this world, the kind of beauty that turns the heads of small children�be it in fear, awe, and otherwise.

The Tomb/Bridal Bed

-

A number of commentators have cast Antigone as a figure between two deaths, what we will refer to here as her death as a social or even human being and her death as her demise. The space between two deaths is most certainly materialized her tomb, the cave in which she, as a tabooed and abject body, is to be immured to keep her from polluting the polis. Her death sentence makes her more wretched than animals; such is her Oedipal beauty, a beauty in her inhuman abjection. As she appears to sense, however, she will not die alone. Her tomb will also serve as her bridal bed, Antigone ultimately bringing Haemon with her to the grave. Strangely, another of the tragedys victim�Queen Eurydice�meets her demise in another tomb that doubles as bridal chamber. Eurydice dies in her bedroom�bedecked by familiar, comforting feminine accoutrements, appearing as a maiden queen of sorts, having scarcely changed since her first night with Creon. The wound in her neck appears all the more horrible in marring her virgin neck. Her death would appear all the more tragic because she dies in all her feminine purity.

E. Symbols

Creons attack

-

Anouilh symbolizes Antigones transcendence of state power with Creons assault on her person during their confrontation. Enraged by her proud defiance and his inability to sway her, Creon seizes Antigone and twists her to his side. The immediate pain passes, however Creon squeezes to tightly, and Antigone feels nothing. Thus Antigone passes beyond the reach of state power and the realm of men.

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