Broadway Musicals Essay Example | Topics and Well Written Essays - 4000 words

Broadway Musicals - Essay Example This display created another layer for people to indulge in and become a part of as they watched this very different style. By the 1940s the musicals of the 1920s had fallen on hard times. Because of the War and the economic times people were not able to pay to see theatre as often. The shows that were more unusual or daring fell by the wayside form lack of audience participation. The reviews that had been so popular because it was a place where new actors were show cased, evolved into vaudeville. Many performers from the old musicals were now doing motion pictures. Major composers were either dead, retired or doing something different. The musicals of the 1920s had crated a formula of fast and furious entertainment without a plot, realism or a good story (Mordden 1999:4). By the 1940s audiences were bored with the old musicals and they were looking for something fresh and different. It is important to note that all the musicals of the 1920s to the 1940s had different formulas that e ncouraged comedy with no real plot. An example, many of the Andy Hardy musicals with Judy Garland and Mickey Rooney were examples of these. Babes on Broadway was to entertain people and make them happy. It had very little plot. Usually the musical started with a bit musical number that evolved the entire chorus. Irving Berlin, Cole Porter and the team of Rodgers and Hart were producing singable tunes that also had elements of the music from the time -- ragtime, boogie-woogie, jazz and more (Mordden 24).

Reaction paper Assignment Example | Topics and Well Written Essays - 500 words - 4

Reaction paper - Assignment Example In essence, his memories were also buried alive within him, as Azucena was in the rubble. The first night, Carlà © â€Å"kept talking in the darkness, to assure her that he was still there and to overcome the menace of uncertainty† (Allende 324). However, the next day, slowly but surely his past comes back haunting him, and â€Å"the torrent of all that had lain hidden in the deepest and most secret layers of memory poured out† (Allende 327). Though he could not talk to the girl about it all, while he lay there consoling the girl, Carlà © was forced to relive and confront his past. Throughout his life as an adult, Carlà © had attempted to bury his painful memories of growing up in an abusive household where his father not only mistreated him and his mother, but also his mentally disabled sister. The humiliation he suffered at his hands, or the pain he received when he saw his mother’s humiliation, had been buried deeply within himself. His life as a journalist fared no better either. Witness to the atrocities of war, and genocide, he could not make peace with life in a world where people were so cruel to each other. With his self-made professional sojourn, whereby he lay in wait with the girl, hoping for her to be rescued or for some help to come, he was forced to face his past. He discovered that all the demons that he had buried, all his painful memories, had not died or diminished with time. In fact, they had been alive within him. In essence, buried alive like the girl, Azucena, was in front of him. Her suffering caused him to remember his own, and he ended up having to confront and battle his painful past. The ordeal changed him completely, as did the death of the girl, causing him to be â€Å"not the same man† (Allende 331). Not only had he to deal with his past, but the death of the innocent young girl, caused by the bureaucratic inefficiencies of the country. However, he had to face these demons he had buried alive within himself, as he had to

Analysis of Private Prisons Research Paper Example | Topics and Well Written Essays - 1250 words

Analysis of Private Prisons - Research Paper Example These and many other factors cause an increase in the number of illegalities, increased crime rates and thereby overcrowding of prisons. With the increase in the number of offenders, there is a need to substitute government (public) prisons, hence, the need for private prisons (Shefer & Liebling, 2008). The second factor that led to the increase in privatization of prisons is capitalism. Previously, prisons were a form of social cleansing as it was a way of getting rid of extreme deviants regarded as a threat to social tranquility. However, capitalism saw the change of this view; people regard prisons as a business entity and, therefore, a means to make a living (Shefer & Liebling, 2008). Evidence shows that the government, through respective states, aggressively bids for the incarceration of offenders in private prisons. The reasons remain similar to the onset of privatization of prisons. The government wants to reduce overcrowding in prisons and cut the costs of running the penal j ustice system. The government also argues that hiring private contractors is cheaper than training state employees so as to make them proficient (Shefer & Liebling, 2008). ...The companies that run private prisons amass wealth and build political ties. With these powers, the companies influence politicians and other political entities to pass policies that support higher rates of incarceration. Secondly, these prisons somewhat handpick their inmates (Shefer & Liebling, 2008). This allows them to engage low-cost offenders while the backlog of high maintenance offenders goes back to the public sector. High maintenance can include patients suffering from costly diseases such as diabetes or those incapable of labor due to a disability (Reisig & Pratt, 2004). The privatization of prisons has a negative effect not only on the inmates but also society. Nurge (2004) reports that at the onset of privatization of prisons, there was a cordial relationship between the prison guards and the pris oners. The management of the prisons was also better or matched the standards of public prisons. However, in recent times, new statistics show that private prisons are facing the same negative issues as public ones. This is in regard to prisoners’ relationship with the guards and the adequacy of prison facilities (Shefer & Liebling, 2008). There are several possible explanations for this situation. Some researchers claim that previously, the prison guards in private prisons were free of the penal system corruption. With time, however, they got assimilated and developed the survival for the fittest technique common in public prisons. The guards now mistreat the inmates and engage in other forms of corruption detrimental to the safety of the inmates.

Nationalism and the origins of The first world war Essay Example for Free

Nationalism and the origins of The first world war Essay When global war broke out in 1914 dreams of world peace and prosperity were shattered. Accordingly, the First World War was arguably one of the most traumatic episodes in the history of international affairs. Geopolitically speaking, the First World War (also described as WWI in this essay) was unprecedented in both scale and sheer loss of human life. Never before had the world witnessed such carnage and violence perpetuated through the use of modern technology. The First World War touched much of the world and the implications of this conflict reverberated across the globe. Seeking to understand the historical explanations as well as the role that nationalism played in the outbreak of the First World War, this essay will explore the multiple causes of the development of global hostilities in 1914. Using a three pronged analytical model, the causes of the WWI will be discusses with reference to the pre-conditions and precipitants for conflict and the triggers which sparked the war. Understanding that WWI was an international event with global repercussions, we will analyze the various antecedents for the emergence of armed conflict through a multi-causal approach. This essay will argue that a variety of factors led to the outbreak of the First World War and while there is not one single causal explanation for the emergence of global conflict in 1914, a proper explanation of the origins of this conflict takes into account the amalgamation of each of these factors. While nationalism was an important factor leading to the outbreak of international conflict between the warring parties, this essay will argue that in fact, nationalism was an important precursors to the emergence of conflict but the sole and deciding force in the violence which erupted on the shores of Europe and reverberated across the planet. Although the First World War has recently been overshadowed in the aftermath of the WWII, this conflict was the first in terms of scale and sheer destruction and thus continues to be worthy of scholarly analysis. Nationalism in International Affairs Nationalism is an important force in international relations and has been so for centuries. As a basic principle of the international order, concepts of state sovereignty are intrinsic to our understanding of the world system. Accordingly, the international system is predicated upon the existence of nation-states and nationalism is a belief or sense of identity within the nation. The Treaty of Westphalia established the principle of state sovereignty, another fundamental principle of the international order which established the nation-state as an autonomous political entity. Similar to tribalism or a sense of social kinship, nationalism as a potent political force began in Europe in the late eightieth century and was connected with a decline in overall religiosity, the development of industrialization, Enlightenment thoughts and a concerted effort by political elites to â€Å"build states†. By inculcating a sense of nationalist fervor in the citizens of their respective countries, elites have been able to manipulate nationalism for political purposes. Mass mobilization towards a variety of specific causes through an appeal to nationalist sentiment has been used as a political tool for centuries. Although not exclusively a negative force, nationalism remains an important ordering principle of the international system and a force to be reckoned with (Anderson 2006). Preconditions to the Outbreak of Conflict There were a variety of preconditions to the emergence of the conflict, which up until that date, had been the largest that the world had ever seen. The First World War represented the dueling alliances of the Triple Entente composed of Britain, France and Russia – and the Triple Alliance – comprised of Germany, Austria-Hungary and Italy. Pre-conditions are best described as the precursors to conflict and there were many underlying long-term causes for the belligerent behaviour of the states of Europe in 1914. An arms race, underway for years, and growing at a rapid pace just prior to the emergence of the First World War set the stage for violent conflict between the major states of the region. Accordingly, the arms race occurring at the time exacerbated the global balance of power and led to an increased likelihood of aggressive behavior between the armies of Europe. As the European armies grew and competed with one another for size, manpower and prestige, the naval race between German and Britain contributed to a partition of the major states of the continent into two opposing camps. Competition was surely facilitated by nationalist tendencies and a desire to counterbalance the political, diplomatic and military ambitions of one’s rival. In addition to international arms races, domestic pressures and a willingness of the part of the citizens of some countries to engage in war helped precipitate the conflict. Accordingly, the diplomatic isolation of Germany, Austro-Hungary was another important contributor to the outbreak of global war in 1914. German nationalism, largely ignored in the settlement of the Congress of Vienna almost one hundred years before, did experience a resurgence particularly after the imposition of what was then conceived by many to be an unfair Treaty in Vienna and gained prominence in the middle to late nineteenth century and early twentieth century. Accordingly, a German nationalism movement led a revolution to unify the country in 1871 – a similar movement in Italy served to unite that country in 1861 – and remained an important, although not solely important, force in attempting to explain the preconditions of conflict in 1914 (Joll and Martel 1992). In addition to the pre-conditions above, a series of crises from 1904-1914 also helped pave the way for the emergence of the First World War and were important pre-cursors to this conflict. The First Moroccan Crisis from 1905-1906 resulted in a German offensive which created the Entente. This was followed by the Bosnia-Herzegovina Crisis of 1908/1909 in which Austria-Hungary formally annexed Bosnia-Herzegovina. This important precursor to future conflict forced Russia to reevaluate its geopolitical situation and in turn view Germany and Austro-Hungary as a potential threat. The Second Moroccan Crisis (1911-1912) united Russia, Britain and France against Germany and was an important stabilizer for the Triple Entente informal alliance. The final conflicts which were important pre-conditions to the outbreak of violence in 1914 were the Balkan Wars 1912-13. These series of wars removed the Ottoman Empire from the equation and led to an impressive German arms build-up (Strachan 2001; Joll and Martel 1992). On the Cusp of War: Precipitants to Conflict Precipitants are short-term crises that made the war seem inevitable and a series of crises, beginning with the assassination in Sarajevo of Franz-Ferdinand, Archduke of the Austro-Hungarian Empire, made large-scale war in Europe seem like an inevitability. In fact, the months of late June/early July were replete with crises beginning with the violent assassination in Serbia of the Archduke of the Austro-Hungarian Empire. Assassinated on Serbia’s national day by a violent terrorist organization, the Black Hand, this event alone is described by many observers of the First World War as perhaps the most monumental precipitant to the outbreak of hostilities between the major powers of Europe. Following his violent death at the hands of a Serbian nationalist, Germany unilaterally supported the right of the Austro-Hungarian Empire to respond as it saw fit. This led to successive increases in belligerence on both sides and an ultimatum by Austria-Hungary to Serbia (Strachan 2001; Joll and Martel 1992). Triggers and the Outbreak of War There are a variety of direct antecedents to the War of 1914 and the following will describe the important triggers for the world’s largest military mobilization to-date in the aftermath of the assassination of Franz-Ferdinand, Archduke of the Austro-Hungarian Empire. While there is not one single event which explains the emergence of large-scale conflict, the following will chart the important triggers which led to the internationalization of conflict and the explosion of a truly global war. Serbia’s rejection of the ultimatum put forth by the Austro-Hungarian represented a desire on its part to safeguard its independence. By rejecting the Austro-Hungarian ultimatum and seeking Russian support, the Serbian republic unwittingly set the stage for the bloodiest war the world had ever known. Serbian intransigence and refusal to acquiesce to the demands of Austria-Hungary set the stage for Russian involvement which internationalized the conflict and significantly increased its scope. At the time, the Russian army was the largest army on the planet and the inclusion of Russia into the dispute significantly increased its scope and explosive potential. Following the introduction of Russia into the equation, the first four days of August 1914 proved to significantly expand the horizons of the conflict. During those first few days of the month, Germany declared war on Russia and its ally France, leading to the mobilization of Britain and the further internationalization of belligerence. Germany’s decision to declare war on Russia and the Entente powers represented an important expansion of the conflict on the side of the Triple Alliance and set the stage for the mobilization and later involvement of Britain in the brewing hostilities (Strachan 2001; Joll and Martel 1992). Origins of the â€Å"Mass War† and Nationalism At the outbreak of World War One, states mobilized what scholars have described as â€Å"mass wars†: the uniquely modern phenomenon of warfare developed in the twentieth century which required the wholesale diversion of economies, labour and national productivity towards the war effort (44). Accordingly, â€Å"from 1914 on, wars were unmistakably mass wars†¦such a level of mass mobilization cannot be maintained except by a modern high-productivity industrialized economy. † (Hobsbawm 1994). State apparatuses grew and â€Å"mass wars† required governments to mobilize people, resources, and armaments to serve the war effort. Citizens were conscripted to fight, industry was instructed to produce arms, and the government became intimately involved in the establishment of monopolistic war economies. Although nationalism did play a role in the establishment of war economies and the growth of military-industrial complexes built up to support the war effort, many factors account for call to arms and the descent into extreme bloodshed and violence during the First World War. Mass mobilization towards the war effort was certainly helped by nationalist fervor as the belligerent parties prepared for conflict which until then would have been on an unimaginable scale, but as has been shown above, nationalism is just one part of the equation in attempting to explain the origins of the First World War (Hobsbawm 1994). Concluding Remarks As one of the most traumatic episodes in the history of the world, the First World War represented geopolitical conflict on an unprecedented scale. Never before had the world witnessed such carnage, bloodshed and violence. Seeking to understand the historical explanations and discuss the role that nationalism has played in the outbreak of the First World War, this essay has explored the antecedents for conflict in 1914. Important preconditions, precipitants and triggers have accounted for the emergence of this conflict. Nationalism, although an important factor which can help explain the emergence of World War One, is actually only one aspect of the overall conditions which lay the groundwork for World War One. Nationalism may be a guiding principle of the international order but a focus which exclusively explores the role of nationalism in the causes of war gives an incomplete picture of this global conflict. While nationalism may have been a force in the establishment of alliances in Europe, there were a handful of other preconditions, precipitants and triggers which led to this conflict. As this essay has shown, many factors led to the violent episode now known as the Second World War and while each factor differed in substance, each contributed to the emergence of the â€Å"War to End All Wars†. REFERENCES Anderson, B. 2006. Imagined Communities. New York: Verso. Hobsbawm, E. 1994. Age of Extremes: The Short History of the Twentieth Century: 1914-1991. London: Abacus. James Joll, J. and G. Martel. 1992. The Origins of the First World War. New York: Longman. McEvedy, C. 2003. The New Penguin Atlas of History. New York: Penguin. Strachan, H. 2001. The Oxford Illustrated History of the First World War. London: Oxford University Press.

Thornton Wilders Our Town Essay -- Essays Papers

Thornton Wilder's Our Town Our Town is play written a while ago, but it relates to any time. Showing that routine is a part of everybody’s life. No matter what day and age you live in your going to have a routine. This play shows an example of two families and their daily routines. The whole play relates to routine even the different acts. Our Town takes place in Grover’s Corner, New Hampshire around the turn of the century. (1900’s). This play uses a lot of flashbacks. There’s one with George and Emily when they first fall in love at Mr. Morgan’s shop. It also uses foreshadowing. When they told of how everyone died. Another flashback is when Joe comes back after about ten years and they talk about the dead and everyone’s lives. George was one of my favorite characters. He’s really the only one I could relate to. He seems to be the only one that isn’t caught up in the routine thing as much as the other characters. He plays baseball and loves Emily. He is the protagonist. Emily was a round static character too. Simon the town drunk was an antagonist, flat, and dynamic. There were 3 acts. These three acts are all different days that are years apart. A cycle, born, get married, and die. In Our Town Act one was the beginning of a day and the childhood of George and Emily. Act two was in the middle of the day years later where George and Emily get married. Finally Act three is the end of the day when Emily is dead and goes back for her twelfth birthday. The stage direc...

Reveiw Questions and Critical Thinking Questions

1. What is a camera? A camara is a light-tight box that contains a light-sensitive material or device and a way of letting in a desired amount of light at particular times to create an image on the light-sensitive material.2. What is a convex lens? A convex lens is bend the light toward the center of the lens, since one or both sides of the glass curve out. It also takes the various rays of light and bends them toward the same point, which ultimately allows an image to form.3. What three components make up a film camera? Define each part. The three components are First is the mechanical element, which is the camera body and the parts associated with it the second one is the optical element, This is otherwise known as the camera lens. Finally, we have the chemical element, which is the film. These three different elements make up a film camera.4. What is a pentaprism? What job does it do in the camera? A  pentaprism which is a five-sided mirror. The job of the pentaprism is to flip the light from the image so that the image appears right side up rather than shows the inverted image that first occurs.5. What are point and shoot cameras? How do they differ from SLR cameras? Point and shoot cameras  are those that use an optical viewfinder, rather than having the semiautomatic mirror. The image the photographer sees through the viewfinder is not the exact same image that will be recorded. An  SLR, or single lens reflex, camera  has a semiautomatic movement of the mirror, which produces an exact image in the viewfinder, is different from the point and shoot cameras because the point and shoot cameras shows not the exact image that will be recorded, and the SLR show a exact image.6. What is JPEG? What considerations have to be kept in mind with JPEG? JPEG   is the default file format in many digital cameras on the market today. We need to consider JPEG has an important drawback to this space-saving advantage—it is compressed in a lossy manner, which means that some of the data is lost. The more the image is compressed (the smaller the size of the file), the more information from the image is lost.7. What is the difference between optical and digital zoom? Optical zoom  works like a telephoto lens, the image quality remains the same as the image is magnified.Digital zoom  crops the image and enlarges the cropped image to fill the frame of the camera. This means that the digital zoom generally results in a loss of quality in the image. They are different because Optical zoom remans the same as the image is magnificant, and digital zoom enlarge the cropped image to fill the frame of the camera.8. What are the steps you can take to create a pinhole camera? Have you tried to make one? First, you’ll want to cut the round oatmeal box (or other cardboard type tube or round container) in half, leaving the bottom of the container in place, so that you have two short round pieces or tubes.Place a piece of wax paper over one of the open ends of the round container and tape it in place. Once you have this done, put the oatmeal tube back together again so that the wax paper is in the middle of the tube. Wrap tape around the middle of the tube where the two pieces join together, making the tube as lightproof as possible. Finally, create a small pinhole in the bottom of the container. Now you’re ready to try out your pinhole camera. I’m going to try to make one.9. What are some of the differences between film and digital cameras? Which one do you prefer? Digital cameras digital cameras create files that are relatively large, digital images do not require processing for viewing, use an electronic image sensor to digitally record an image, Some digital cameras can also be used to create video in addition to still photographs. Digital cameras create photographs that are made up of pixels. Film cameras film must loaded into cameras and developed in light-tight conditions, this drives up the cost of d eveloping and printing film-based images, ilm negatives or final prints must be scanned prior to computer manipulation, some color prints can fade over time. I prefer digital camara.10. What are some advantages of being able to see an image right after you’ve taken it (such as with an instant camera or being able to review the image on a digital camera)? With a digital camera you can basically take as many photos as you like until you get the perfect image. If you don’t like the way your photo has turned out you can simply delete it and take it again. This can be done because you can view the photo seconds after you’ve taken it, is just perfect to have this camaras, and be able to see the image right after you’ve taken it.

Psychological Mindsets in the Black Cat, My Last Duchess

The reality of life is that at some point it will all come to an end. End, one referencing it to when one is pronounced dead. Since death is unavoidable, we must take into account death because it is the finalization of our lives spent on this earth as well as an account of the way we left this world. There are numerous ways that one can leave this world, some die peacefully while others may die by force.The following will reveal the psychological mindsets concerning death as depicted in Poe’s â€Å"The Black Cat†, Browning’s â€Å"My Last Duchess†, and Dickinson’s â€Å"Because I could not Stop for Death†, and the ramifications of perverseness, pride, and eternity In â€Å"The Black Cat,† Poe uses perverseness to explain the narrator’s pursuit to murder Pluto, the black cat, and eventually his wife. The narrator had once loved animals, but alcoholism contributed to his change of temperament and irritableness, which led to the a buse of his pets and his wife.His reasoning for gouging Pluto’s eyes out, and then murdering the animal was because it loved him as he rejected it. The narrator had a sense of self-loathing and self-hatred that made him want to continue doing wrong to Pluto, which we identify to be: This spirit of perverseness, I say, came to my final overthrow. It was this unfathomable longing of the soul to vex itself-to offer violence to its own nature- to do wrong for the wrong’ssake only- that urged me to continue finally to consummate the injury I had inflicted upon the unoffending brute (Poe 138).After the death of Pluto, another cat who resembles Pluto, but with an added splotch of white fur becomes the narrators’ new pet, which fills the void of the narrator’s loss of Pluto. The new cat begins to disgust the narrator: â€Å"By slow degrees these feelings of disgust and annoyance rose into the bitterness of hatred†¦I came to look upon it with unutterable loa thing, and to flee silently from its odious presence, as from the breath of a pestilence†(Poe 140). The narrator doesn’t inflict harm on the cat for a while because it reminds him of Pluto and his evil deed.Although, the narrator feels shame and guilt he is not remorseful of his actions due to his perverse spirit because really: â€Å"Evil thoughts became my sole inmates-the darkest and most evil thoughts. The moodiness of my usual temper increased to hatred of all things and all of mankind†¦Ã¢â‚¬  (Poe 141). The narrator’s soul, which is full of madness and hatred, led him one day while his wife came with him to run some errands into the cellar, to attack the cat in rage. The cat had somehow made the narrator trip as he followed them into the cellar and this ignited fury from the narrator’s soul.His wife stopped his attempt to hit the cat with an axe and because of his wife’s actions, his madness shifted: â€Å"Goaded by the interference in to a rage more than demoniacal, I withdrew my arm from her grasp and buried the axe in her brain† (Poe 141). Poe uses the principle of perverseness in many of his other works as well as â€Å"The Black Cat† to portray: â€Å"To an ambiguous balancing of forces of attraction and repulsion (the seductive pull towards self destruction)† (Ketterer 28).This is the reason why the narrator’s perverse spirit caused him to murder with not much of a thought of remorse, but that he had committed a deadly sin, in which he found comfort in because what he was doing was leading him to his own self-destruction. Also, the narrator can be depicted as a victim to his mind, which led him to murder because when one reads Poe’s stories there tends to be an account where: â€Å"the imaging, then verbal expression create the fiend that overtakes the narrator’s reason†¦. ccording to the story’s analysis of the souls faculties, the human imagination crea tes a tangible, readily perceptible being† (Bieganowski 176-177). The narrator can be considered a victim, because the reader can sympathize that he is helpless and sick to the perverse spirit that becomes his nature. The narrator constantly in his mind goes through the continuous tugging between right and wrong and good and evil, till he finally wants it all to stop and in his mind, everything is distorted to do evil, in order to cease the tugging.In â€Å"My Last Duchess,† Browning uses the motive of pride to provide the Duke of Ferra’s reasoning for why he has his wife killed. In the beginning of the poem, the Duke of Ferra is addressing an ambassador, when he brings up a painting on the wall of his last Duchess. As his last Duchess is depicted, the Duke describes her as finding pleasure in the little things and not of the things he gave her. Furthermore she did not value his name nor admire him.By the start of the poem, the Duke of Ferra has shown his own ins ecurities about his last Duchess because he couldn’t control her and therefore the picture of her on the wall is now his dominance over her. As the duke talks of his Duchess, her actions in someway displeased him as she did a number of things wrong: â€Å"A heart-how shall I say? -too soon made glad, too easily impressed†¦somehow-I know not how-as if she ranked my gift of a nine-hundred-years-old name†(Browning 513). The Duke of Ferra is possessive, as well as arrogant and proud in nature.Due to his character and mania the Duke took everything his Duchess did as an offence because he wasn’t in control and so his pride led him to believe: Even had you skill in speech-which I have not-to make yourwill quite clear to such an one, and say you disgust me; hereyou miss, or there you exceed the mark-and if she let herself be lessoned so, nor plainly set her wits to yours, forsooth, and made excuse-even then would be some stooping; and I choose never to stoop (Brow ning 513).The Duke of Ferra justifies killing his wife before even mentioning that he has had her killed because in the Duke’s mind he see’s the Duchess’ smiles as incriminating. He thinks this because she didn’t just smile for him, but others as well, which is one of the jealousies that consumes him. The Duke’s jealous and possessive nature arouses his mania to be in complete control of a being, in this case his last Duchess. With all the Duke’s frustrations and concerns about his last Duchess off his chest and because of his own sense of pride for her to be what he wanted her to be: â€Å" I gave commands; then all smiles stopped together.There she stands as if alive† (Browning 513). The Duke refers to his last Duchess as standing there as if she was alive as a means to show his vain character. When the narrator looks at his last Duchess, he doesn’t just see in the painting the picture of her, but the painting is just another valued object, in which he is proud to possess. As pride is depicted for why the narrator went so far as to have his last Duchess murdered, the narrator’s actions can be self-evaluated to constitute the emotion of pride that overcame his judgment.With emotions there is more than the substantial basis to how one feels: â€Å"They are adaptive patterns of behavior arising from a person’s appraised relation to ongoing events†¦ beginning with appraisals of notable changes in an individual’s goals, motives, or concerns (Tangey and Fischer 65-66). From this explanation of emotions, the narrator adapted his sense of pride from his careful watch of his wife as more and more things that she did offended him. The narrator took into consideration every action his wife did from her smiles to her otal unawareness of the narrator’s notable name. Also from the explanation of emotions one can understand why the narrator didn’t simply just have his wife murd ered swiftly when he was displeased with her the first time. The narrator came to a gradual decision to have his wife murdered because of his emotions of pride and the sense of mania that grew from the displeasure of the ongoing events of his last Duchess, which lead him to believe what he couldn’t control, was a problem.Therefore, the narrator murders his wife due to the emotion of pride, which is defined: On the basis of a growing literature, we suggest that pride is generated by appraisals that one is responsible for a socially valued outcome or for being a socially valued person. Pride comprises action tendencies to present one’s worthy self or action to others such as a broad smile, beaming face, erect posture, celebratory gestures or comments, and comments that call attention to the self’s accomplishment. Internal reac-tions include increased heart rate and skin conductance as well as an erratic respiration.The subjective experience of pride involves an ex perience of one’s body or self as taller, stronger or bigger (Tangey and Fischer 66). In â€Å"Because I could not stop for Death,† Dickinson uses death to depict a seducing trip to eternity. From the first lines of the poem they predict the courteous and smooth passage from death to a place of eternity: â€Å" Because I could not stop for Death- He kindly stopped for me- the Carriage held but just ourselveles- And Immortality â€Å"(Dickinson 541). The Carriage driver is then depicted as being civil and courteous to the narrator.As the carriage driver is taking her closer and closer to death, the narrator passes childhood like memories till eventually they stop at her grave: â€Å"We passed the school, where Children strove at recess-in the Ring†¦we passed the Setting Sun- or rather-He passed Us†( Dickinson 541). Then the narrator describes what she is wearing, which is a gossamer, a tippet, and a tulle that shows she is under dressed because she begins to quiver and expresses the sudden chilliness. Then the carriage driver stops. One can imagine it’s a stop at the grave for we can conclude that the scenario is now darker and colder.The narrator uses the description of the house to depict the grave. The whole stop is the actual death of the narrator. The last stanza talks about the horse’s head that is pointed to eternity. This last part is in recognition that the narrator is guessing she’s headed towards eternity. We can infer that this whole experience for the narrator was a natural occurrence. We can also infer that since the carriage driver was courteous and civil, and created the whole attraction to death, that the narrator is going towards eternity.Furthermore since death for the narrator was a positive experience we can conclude that she will reach eternity. The occurrence of death in this story is linked to eternity. When one thinks of eternity it is a positive thought to what happens after our death. T herefore the whole experience of the carriage driver taking the narrator to her death had to symbolize the positive place that she would go next. This poem uses the seductive and attractive nature of the carriage driver to lure the narrator to her death, to the point where she doesn’t realize that she is dying because it came so naturally.The carriage driver is the male persona in this poem, because he creates a gentleman like approach to the narrator. To Dickinson death was an important part of many of her works. Emily Dickinson had an obsession for what happens after this life. This is one of the main inspirations for why most of Dickinson poems and stories revolve around death. This poem specifically â€Å"Because I could not stop for Death,† uses her ideology: â€Å" For Dickinson, thought does not stop just because death cannot or does not appear.Thus the thought-poem proceeds to â€Å"figure death out† in at least two ways, both of which rely on narrative ly precise imagery: one facing death†¦two the poet enacts through imagery the leap into the unknown of death† (Deppman 3). In â€Å"Because I could not stop for Death† Dickinson also uses: This category of personification carries two implications: first, that death becomes positive, becomes a thing or person and not an ab- sence or cessation, and second, that there is a relation of self to another beyond death (Death, the gentleman).All of the above maybe interpreted as strategies for a â€Å"creative† death-into-life approach (Nesteruk 28-29). Death was used in the stories of â€Å"The Black Cat,† â€Å"My Last Duchess,† and â€Å"Because I could not stop for Death†. The psychological mindset of death depicted in each story or poem explained why the narrator or the protagonist acted the way they did. In â€Å"The Black Cat,† Poe created a narrator whose perverse spirit led him to not only murder his cat, but his wife as well, in this mind debilitating circumstance where the narrator is leading a life towards self-destruction.In â€Å"My Last Duchess,† the Duke’s pride drove him to murder his last Duchess and possess her as a painting that he is proud to own. In â€Å"Because I could not stop for Death,† Dickinson uses a carriage drive to seduce the narrator towards her death, then eventually eternity. Works Cited Page * DiYanni, Robert. Literature: Approaches to Fiction, Poetry, and Drama. New York: McGraw-Hill, 2008. Print. * Ketterer, David. Edgar Allan Poe Life,Work, and Criticism. Canada: York Press, 1989. Print. * Tangey, June P. , and Fischer, Kurt W. Self-Conscious Emotions:The Psychology of Shame, Guilt. Embarrassment, and Pride. New York: 1995.Print. * Bieganowski, Ronald. â€Å"The Self-Consuming Narrator In Poe's â€Å"Ligeia† And â€Å"Usher. † American Literature 60. 2 (1988): 175. Academic Search Premier. Web. 23 Nov. 2012. * Nesteruk, Peter. â€Å"The Many Deaths of Emily Dickinson. † Emily Dickinson Journal 6. 1 (1997): 25-43. Project Muse. Spring 1997. Web. 28 Nov 2012. * Deppman, Jed. â€Å" Dickinson, Death, and the Sublime† Emily Dickinson Journal 9. 1 (2000):1-20. Print. * Schubert, Johan. â€Å" Between eternity and transience: On the significance of time in psycholoanalysis† 26 May. 2001. Web. 28 November. 2012 14 Research Paper English 1100C-7 Professor De Marco November 19, 2012