A Worn Path Literary Analysis Essay Example For Students

A Worn Path Literary Analysis Essay Eudora Weltys A Worn Path is a story that underlines the common imagery of the environmental factors. As the story starts, we are acquainted with our primary character, Phoenix Jackson; she is portrayed as a little, old Negro lady. I accept that the name Eudora Welty gives our fundamental character is emblematic. The legend of the Phoenix is about a legendary hallowed winged creature of old Egyptians. The flying creature is said to come out of Arabia at regular intervals to Heliopolis, where it consumed itself on the special stepped area and rose again from its remains, youthful and wonderful. Phoenix, the ladies in the story, speaks to the legend of the fledgling since she is portrayed as being older and close to a mind-blowing finish. Phoenix can barely walk and uses a stick made of an old umbrella to help her. Her skin is portrayed as old and wrinkly, however yet with a brilliant shading running underneath it Her skin had an example all its own of innumerable fanning wrinkles and just all in all little tree remained in her brow, yet a brilliant shading ran underneath(55). Her skin tone speaks to the brilliant plumes of the Phoenix and her grandson speaks to the following Phoenix that will be given life when she bites the dust. The outing to the city to get the medication speaks to the legendary outing that the Phoenix takes to the sun to kick the bucket. Undoubtedly this excursion along a ragged way through the forested areas, will be one of her last. We are recounted Phoenixs venture into the forested areas on a chilly December morning. Despite the fact that we are realize that she is going through forest, the creator shuns revealing to us the explanation behind this excursion. Amidst Phoenixs voyages, Eudora Welty depicts the scene: Deep, profound the street went down between the high green-shaded banks. Overhead the live-oaks met, and it was as dull as a cavern (Welty 55). The melancholy haziness that the creator has made to encompass Phoenix in this scene is a significant differentiation to the little Negro womans inspirational standpoint; Phoenix is an exceptionally decided individual who is brimming with life. As Phoenix strolls down the dull way, a dark canine methodologies her from a fix of weeds close to a dump. As he comes toward her, Phoenix is surprised and constrained to protect herself: she just hit him a little with her stick. Over she went in the discard, similar to somewhat puff of milk-weed (55). Here, the creato r differentiates the fundamental characters solid will with her little, delicate build. As Phoenix is lying in the dump, A fantasy visited her, and she contacted her hand up, however nothing came to down and gave her a draw. (55). Phoenix might be going after celestial intercession yet gets no such help. She at that point starts to converse with herself, which she does much of the time all through her excursion. Eudora is attempting to show the peruser exactly how desolate and terrified Phoenix has become. While she lay in the discard conversing with herself, Phoenix alludes to herself as elderly person. At various focuses all through the story, Phoenix alludes to herself as old. Despite the fact that we are helped normally to remember her mature age, unmistakably Phoenix despite everything has numerous years in front of her. The creator carries authenticity into the story by every now and again portraying the real factors of mature age. After a brief time, Phoenix is protected: A w hite man at long last tagged along and discovered hera tracker, a youngster with his canine on a chain (56). At the point when the white man moves toward her, Phoenix is as yet laying on her back in the jettison. At the point when Welty tells the peruser that the white man has discovered her, she is inferring that Phoenix is lost, however she unmistakably isn't. The white man asks Phoenix what she is doing in the discard, and she answers Lying on my back like a June-bug standing by to be turned over, sir (56) as she connects her hand. At the point when Phoenix alludes to herself as June-bug on its back, she is telling the tracker how vulnerable she is. The tracker at that point lifts her up and ensures she is alright. The tracker and Phoenix start to talk and the tracker inquires as to whether she is on her way home. At the point when Phoenix answers that she is headed to town, the tracker debilitates her by disclosing to her that it is excessively far. He likewise discloses to her that when he makes the excursion into town, he at any rate would get something for my difficulty (56). The tracker consequently accept that Phoenix has no explanation behind going into town, and no cash to buy anything once she shows up around. Phoenix gives her assurance by advising the tracker I bound to get down to business, sir, the opportunity has arrived around (56). At the point when she reveals to him that the opportunity has arrived around, the peruser now realizes that there is a purpose behind her excursion into town. The tracker at that point reveals to Phoenix that he expect she should get going into town to see Santa Claus. Phoenix is still after the tracker has offered this remark. Welty depicts Phoenixs face: The profound lines in her face went into a savage and distinctive radiation (56). The peruser then expect that Phoenix is furious about this announcement. Not until you have perused on do you locate the genuine purpose behind Phoenixs response. Without notice sh e had witnesses for herself a blazing nickel drop out of the keeps an eye on pocket onto the ground. The tracker and Phoenix proceed with their discussion when the canines start to battle. As the tracker pursues the canines, Phoenix gradually starts to reach down towards the sparkling nickel. At the point when the nickel is at long last in her cover pocket, she sees a flying creature fly by and says to herself God watching me the entire time. I come to taking. At the point when Phoenix says this, it shows the peruser that she truly is a decent individual, and that she has a soul. The man returns and focuses his firearm at Phoenix. Quickly the peruser expect that the tracker has seen Phoenix taking his nickel, however Welty never states whether the tracker saw Phoenix get the nickel or not. The tracker inquires as to whether the firearm unnerves her, she answers No, sir, I seen bounty go off nearer by, in my day, and for not as much as what I done (57). It is apparent that whether th e tracker saw her take the cash, Phoenix figures he did. The tracker at that point grins, takes care of the weapon and says, you should be a hundred years of age and frightened of nothing. Id give you a dime on the off chance that I had any cash with me. In any case, you accept my recommendation and remain at home, and nothing will transpire (57). I accept that this line speaks to a change that has happened inside the trackers mind. He never again is attempting to keep her from her excursion, while he despite everything advises her to remain at home, he realize she will undoubtedly go on. After there meeting he understands how solid her will is and releases her on her way. I bound to go on my way, sir (57) Phoenix tells the man, and they go off in various ways. .ue869656fd18f8dcbde36977b171a5352 , .ue869656fd18f8dcbde36977b171a5352 .postImageUrl , .ue869656fd18f8dcbde36977b171a5352 .focused content territory { min-stature: 80px; position: relative; } .ue869656fd18f8dcbde36977b171a5352 , .ue869656fd18f8dcbde36977b171a5352:hover , .ue869656fd18f8dcbde36977b171a5352:visited , .ue869656fd18f8dcbde36977b171a5352:active { border:0!important; } .ue869656fd18f8dcbde36977b171a5352 .clearfix:after { content: ; show: table; clear: both; } .ue869656fd18f8dcbde36977b171a5352 { show: square; change: foundation shading 250ms; webkit-progress: foundation shading 250ms; width: 100%; darkness: 1; progress: haziness 250ms; webkit-progress: mistiness 250ms; foundation shading: #95A5A6; } .ue869656fd18f8dcbde36977b171a5352:active , .ue869656fd18f8dcbde36977b171a5352:hover { obscurity: 1; progress: murkiness 250ms; webkit-change: darkness 250ms; foundation shading: #2C3E50; } .ue869656fd18f8dcbde36977b171a5352 .focused content region { width: 100%; position: rel ative; } .ue869656fd18f8dcbde36977b171a5352 .ctaText { outskirt base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: intense; edge: 0; cushioning: 0; text-embellishment: underline; } .ue869656fd18f8dcbde36977b171a5352 .postTitle { shading: #FFFFFF; text dimension: 16px; textual style weight: 600; edge: 0; cushioning: 0; width: 100%; } .ue869656fd18f8dcbde36977b171a5352 .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; fringe: none; fringe range: 3px; box-shadow: none; text dimension: 14px; text style weight: striking; line-tallness: 26px; moz-fringe span: 3px; text-adjust: focus; text-enhancement: none; text-shadow: none; width: 80px; min-stature: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/basic arrow.png)no-rehash; position: total; right: 0; top: 0; } .ue869656fd18f8dcbde36977b171a5352:hover .ctaButton { foundation shading: #34495E!important; } .ue869656fd18f8dcbde36977 b171a5352 .focused content { show: table; stature: 80px; cushioning left: 18px; top: 0; } .ue869656fd18f8dcbde36977b171a5352-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .ue869656fd18f8dcbde36977b171a5352:after { content: ; show: square; clear: both; } READ: The Civil Rights Movement EssayStrength is the main explanation Phoenix achieved her excursion and Phoenixs love for her lone living relative is her most noteworthy quality of all. Despite the fact that the old Negro lady experiences numerous impairments, she begins her excursion intellectually arranged for the obstructions anticipating her. Phoenix utilizes her internal qualities and beats each hindrance. She depends on her reliable feet to compensate for her debilitated vision. Her mind compensates for her delicate body. Her assurance compensates for her matured memory. Be that as it may, the majority of all, her adoration for her grand son her props her up. Plainly, the fragile, neglectful, and adoring elderly person can defeat anything. English Essays

Racism in 1930s Essay Sample free essay sample

In the mid 1930’s numerous races were as yet treated as inferiors. Not only were African Americans oppressed yet next to a considerable lot of the more oriental gatherings were dealt with a similar way. more so in the South than the north. White Americans despite everything had a superior life than the minorities despite the fact that the downturn extraordinarily influenced them each piece great. African Americans. regardless of the rights they should hold. were all the while holding a significant fight with a considerable lot of their privileges being denied. Endeavors were much of the time made to look for a threaten them and stamp down their privileges. There were other than numerous old imposts that had non blurred that included reducing the privileges of African Americans. For outline. it was viewed as wrong for an African American to request and equity white individuals. Numerous privileges of African Americans were completely disregarded. Prejudice during the 1930s stay ed an extremely existent threat to the security and odds of African-Americans in the United States. We will compose a custom article test on Prejudice in 1930s Essay Sample or on the other hand any comparable theme explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page Many years of inhibitory arrangements in the state ( curiously the Southern regions ) started to go under power per unit region by the New Deal plans of President Franklin Roosevelt. In spite of the fact that these New Deal plans did relentless such inhibitory strategies. they laid the reason for the slaves. Inevitable mix activities of the specialists during the 1950s. At this clasp. major sorted out gatherings for jeopardizing African-Americans started to intensify. be that as it may, held bounty influence in feeling and capacity to show signs of improvement of early endeavors at social liberties. Isolation was as yet the standard example of nations everywhere throughout the state †separate schools. separate eating houses and even separate assimilating wellsprings were saying. furthermore, legitimate advances existed to execute these examples. Northern metropoliss. especially substantial mechanical nations having an inflow of Afro-american populace like New York City. dynamically utilized these examples as the Great Depression attacked the state. Of more prominent note was bigotry in Europe during the 1930s. which was to take in the accompanying decennary to the frightful occasions of the Holocaust. During the clasp Adolf Hitler picked up power in Germany. the Judaic individuals were seen with scorn and instinct for the detected generalization of Judaic control of universe fundss. Combined with the whole demolition of German monetary force following the First World War and the overall devastating of financial frameworks politeness of the Great Depression. Hitler tied down satisfactory open help and adjustment to get down most extreme strategies of suppression and control for the Judaic populaces of the state. Limitations on who the Judaic individuals may get hitched. annulling of social equality and other monetary scissors without further ado followed all through the decennary. During the 1930s. broad terminations had non yet started ( the significant focus cantonments were non worked until the mid 1940s ) . be that as it may, early signifiers of focus cantonments with high death rates were in use.

Outbox April 27, 2018

Inbox/Outbox April 27, 2018 Ive been really overwhelmed with LIFE STUFF lately. My family and I just moved into a new house, which is a great thing but also a little stressful. Its nearing the end of the school year, which means lots of pressure for me and my students, some of whom are taking the AP test in a few days and others who are turning in final essays for college credit. My baby boy is also about to be a year old and Im freaking out a little. With all of that going on, Ive been surprised to find my reading life richer than ever. I think as the stress increases, I deal by retreating into one book or another each night. Heres my inbox/outbox for the week: what Im reading currently,  what Ive just finished, and what I plan to read next. Inbox (Books Acquired) Bird Box by Josh Malerman I mentioned earlier that we just moved, and Im so excited that our new house is a two-minute walk to the local library! I took my son for a walk earlier this week and picked up Bird Box after reading Katies  5 Books If You Liked A Quiet Place. I loved the creep factor of A Quiet Place, and after reading the premise for Bird Box  I knew I had to pick it up. Its about a mother and her children trying to survive in a world where no one can look outside. If they do, they know theyll meet the same fate as others: a mysterious presence will make them kill others and themselves. It sounds so good and I cant wait to be totally creeped out! Crazy Rich  Asians by Kevin Kwan Ok, yes, I am one of the ten people on earth who hasnt read this book! Ive heard such great things about it, but for some reason I just never got around to reading it. After seeing the bananas-good movie trailer, however, I couldnt wait any longer to dig into Kevin Kwans romantic, decadent series. In related news, Constance Wu is perfect. Outbox (Books Finished) Unmasked by the Marquess by Cat Sebastian I often hear the (unfounded) complaint that would never happen about historical romance novels when they involve people of color or non-binary folks. Cat Sebastian is here to challenge that idea. Sebastians forthcoming novel is about a housemaid formerly named Charity Church who has been posing as a man for six years in order to help her friend marry well and keep her house. (Theres a more complicated backstory there, but Ill let you read it for yourself.) Robert (née Charity) meets Alistair, Marquess of Pembroke in London and starts up a romance with him. I was a little worried this would end like a Shakespeare play, where the woman masquerading as a man only gets to have a happy ending when she goes back to wearing dresses. Im happy to say that Sebastian delivers a happily ever after for these characters in every way possible. In the Queue (Whats Next) Exit West by Mohsin Homid Back when this got shortlisted for the Man Booker Prize, I meant to read it. However, at the time I wasnt in the mood for a book like this. As I was browsing through a book store the other day, waiting for a friend, Exit West jumped out at me. Im really in the mood for a magical realism, love in the face of war novel right now. A Duke by Default by Alyssa Cole   I was lucky enough to get my hands on an advance copy of the next installment in Coles Reluctant Royals series and Im so excited to start it! I loved A Princess in Theory and was hoping Cole would give Portia her own love story. (A Duke by Default comes out July 31, 2018.) What books are in your inbox/outbox this week?

The Teaching Styles of the Apology of Plato an the Gospel...

Socrates and Luke are both considered to be great educators. They have both influenced countless people with their teachings. However, comparing the two is slightly strange since Socrates is the subject of the story, which is told by Plato, and Luke is the teller of the story of Jesus. A comparison can be made between the two as Socrates is a great teacher while Plato is mostly silent and Luke, while not overly prevalent in the his story can be compared to other accounts of the story of Jesus among which his by far the most didactic. But when you are comparing the two you must keep in mind that you are in actuality comparing four and also that while the story teller is supposed to only be telling you what he saw, he is also telling his†¦show more content†¦So you also, when you have done all that you were ordered to do, say, ‘We are worthless slaves; we have done only what we ought to have done! (Luke 17:7-10) Socrates uses much the same method when he is offering a rebuttal to Meletus accusation that he is deliberately corrupting the young. He says, What follows, Meletus? Are you so much wiser at your age than I am at mine that you understand that wicked people always do some harm to their closest neighbours while good people do them good, but I have reached such a pitch of ignorance that I do not realize thisÂ… I do not believe you, Meletus, and I do not believe that any one else will. (Plato 25d-e) Both Jesus and Socrates here have both made fairly convincing arguments for some fairly unconvincing points. Jesus tells the apostles that basically they are slaves and they should like it, while Socrates tries to convince the jury that he has done no harm to the structure of Greek society with his radical philosophies. They manage to argue these unlikely lines of reasoning somewhat successfully by leading the listener through a series of progressing questions with very obvious answers until a fairly unlikely, but seemingly rational conclusion is drawn. Interestingly, this form of education is known as the Socratic method as Socrates was the first to use it. Probably the mostShow MoreRelated The Teaching Styles of the Apology of Plato an the Gospel of Luke1231 Words   |  5 Pages Socrates and Luke are both considered to be great educators. They have both influenced countless people with their teachings. However, comparing the two is slightly strange since Socrates is the subject o f the story, which is told by Plato, and Luke is the teller of the story of Jesus. A comparison can be made between the two as Socrates is a great teacher while Plato is mostly silent and Luke, while not overly prevalent in the his story can be compared to other accounts of the story of Jesus among

How to Introduce Your Class Rules (Grades K-6)

A well-founded set of class rules has the power to make any school year great. Great teachers know that rules make learning possible and work hard to choose them. Follow these tips for coming up with the right rules for your class and implementing them. Keep It Simple Because rules are meant to serve students, they should be logical and straightforward enough that they make sense after minimal explanation. If a rule is confusing and/or its purpose unclear, your students will have trouble practicing it. Follow these guidelines for designing a functional set of rules that is most likely to have its intended results. Dont overdo it. Be economical with your rules list to increase the likelihood of your students remembering it. There isnt a magic amount but the number of rules you implement should generally not exceed half the age of your students (e.g. No greater than three or four rules for second graders, four or five for fourth graders, etc.).Include important unwritten rules. Never make assumptions about what your students do or dont already know. Every child is raised differently and cultural contrasts are never more prominent than when it comes to behavioral management and rules. Hold your students all to the same standards only after teaching the rules and not before.Use positive language. Write what students should do rather than what they should not do. Positive language is easier to follow because it communicates expectations more clearly. Choosing Between General and Class-Specific Rules Most teachers tend to follow a similar roadmap for rule-setting: Briefly highlight student preparedness, outline what being respectful of others and school property looks like, and set behavioral expectations during instruction. These standard guidelines are prominent for good reason. There is nothing wrong with having rules similar to those of other teachers. In fact, this can make your students lives easier in a lot of ways. However, nonspecific rules dont always make the most sense and you shouldnt feel tied to them. Teachers can deviate from the norm as they see fit based on what will work best in their classroom. Use a combination of general and class-specific rules until you are comfortable with your code of conduct. Sample General Rules There are some rules that can be applied to every classroom. This is true of the following examples. Come to class prepared.Listen when someone else is talking.Always try your best.Wait for your turn to speak (then raise your hand)Treat others the way you want to be treated. Sample Class-Specific Rules When general rules dont cut it, teachers can use more precise language to put their expectations into words. Here are some examples. Complete morning work as soon as you come in.Always be helpful to others.Give eye contact when someone is talking.Ask questions when you dont understand.Never make a classmate feel like you dont want to work with them. Steps for Introducing Class Rules to Students Always introduce rules to your students as soon as possible, ideally within the first few days of school. Prioritize this over other activities and introductions because rules lay the groundwork for how your class will function. Follow these steps for success when presenting class guidelines to students. Involve your students. Many teachers create class rules with the help of their students. This is an excellent strategy for long-term success. Instilling a sense of ownership in your students with regard to the rules will make it more likely that they follow and value them. You can even have your students agree to abide by them by signing a contract.Explicitly teach the rules. Once your class has come up with practical rules, work together to talk about what they mean. Teach and model the rules so that the entire class is on the same page. Let your students help you demonstrate desired behavior and have meaningful conversations about why rules are important.Post the rules. Your students cant be expected to remember every rule after only hearing them once. Post them somewhere visible so that they can be easily referenced—some teachers even send students home with their own copies. Keep the rules fresh in their minds and remember that sometimes they merely forget and are not deli berately misbehaving.Talk about the rules often. Keep the conversation going as the year progresses because posting the rules isnt always enough. Issues will come up that require you to revisit your guidelines with individuals, groups of students, and even the whole class. No one is perfect and your students will need to reset sometimes.Add more rules as needed. You dont have to have it all figured out the day your new students walk into class. If you ever realize that there are rules missing that would make everything run more smoothly, go ahead and add, teach, and post them as you did with all the others. Teach your students about adapting to change whenever you add a new rule.

Communication and Children Free Essays

string(94) " to control their behavior as soon as language is mastered children’s behavior changes\." Promote children’s speech language and communication Speech, language and communication are closely tied to other aspects of development. You should know what Is meant for each term. Communication Communication Is about how you send out signals to people. We will write a custom essay sample on Communication and Children or any similar topic only for you Order Now Communication can be seen as a umbrella term as it’s all about the way you use language and speech as your facial expressions, body language and your gestures. Language Language is specific, it is a set of symbols its either spoken, written or signed, this means that it can be used and understood between people. Language can be very abstracted and we often forget this, when children are learning the sound of C-A-T the speaker is making the word can and is referring to the cat even if there is not a cat in the room. Linguists suggest that the main feature of a language is series of rules that people have to understand and use. Once it Is mastered you should allow the user to convey anything they wish. First of all the children will not be able to use the rules, toddlers will begin by Just pointing at objects and only using one word. After a while they will learn how to construct sentences. Speech Speech Is vocalists language it Is normally learnt before the written form of language, in speech the symbols are not signed or written. But it is spoken as sounds. The number of sounds that children needs to master will depend on the language that they have or are being exposed to. English has more than 40 different sounds. Listening Listening is about being able to hear and more importantly understand the speech of others. Its sometimes referred as receptive speech. Babies begin the Journey of learning to speak by gaining receptive speech, and get them to learn the specific words and phrase and what they mean. This Is a referral to any difficulty that an children has In any three areas. Some children have a difficulty in producing certain sounds so they will have a difficulty with speech. If a child does not have make eye contact this may mean that they have more global communication need.. As soon as a baby is born they begin to learn how to communicate. At first they will cry and learn that their cries will be understood or will be responded to by a adult. Babies cries change depending on what they need. Soon when you work this out and learn whether the baby is tired, bored or just hungry. Babies learn to study faces the tone of your voice and the body language, they will soon begin to respond to this their selves. Babies will cry if they hear a angry tone or if a adult smiles at them then they will smile back. By the age of one they babies should be skilled at communicating because they are able to point at things that they are interested in, they will turn their heads away to show that they are not hungry anymore. The babies will also recognize when the adult Is happy. Not Just are babies learning about the skills of communication they are also learning about the language, usually In spoken form. Being able to communicate and be able to use and understand speech will mean it Cognition covers is a multitude of different tasks, it is mainly about our ability to process and use information that we have gained. An example is a child may see leaves fall of the tree and get told this is because its autumn. The child may see more leaves falling off and remember and make a connection with what she seen earlier with the leaves and what she is seeing now. She may remember what the adult told her about autumn and may say to another adult look leaves are falling is it because its autumn?. She will say it proudly because she has remembered. When she is at home having tea with her mum she may say that the park leaves are falling of the trees because it is autumn. This illustrates the way in which learning takes place, the child has remembered what they seen earlier and connecting to what they are hearing or seeing then come to the conclusion. The ability of the child that has labeled it as autumn will help her a lot. She is likely to notice falling leaves and making the association over and over again. She will also talk and think about autumn without thinking about the park. We can now begin to understand the limitations of body language, gesture and facial expressions when there is no language available. Even though they allow instant communication this does not help the child to understand what is being seen or provide a way in which afterwards the child can communicate what she has seen. This means that children that has basic communication skills of facial expressions gestures and body language, they find it difficult to communicate the concept. Emotional development Being able to control your own emotions is a major part of emotional development, babies and toddlers struggle with this. But as language develops they find it easier as they can express their needs, is a child has a tantrum or an outburst it is due the child being frustrated, angry or Jealousy. They tend to b dismissed as the child learns to find a way to talk through the way they are feeling. This is why it seems to be a good thing to name the emotions, when you are working with young children. His is so they can begin to understand what the child is feeling and have the ways of expressing it other than Just physical reactions alone. Behavior Being able to manage your own behavior is all about self-control, young children are impulsive and they find it hard to control their behavior as soon as language is mastered children’s behavior changes. You read "Communication and Children" in category "Papers" It seems like the acquisition of language it helps ch ildren to think things over. The children will focus on the consequences of their actions, they will begin to remind themselves of what they need to do or what they should not do. The start of this progress is when a toddler goes up to something that have been told not to go near and they point to that object and say no. Social Development Emotional development is linked as being able to control your emotions. Social development builds on your emotional development. This means you need to be able to recognize this in others and being able to learn how to adjust your behavior correctly and appropriately. This means that having good communication skills and good language skills is very important. Children need to read peoples body language and facial expressions of others so they can respond correctly. Play is the main medium of solicitation with other children. Language skills become important from the age of three years old. , children tend to speak about what they are doing or when hillier have difficulties, there are likely to have many effects on their development even though the extent to which children get effected it will very depending on the nature of the difficulty. It is severity, its also how the child is supported. Some term effects on development 1. Difficulties in making friends 2. Anger 3. Low levels of confidence 4. Difficulties in learning new information 5. Find it hard to make themselves understood 6. Frustration 7. Difficulties in applying formation to new situations 8. Withdrawn These are some general terms as there is a massive different between a child that as a slight speech impairment and can use some language to a child that is not using language or understanding any language. The long term development consequences in children who have difficulties with their communication, language and speech are sometimes harder to predict but in general terms you might find that children later on may have the following 1. Not achieve their potential 2. Lower self-esteem 3. Become isolated 4. Find it hard to make and maintain relationships 5. Developed antisocial behavior in some cases 6. Not reach independence Children who have learning difficulties with their speech and communication skills hey may have a big disadvantage when it comes to their overall development and it may even effect their life outcome. A lot of babies and toddlers attempt to communicate using their body language or by vocalist sounds or words. It is important that adults know the acknowledge of these communications as well as looking for ways to support children to make the progress there are many ways that we can do this. Words and level of language One of the skills you need to acquire when prompting children’s language is to work out the level of language that we need to use with children and find the style of engage that we need to adopt, babies need use to use an exaggerated facial expression and to point to objects that your talking about so they can work out what you mean. Linguists has found that adults seem to be able to change the structure of their language automatically, when they are working with babies in order to simplify it. This is practically important because babes can focus on the key words in a sentence and begin to associate the words with a meaning. The word â€Å"parents† is used to describe the style that adults adopt when working with babies and toddlers. With children who are older and is developing their language, our style needs need to change again, instead of you simplifying our language, you may set out to enrich it so that a four year old can develop their vocabulary. Questions By using questions it is a important part in stimulating and extending the children’s speech, they can show children that you are interested in what they are doing or response and is important to be aware of different styles. Rhetorical Questions A rhetorical question is not really a question because the speaker tends to answer them their selves. This type of question is very useful when you are working with babies and toddlers, as it helps the adult sustain commentary while they are busy with the child who may not be able to say much. Rhetorical questions an make the baby and toddler feel involved as long as the adult uses eye contact whilst you are talking to them. The commentary style is one that is very useful as it is allowing the babies and toddlers to hear language even though the commentary must be directed at them, using rhetorical questions with a child that already has language does not work because they see a opportunity to answer the question. Closed questions By using closed questions it prompts short answers. A example is â€Å"Did you enjoy that† they are useful to engage the child, we often need them when your working with babies and very young children that can use one word answers gestures or body language. For children that have limited language its important to extend the conversation from a closed question. Closed questions can also be safe for children who are anxious or a child that does not know you. This should be seen as a starting point in a conversation. With older children the amount of closed questions should be monitored as they do not extend language. It can prevent the child getting a chance to be able to express themselves. Open questions By using open questions it means that your prompting for a longer answer and to help children to think. Open questions work well when that child feels comfortable with the adult as well as when they have significant language so they are able to communicate. Using questions Its often suggested that closed questions are bad and that open questions are good. The reality is more complex as the use of questions really depends on the level of language that child has also how comfortable the child feels. Many skilled immunization will switch to open questions and closed questions. The thing that distinguishes the use of questions is generally interested in what the child is saying to you. Poor communicators ask questions without really wanting to know the child’s answer. This means that using ascertain a chills acknowledge. Conversations/ interactions When you look at language and the way it is used in settings and used in the children’s homes it becomes clear that some adults language is used to organize children. This type of language is essential but it is not useful when you are trying to extend and develop the children’s language. For this to be able to happen the children need to be able to have time to talk and interact with an adult. Interactions with babies and toddlers For babies and toddlers early interaction is often quiet play. With a baby you may play peep and with a toddler they may give you a toy and you say thank you to them and then they take it away from you. This early interaction may not seem important but it is essential for the babies and toddlers as they are learning early skills of fun whilst they are communicating. They will also learn about turn taking eye contact and interpreting expressions. Other interactions may also include songs. Babies and toddlers also need to hear a running commentary as if the child can answer the Children that has speech needs to have time where they can talk to the adults. You should note that the children likes to be doing something or has got something to show the adults for this to be able to take place. This is often when the adults takes time to show the children that they are available or goes and sit down. Good communication does not work when the adult is moving about and does not have good eye contact with the person who is talking to you. Information and activities Children and adults need to have something to say to each other, this means that a lot of settings will work on children’s language by planning activities, or they may have books that will help prompt children’s speech. With babies and toddlers this could mean too have to put out an experience such as teddies and toys in a basket that has a lid on. With older children you can have a variety of activities thou can use to stimulate children’s language. It is always important that you build on the child’s existing interests as well as being able to provide new things for the children. Working with parents/ careers A lot of parents and careers under mind the value of or their role in prompting children’s speech and extending their speech. They are more likely to only have 15 minutes a day which they are able to chat to their child without any interruption. This could be when you are walking home or at bath time. As parents have a strong relationship with their child they are able to tune in to them and adapt their language. This means that parents does have the potential to be a good language partner for their child. Many settings provide sessions for parents to learn about the importance of their role and build up their confidence. When a child has a specific speech and language need both parents and the setting needs to work together WI the speech and language therapist. Positive effects of adult support When adult support provided for children there is many positive effects. Some of the positive effects is the following: 1 . Speech, language and communication skills 2. Emotional development 3. Behavior 4. Social interaction Speech, language and communication skills If a high quality of support is given children can show progress in their speech, language and communication skills. This means working with children can be really rewarding and parents are often delighted in the improvements that children are showing. Social interaction The heart of social interaction is children’s ability to communicate. This means that positive support can quickly make the child more outgoing and confident in their interactions. A lot of practitioners report that once children have more speech and language the children are able to play easily with other children. Behavior Many children that are finding it hard to communicate or speak will show aggression. They may also be showing a sign of uncooperative or frustrated behavior. Being able to communicate effectively can make a massive difference to children’s behavior. Parents will also note that when they are spending more time communicating with their child that child wills show less attention seeking behavior. Emotional development does the children become more confident, they also will be able to find words to be able to control their emotions and express their needs. Children of the same age will often have different levels of language. This will mean that you need to identify the children that has atypical language in order for them to get the support that they need. But you also need to think out how practices and procedures support the children. Settling in For children that does not have speaking language for a reason like age or because they have a additional need its very essential that they get to know the key person before any separation is taken. The key person needs to find out from that child’s parents how to communicate with that child and learn the skills they use. With the children that are speaking well and can understand us will still need a similar level of care and attention, but they may find it easier to settle in as they can express their needs and their feelings. Grouping children A lot of settings may have moments when they need to put children in to groups like when you go for lunch or when they are going for a story. It is important that you give a lot of thought in to this as children that has language needs have been grouped sensitively and carefully so they have get the opportunity to interact and get involved. Activities When activities and play opportunities are planned children’s level of language needs to be considered as certain activities are required to have a higher level of language and this mean it may not be appropriate for a child who is still developing engage. Language is needed for role play and it is important to think about if the child wants to Join in with role play and needs to have support. The ability to process language will mean that some activities that require children to listen needs to be carefully thought about if there are no visual stimuli which will help the children work things out. Methods of providing support A starting point to be able to support the children with language problems is to consider the age of that child, the child’s current level of language and what they are interested in. You should also find out the child’s specific needs. Age The child’s age needs to be considered in relation to the way we work with children. Babies and toddlers is emerging their language and we rely our gestures facial expressions and body language to help them to understand. In a way they need to use these communication tools, we also need to learn how to interrupt them correctly. By the age of three children will have developed sufficient language to be able to form sentences so our style of language will need to change again. Specific needs Its very important that when working with children you know what their milestones are in relation to the child that you are working with. This is because each child needs to be identified quickly so they can gain the support that is necessary. Sometimes a speech and language therapist will be involved and be able to give us specific suggestions as to what kind of type of work that the child needs. Children with cognitive needs alongside language needs will also may need to use Megaton. Megaton is signs that create the visual cues to help them to understand the meaning. Abilities children has language delays, but some children does not have any delays and gets on with language with flying colors, they are hungry for attention and to get language opportunities. You need to think about how challenging the activities are and think about the language opportunities are such as stories. For other children they might like one thing like a train set, so you may sit with the child and make the sounds to encourage visitation. Home language These days children learn English as well as their home language, being able to learn more than one language at an early age is a good opportunity, its very important that you don’t make the parents of children feel like there is a problem with that. You need to find out how much English the child has and find out how strong the chills mom language is. It is important that you find out how the parents use their home language, as some parents may choose to only use their home language to their children but other parents may decide to split up their language by using more than one language. Some parents may slide between two languages. If you have a child that comes in to your setting no using any English you need to be aware that the emotional impact may be hard as they don’t use English. This is why a key person system is important, as it is a way which we can reassure the child, for children that isn’t have English the progress they need is to acquire English and this can be very quick. This is why it is not a problem if the parents only speak their home language. Linguists takes the view that many ways this is desirable so that the child can gain competence in both languages. When children are not making progress in either their home language or English then it is worth talking to the parents and make it clear that some distinctions in their language use so that babies and young children can work out the sounds and words and which belongs to what language. Its important to remember that children that are learning more than one language are prone to have hearing loss, sight problems and communication difficulties. It is important if they are not making progress to explore these possibilities. Gaps in vocabulary When your working with children that has two language it is important that you are aware they may have specific gapes in their vocabulary. This is because most language is learnt in context. This means that some objects or activities means different things in their home language and in the setting its different as its in English. So this may mean that children may not know some of the common household items in English like tea towel or pillow this means they may not be able to talk about what they have done in the setting to their parents. They may not have the word sand in their home language its very important that you are aware of these gaps and plan activities accordingly. Adapting own language It is important to adapt our style and language to be able to suit the needs of the children. For children with English with a additional need you may need to use more facial expression or point to objects. You might have to simplify your sentences like oh do when you work with babies and thus style will allow to break in to the meaning of the word. Scaffolding children’s language Children needs to hear phrases and words before they can use them. By scaffolding children’s language it involves talking to children in ways that will be able to help essential for this as As they are likely to spend more time with the child, the can also develop language routines for that child. Recasting and expanding statements As a part of scaffolding children’s language adults should know the acknowledge of children’s vacillations or the attempts of communication and should recast the entente. So that the sentence is grammatically correct, or you can expand the sentence so that the child is hearing a fuller sentence because vocabulary are learnt in context by expanding the sentence from a child means that they can learn more. Giving children time to communicate A lot of adults forget that children needs to have time to be able to process what they have been told and visual the clues in the room before they are able to respond to a communication, one of the common mistake that a adult does is fill up the gaps immediately assuming that the child has not understood or can’t think of anything to say. This means that reviewing our own language practice is worth thinking about how much time we are giving children in order so they can communicate with us. It is important that you give time to children who are learning English as they already have another language. They might know what they want to say but they may not be able to say it and need a moment to put it together. Many babies and toddlers process things a few hours after, this may mean when you took him/her to the pond to feed the ducks they was not very responsive but later on when they look at the photos they get very excited and try to talk about the duck. This is why it is useful to repeat activities that children have enjoyed. This is why having photographs and video clips can help the children to interact. Facilitating communication between children Children’s social skills and language are connected, sometimes the role of the adult is to help the children to connect with each other so they can communicate. One way to do this is to set up some simple activities that is pleasurable for the children. Having a game that you need to have children to be paired up can work well as it can encourage them to listen to each other and enjoy being with each other. When irking with large groups it has to be organized carefully as children that has strong language skills will find it hard not to shout out. It can be hard for young children to wait and some people will argue it is unfair that they have to wait. Children who has a stutter can feel under pressure if you have told the other child to be quiet so they can listen to the child. This can sometimes make their stutter or stammer worse. Learning through play Play is Just not a medium for learning physical and social skills it is also used for language. A key skill for adults to master this is by playing with the children in ways f which the children have their own ownership of it. Role play is normally used on older children to be able to get them to develop their sentences and vocabulary, with baby’s language can be learnt through peep. Play is a very good vehicle for language, its important that the materials you use and resources that are available for children are interesting and satisfying. Many practitioners look for new ways of introducing new materials or the props in to children’s play as it will give children something to talk about. Working with parents, careers and families Parents need to be involved with supporting their children’s language as they are o one time with them parents sometimes will need support to know how to maximize the language opportunities and so some settings put workshops on where parents and children can come to play and learn together. These workshops can give parents more confidence as well as more understanding of the importance of their role in promoting their children’s language. Interests of children Children tend to talk more about things that excite them or what they are interested in. His means that adults are needing to be flexible when working with children and be ready to talk and explore the things the children have noticed or that are interested in. A Autumn walk what the practitioner was hoping to talk about the different types of leaves and the children may have found a pine cone and have to talk about them instead. Day to day activities Sometimes it is easy to forget that everyday routine activities can be fascinating for children when adults allow them to be properly involved. This may mean that you need to allow more time to value those moments in the day instead of Just trying to get through them. Tidying up can either be a quick routine task. In which children will say hardly anything at all. When tidying up the adult and children can have a DOD conversation about where things go, and what toys they don’t play with or the ones that does get played with and travels around the setting. In some settings they organize the packing up so that the key person can work with the child. Some potential activities that can extend the children’s language are the following 1. Dressing 2. Lunch time 3. Tidying up 4. Choosing stories for story time 5. Getting ready to go home 6. Nappy changing and other personal care routines 7. Snack time 8. Setting activities out Working with children one to one Children’s language Scan improve a lot when they spend time in the company of insensitive adults who are able to respond to them carefully, the term language partner is use on this respect. A language partner is good at picking up an individual child’s interest and are ready to allow conversation to be able to follow the child’s interest. Chatting with children when they are doing a activity is important, by Just sitting the child down to talk to can make them very unnatural and forced. One to one is very valuable, because then the child can talk a their own pace, and does not have to compete with others. One to one works in the EYES settings, the settings would be carried out by that child’s key person. As this is a way of strengthening the relationship, as well as the child should have a existing bond with their key person. Working with groups When working with a group of children it can be a Juggling act because children’s language levels are often different this means that they process things at different speeds, it also means that the may process what they have been told in a slightly different way. By organizing a trip to the shop with the children, the children may see another child may see it as seeing a yellow car and another child may see it as seeing post box. If you have a too may children In a group or if the activity your doing is not developmentally appropriate then you may see that the children start to close down, so the opportunity of speech rather than the opportunity for them to open up. They may resort to closed questions, so they can Just answer with one word. This can mean that some children will miss out as they don’t get the opportunity to hear or speak full sentences. You can make sure that the group is developmentally appropriate such as three year olds are best in a group of three or four when only elder children can be put in a group with eight, children that are under the age of three does not tend to be able to do group work as easy and find that they will walk away or start to wiggle. Evaluating practice Three are many ways in which you can evaluate your practice with the children, first you may be able to record yourself working with the children, this will help you look at the tone of voice you are using and how much time you give them to respond.. N addition we may follow the children’s progress and see where you have given them extra support. By recording the children with a MPH player it can you a baseline assessment of what the child can do, then record them again to see if they have made any progress. You also need to learn how to reflect on the way you work with individual children some children enjoy puppies or talking whilst cooking byte some children talk better when they are playing and you Join in the game. This means that to be able to work effectively with different children you need to be able to reflect on their reactions and adapt effectively. The importance of the environment Its important that not only we work effectively in the trees of our skills with children, UT also the physical environment includes play and activities so it creates opportunities for language. Children and adults need to have something that’s worthwhile to be able to talk, environment’s that are boring or activities that are unchallenged may result in minimal language use. But having settings that are loud and chaotic also does not help in proving support for reactions for interaction between children and adults. As children may not be able to focus or be able to make themselves be heard. Adults may become distracted if they can see mayhem is being caused on the other side of the room. This can prevent sustained interaction. You should provide environment’s inside and out that works well in terms of communication and meet the range of children’s developmental needs. You should also thing about activities and resources that are available for the children. These activities should interact because they are challenging and interesting for them. Factors that support an effective speech language and communication environment 1. Views of children 2. Activities 3. Specific toys and resources 4. Staff roles and responsibilities 5. Physical environment 6. Training needs and opportunities 7. Involvement of parents, careers and families Physical environment How to cite Communication and Children, Papers

The Taming of the Shrew The Mirror of Film Essay Example For Students

The Taming of the Shrew: The Mirror of Film Essay In the late twentieth century, it is not unusual for audience members to come away from productions of The Taming of the Shrew with the impression that they have just witnessed the story of a dynamic woman turned into a Stepford wife.1 There are also Shakespearean critics who hold such views. G. I. Duthie, for instance, describes Katherina as a spirited woman who is cowed into abject submission by the violence of an egregious bully (147). John Fletchers 1611 play The Womans Prize, or the Tamer Tamed, in which Petruchios second wife treats him as he had treated Kate,2 suggests that even during Shakespeares lifetime the battle of the sexes within the play had become a battle of the critics outside it.3Shakespearean scholars on the other side argue, as Charles Boyce does, that far from being a tale of domination, the plays main plot concerns the development of character and of love in a particular sort of personality (626). Boyce goes on to say that The violence in The Shrewexcept for t he beatings of servants is limited to Katherinas own assaults on Bianca and Petruchio (626). Nor is Boyce alone in his belief that Petruchio is physically kind to Kate; as Robert Speaight writes, It is only to others that he is rough (59). We will write a custom essay on The Taming of the Shrew: The Mirror of Film specifically for you for only $16.38 $13.9/page Order now Much of the confusion comes from a simultaneous idealization of the twentieth century4 and denigration of the sixteenth, a glorification of the sensibilities of modern critics, directors, and audiences coupled with a condemnation of the medieval insensitivity of the playwright. For example, Jonathan Miller, director of the 1980 BBC Shrew, says, Shakespeare is extolling the virtues of the obedient wife in accordance with the sixteenth-century belief that for the orderly running of society, some sort of sacrifice of personal freedom is necessary. He defends his position with an attack, arguing that If we wish to make all plays from the past conform to our ideals were simply rewriting all plays and turning them into modern ones, a practice he calls historical suburbanism (140). However, he is himself engaging in a procedure which might be called historical blurring, allowing certain historical trends to obscure individuals and their divergent opinions.5 No period can be correctly characterized as homogeneous, certainly not a time as tendentious as the Renaissance. To maintain that womens rights were not hotly debated by Shakespeare and his contemporaries is ignorance coupled with arrogance, and to fit the creator of Portia, Rosalind, and Viola into the company of male supremacists requires an adept mental contortionist.6 One need look no further than John Fletchers epilogue to The Tamer Tamed for a flat contradiction of Jonathan Millers implied Renaissance world picture. In the epilogue, Fletcher claims his play is meant/ To teach both Sexes due equality; And as they stand bound, to love mutually (148). Those critics who acquit Shakespeare of male chauvinism often accuse him of bad craftsmanship. Thus H. J. Oliver writes in his introduction to the Oxford edition of the play, In The Taming of the Shrew he Shakespeare was dramatizing material from unrealistic literature that was perfectly acceptable on the level of the Punch and Judy show but ran the risk of embarrassing as soon as it rose above that level (51). He has previously said, We sympathize with Katherineand as soon as we do, farce becomes impossible (51). But rather than assuming that Shrew should therefore be played as comedy and not farce, Oliver decides that Shakespeare has been led astray by his low comedy source. Directors of stage and film versions of the play must also participate in this long-running and complex controversy, choosing sides and making critical judgements as they make their artistic choices. If the five film versions of the play which are currently available are not likely to give a definitive answer, they certainly provide a representative sample, a set of performance texts with which to explore Shakespeares blueprint. They include a live television production with Charlton Heston, a full-scale movie version directed by Franco Zeffirelli, a filmed stage production from the 1982 Stratford, Ontario Shakespeare Festival, the BBCs television studio version made for the thirty-seven play Canon in the Can, and, finally, Bards made-for-videocassette version filmed on a replica Shakespearean stage without the audience. Those directors who see the play as a mans violent domination of a woman have manipulated the text in two main ways. One is to foreground the violence a la Charles Marowitz, who declares that The modern technique of brainwashing is, almost to the letter, what Petruchio makes Katherine undergo (18). Keith Digbys 1980 Stratford, Ontario, production, for instance, characterized Petruchios ministrations as brutality in a concerted application to destroy Kates individuality through her total subjugation (Loudon 678).7Another and more popular means of not dealing directly with the main story has been as Tice L. Miller writes, to mock it by turning the production into knockabout farce (662). This was the strategy of the 1991 Utah Shakespearean Festival production, a strategy which, as usual, pleased most audience members while infuriating those who felt that Kate or Shakespeare or both had been violated.8 Nancy Mellich wrote in her Salt Lake Tribune review, As interpreted by director Kathle en Conlin, Petruchio is a muscle-flexing bully, Kate a groveling, shrieking victim, and poor Will Shakespeare a male chauvinist. What a pity, because that is a grave disservice to these witty, feisty, intelligent and immensely appealing characters.Both the Charlton Heston live television Shrew and the Bard versions employ comic violence and clearly signal Petruchios physical domination of Kate. The sparse, sixty- minute production starring Charlton Heston emphasizes the comic violence and eliminates much of the wit combat. Kate first enters at the beginning of Act 2, dressed for equestrian exercise and beating Bianca with a riding crop at 2.1.22.9 Perhaps this is an indication of the horseplay to come. Because the first scene between Petruchio and Kate is so abbreviated, the physical action therein is concentrated, and the sparring seems more physical than intellectual; of the 88 lines in the text, 34 have been cut. The combat becomes heated when Kate threatens, best beware my sting (2.1.210) and bites Petruchios hand. When he moves to grab her bottom on the line Who knows not where a wasp does wear his sting?/ In his tail (2.1.213-14), she slaps his hand. After Petruchio proclaims himself a gentleman (2.1.217), Kate lustily exclaims, That Ill try and slaps his face, finally provoking him to anger. His response, after Kate declares, If you strike me you are no gentleman (2.1.220), is to slap her twice (not, however, as hard as she slapped him). He holds her wrists behind her back with one arm as he compliments her from 2.1.236-244, and Kate stamps on his foot at Thou art pleasant, gamesome (2.1.239). Then, just before he says, Nor hast thou pleasure to be cross in talk (2.1.243), P etruchio puts his hand over her mouth to prevent her from speaking, and she promptly bites it. Kate has escaped his grasp by 2.1.251, and she begins throwing bric-a-brac and potted plants at him; she then tries to beat him with the broken lute when he says, be thou Dian and let her be Kate (2.1.254), but she misses and falls over his lap in a spanking position. And Petruchio does just that on line 260. The Bard production too includes much horseplay but moves even further in the direction of farce. Throughout the performance, everyone on stage sighs when Bianca is mentioned, and the entire cast leans whenever anyone says Pisa. Additional instances of the Bards shtick are Lucentios unsuccessful attempt to quote a Shakespearean sonnet, Shall I compare thee to a. Shall I compare thee to a. just before 1.1.14; the playing out of the lute-smashing scene on screen; and Petruchios and Hortensios apparent fear of being struck by lightning after the former says, though she chide as loud/ As thunder when the clouds in autumn crack (1.2.94-5), and again after Hortensio says, Her name is Katherina Minola (1.2.98). Katherine and Petruchio dive into the violence enthusiastically if not immediately, and when they do, the text becomes subordinate to the action, despite the fact that all the lines in this encounter are intact. The first truly violent action comes at 2.1.217, when Kate punches her suitor in the jaw and knocks him to the ground. Petruchio jumps up, looking as though hes going to punch her back, but he controls the urge. Some of the most noteworthy bits of roughhousing occur from lines 236-65, during which Petruchio grabs Kate from behind (236), and Kate flips him over her back (237). At line 239, Petruchio grabs her from behind again, lifts her from the floor, then, as he says, slow in speech (240), he puts his hand over her mouth. Kate, of course, takes this opportunity to bite his hand (243), after which he lets her go. When Petruchio speaks of gentle conference (245), she jumps on his back and grabs his face. Later, at 2.1.255, Kate lunges at him and falls to the floor, giving Petruchio the opportunity to seize her ankle and bend her knee so she cant get up. After line 257, It is extempore from my mother wit, Petruchio bites her toe; she screams, shakes Petruchio off, pins him on the floor and bends his knee into the same awkward position, before she replies, A witty mother! Witless else her son (258). Finally, Petruchio twists around and pushes Katherine to the floor at Marry, so I mean, sweet Katherine, in your bed (2.1.260). He kneels between her legs, catches her wrists, and holds her down while he forcefully insists that they will be married.10Although most productions of Shrew cut the Induction (as four of these five films have done) the play within the play is still part of Shakespeares text and his intent, and this pointedly artificial structure can show the actors in the main plot as role players whose actions shift with their situations. Further, inside the play within the play are yet other productions which may be used to distract from any unpleasantness (real or imagined) in the main plot. Biancas suitorsLucentio and Hortensiodisguise themselves to woo her, and Lucentio, who pretends to be the emissary of Gremio, directs his own actorsTranio and a chance-met Pedantin a comedy designed to end with Lucentios wedding to Bianca. Meanwhile, Petruchio and his servants play out a drama which might be called Petruchio the Shrew. .u15ca406ac23594418c6bab59bcb5e72a , .u15ca406ac23594418c6bab59bcb5e72a .postImageUrl , .u15ca406ac23594418c6bab59bcb5e72a .centered-text-area { min-height: 80px; position: relative; } .u15ca406ac23594418c6bab59bcb5e72a , .u15ca406ac23594418c6bab59bcb5e72a:hover , .u15ca406ac23594418c6bab59bcb5e72a:visited , .u15ca406ac23594418c6bab59bcb5e72a:active { border:0!important; } .u15ca406ac23594418c6bab59bcb5e72a .clearfix:after { content: ""; display: table; clear: both; } .u15ca406ac23594418c6bab59bcb5e72a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u15ca406ac23594418c6bab59bcb5e72a:active , .u15ca406ac23594418c6bab59bcb5e72a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u15ca406ac23594418c6bab59bcb5e72a .centered-text-area { width: 100%; position: relative ; } .u15ca406ac23594418c6bab59bcb5e72a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u15ca406ac23594418c6bab59bcb5e72a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u15ca406ac23594418c6bab59bcb5e72a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u15ca406ac23594418c6bab59bcb5e72a:hover .ctaButton { background-color: #34495E!important; } .u15ca406ac23594418c6bab59bcb5e72a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u15ca406ac23594418c6bab59bcb5e72a .u15ca406ac23594418c6bab59bcb5e72a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u15ca406ac23594418c6bab59bcb5e72a:after { content: ""; display: block; clear: both; } READ: Sumerian Views On Death EssayIndeed, there is scarcely a scene which does not involve a deceptive performance for an on-stage audience. The Induction draws attention to the tricks of actors and to the acting that others do, And if the boy have not a womans gift/ To rain a shower of commanded tears,/ An onion will do well for such a shift (1.124-6). Preceded by those lines, Kates words to Bianca, A pretty peat! It is best/ Put finger in the eye, and she knew why (1.1.78-79), show Bianca as a boy actor who plays the role of a girl who pretends to cry. Kate accuses her sister of playing fathers pet, and much of Kates shrewish behavior may be attributed to her frustration with the success of Biancas role playing. Enter Petruchio to act many partsfortune hunter, wealthy suitor, swaggering master, true lover, shrew tamer, andin the pursuit of this lastshrew. In this shifting, indeed very opal of a context it is hard to take Petruchio seriously as an advocate of the right rule of the sixteenth century male and yet the Induction and its implications are Shakespeares. By including the Induction and emphasizing the play-within-a-play aspect of Shrew, the Stratford Festival has foregrounded the kind of performance which a stage production can do best. As H. R. Coursen declared, The productions outstanding quality was its theatricality (286). In fact, the Stratford film goes beyond the lines and stage directions included in most texts of the play to achieve that theatricality. The Shrew players bow, for example, in recognition of Christopher Sly and company and allow Sly to act out the part of Biondello. Later on in the play, Sly takes on directorial authority, demanding from his seat in the balcony that Vincentio not be taken to prison. In addition, Petruchio and Kate, on their way to the bed chamber, walk past and acknowledge their onstage audience, and Petruchios taming soliloquy of 4.1.182-205 is delivered on the balcony in their midst.11 The film concludes with lines from The Taming of A Shrew, in which Christopher Sly, waking to find that he is not a lord, decides that he must have dreamt the play and declares that he is going home to tame his own wife. The violence was minimized in this production, giving more attention to the combat of wits. This reduction did not, of course, please everyone. Ralph Berry complained, To see the Shrew assimilated into homiletic drama is hard for those of us who regard its vital essences as brutality and sexuality (200).12 It is, perhaps, significant that Berry links those two words and lists brutality first, but like so much Shakespeare criticism, it says more about the psychology of the critic than the reality of the play. Nevertheless, not all physical confrontation was eliminated. Petruchio says, In sooth, you scape not so and chases Kate when she tries to leave; he then grabs her from behind, lifts her off the floor, carries her to a chair, and places her on his lap. Kate bites him when he tells her she is passing courteous and thus escapes from his lap, but Petruchio recaptures her by reaching across the table and pulling her up onto it. There is indeed much fighting over and even kicking of tables. For this production, the end result of Petruchios behavior modification was not a broken or even subdued Kate but a Kate who has seen through the layers of role playing to reality. After Petruchio exits on what oclock I say it is and Hortensio says, this gallant will command the sun, Kate suddenly realizes what Petruchio is up to. Her enlightenment consists of a small oh, then a larger one followed by quiet laughter. If the Stratford Festival emphasized that part of Shrew which is best played on a stage, Zeffirellis retelling of Shakespeares story provided the maximum number of opportunities for a movie camera. Petruchios wooing of and confrontation with Katherine becomes a chase scene through Baptistas house and over the rooftop with opportunities for swinging on ropes, smashing wooden structures, and repeatedly falling into a large pile of wool. Kate in her turn becomes the pursuer after the wedding, tracking her new husband over rough country during a storm. As a result of this filmic revision, Zeffirellis Shrew avoided the direct violence usually included in 2.1 by turning the scene into a series of chases through Baptistas house. After he says Ill crave the day/ When I shall ask the banns and when be married (2.1.179-80), Petruchio rolls up his sleeves and enters a room to find Kate destroying a music stand. She throws a small lute at him when he says he has heard her mildness praised in every town (191), and she kicks Petruchios stool out from under him at line 198. But after she insists that she is Too light for such a swain as you to catch, she pretends Baptista has entered the room and says, Father, this man and, when Petruchio turns round to look for Baptista, she slips out of the room, initiating a chase through the household. This Petruchio is, initially, obsessed with money and not much else. When Hortensio says, in lines which exist in the screenplay but not in Shakespeares text, Now Petruchio, if I do plot thy match with Katherine, there is a favor I would ask of thee to help me woo her younger sister, Bianca, Petruchio responds, Ask it, and so it be not gold, tis granted. In addition, when he enters Baptistas home, he eagerly inspects a silver serving set which is on a table. Zeffirelli has shifted lines so that the first thing Petruchio says to his future father-in-law is, What dowry shall I have with her as wife? He repeats the question in its rightful place (2.1.119-20), and when Baptista tells him he shall have twenty thousand crowns, he utters an Ah! of pleasure, and smiles. Also, after he tells Kate, Will you, nill you, I will marry you, she says, Id rather die and jumps out a high window (onto a roof, we soon discover); he shows no concern for Katherine personally at this point, but mutters anx iously, My twenty thousand crowns, looking exceedingly relieved when he finds that he has not lost her dowry. While this production is less violent than one might expect from a director as concerned with physical action as Zeffirelli,13 Petruchios characterization is considerably darker than Shakespeares play indicates. After the marriage, Petruchio puts Kate on a mule, and he and Grumio gallop off toward his house without waiting for her. Kate chases after them in the rain and finds a shortcut over a mountain; when she gets to the other side, however, her mule is startled by Petruchios horse and throws her into a pond. Petruchio chortles and rides on without offering assistance, leaving her to survive the rain (which soon turns to snow) on her own. When Petruchio reaches his home, he celebrates by throwing gold to his servants. He looks disappointed and disgruntled when Kate walks through the door, as though he had hoped she was dead and the dowry his with no further trouble, and his complaints to his servants concerning the lack of preparation for his brides arrival seem a desperate attempt to cover his surprise and excuse his boorishness. But despite this unpromising (and unShakespearean beginning), by the end of the film, this Petruchio and Kate have realized the love which their first glimpses of each other suggested they might find. As Jack Jorgens says, Their struggle, really a mutual taming, is the old gamethey test each other, school each other (68). If this Petruchio is not a conscious improver of Kate, he does change her (as she changes him) for the better, a message of hope which the rainbows and syrupy music have been foreshadowing all along. Except for its omission of the Induction, the BBC Shrew is the truest to the text of the five films. It is also the one version which foregrounds the words rather than the comedic business of the play. Petruchios confiding of his strategy to the audience is given full weight both before his first encounter with Katherine and at his own home. Suddenly, the extended hawk-taming metaphor in 4.1 leaps out as, if not the center of the play, at least the central explanation for Petruchios behavior. In his soliloquy, he explains the theory of his taming, using an image that nearly everyone in Shakespeares audience would have understood and that few people in modern audiences do. The comparison with the art of falconry is especially significant, since the falconer undertakes only to redirect the hawks natural impulses; it is impossible to break such a birds spirit. As T. H. White writes in The Goshawk, Any cruelty, being immediately resented, was worse than useless (16). Petruchio speaks of a way to kill a wife with kindness (4.1.197), and his words to Katherine are almost always gentle. He praises her wit and beauty in phrases that must ring in her ears with a refreshing strangeness. .u2391371ced0e47f00ce2cb18b0ef039b , .u2391371ced0e47f00ce2cb18b0ef039b .postImageUrl , .u2391371ced0e47f00ce2cb18b0ef039b .centered-text-area { min-height: 80px; position: relative; } .u2391371ced0e47f00ce2cb18b0ef039b , .u2391371ced0e47f00ce2cb18b0ef039b:hover , .u2391371ced0e47f00ce2cb18b0ef039b:visited , .u2391371ced0e47f00ce2cb18b0ef039b:active { border:0!important; } .u2391371ced0e47f00ce2cb18b0ef039b .clearfix:after { content: ""; display: table; clear: both; } .u2391371ced0e47f00ce2cb18b0ef039b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u2391371ced0e47f00ce2cb18b0ef039b:active , .u2391371ced0e47f00ce2cb18b0ef039b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u2391371ced0e47f00ce2cb18b0ef039b .centered-text-area { width: 100%; position: relative ; } .u2391371ced0e47f00ce2cb18b0ef039b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u2391371ced0e47f00ce2cb18b0ef039b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u2391371ced0e47f00ce2cb18b0ef039b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u2391371ced0e47f00ce2cb18b0ef039b:hover .ctaButton { background-color: #34495E!important; } .u2391371ced0e47f00ce2cb18b0ef039b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u2391371ced0e47f00ce2cb18b0ef039b .u2391371ced0e47f00ce2cb18b0ef039b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u2391371ced0e47f00ce2cb18b0ef039b:after { content: ""; display: block; clear: both; } READ: Segregation and The Civil Rights Movement EssayThis is, of course, precisely the wrong way to break her. If that were his intention, he would be better advised to make her worthlessness clear to her, until in very weariness and despair she does as she is told. Instead, he treats her as a lady who deserves the best of everything, while acting himself as the very mirror of her shrewishness. In no other production is this as clear as in the BBC. John Cleeses clever glances out at the television audience make it plain that his own shrewishness is mere performance. Indeed the sole blow between Katherine and Petruchio comes at 2.1.217 when the plays stage directions indicate that Kate strikes him. The only other physical clashes between the two occur at 2.1.234 when Petruchio grabs her arm to restrain her from leaving the room; at 2.1.314 when he twists her arm behind her back and leads her out of the room; and at 2.1.317 when Kate pushes him away. They even manage to maintain a civilized (though sarcastic) tone of voice throughout most of the episode, communicating through the meaning rather than the volume of their words. The BBC is the only film where Petruchio does not carry Katherine off stage after the wedding scene, and the only film in which Petruchios pretense of rescuing Kate from the wedding guests is even mildly convincing. As in the Stratford, Ontario production, when the newlyweds arrive at Petruchios house, Petruchio behaves abominably toward his servants, but, when he speaks to Kate, he is all mildness and manners. For instance, after he scolds and kicks the servant who is removing his boots, saying, Take that, and mend the plucking of the other, he exclaims with the greatest gusto, Be merry, Kate (4.1.142-3). In addition, it is clear that this taming is just as rough on Petruchio as it is on Kate when he wearily reveals his strategy at the end of 4.1; also, he sounds discouraged when he tells Kate, Look what I speak or do or think to do,/ You are still crossing it (4.3.190-91). A particularly amusing instance of Petruchios imitation of Kates behavior (and his deliberate ignoring of her wishes) comes when she throws a tearful fit because Petruchio has rejected the new hat at 4.3.73-80. He responds by throwing the same sort of tantrum, whimpering, A custard-coffin, a bauble, a silken pie./ I love thee well in that thou likst it not (4.3.81-3). Kate sees through and decides to play along with Petruchios game at 4.5.12, agreeing that the sun is moon or sun or what you please and addressing Vincentio as a young budding virgin; it seems that she has learned marital cooperation and equality. However, Kates speech concerning womans place is not more playacting, but is delivered in earnest, recommending submission rather than equality, a message that is emphasized by the psalm which the dinner guests sing at the end of the play. It is unfortunate that Jonathan Miller has used subtext to subvert what is otherwise an excellent version of Shakespeares text. Having established an intellectual and physical equality between Kate and Petruchio from the opening scenes, he takes it away by sleight of hand at the conclusion.14 And surely the creator of those ludicrous Puritans Angelo, Jacques, and Malvolio deserves better than to have their creed substituted for his own. If it is not finally possible to point out or even imagine a definitive production of Shrew, it is possible to separate Shakespeares play from some of the misunderstandings and misapprehensions that have collected round it like cobwebs. The play does not demand brutality, nor is it a sixteenth century tract for the subjugation of women. As usual, Shakespeare is subtler than his interpreters and more modern than the historians and pseudo-historians who seek to place him in an imagined past with which they themselves are more comfortable. Shakespeares great strength is his understanding of human beings, and until actors, directors and critics can better that understanding, theyand wewould be better advised to learn from Shakespeare than to try to give him lessons in the form of revisions. NOTES1The term comes from Ira Levins 1972 novel, The Stepford Wives and the film of the same name that was made from it in 1975. In both, women are replaced by docile android replicas with limited vocabularies and insatiable desires to clean house. Return to text.2It is worth noting in this context that shrew was a title which initially belonged to men anyway, the word appearing first (the Oxford English Dictionary indicates) in 1250 and not being applied to women until 1386. Return to text.3However, Fletchers association with Shakespeares company and his later collaboration on Henry VIII and The Two Noble Kinsmen give credence to Ann Thompsons contention that by writing The Tamer Tamed, Fletcher was putting the play into its traditional context of the war of the sexes, a context in which normally a story about a husband outwitting his wife is capped by one in which a wife outwits her husband, the overall moral being that the best marriages are based on equality and mutual respe ct (18). Given Shakespeares pre-eminence as a playwright for the Kings Men, his financial share in the company, and the theatrical failure of Fletchers The Faithful Shepherdess (published in 1610), it is hard to imagine Fletchers sequel to Shrew as anything other than a compliment to its author and a continuation of his themes. Return to text.4See, for instance, chapter five of Susan Faludis Backlash, Fatal and Fetal Visions: The Backlash in the Movies (112-139). Return to text.5As Willcox and Arnstein write in The Age of Aristocracy, A society, past or present, can be described only in generalizations, which by their nature are unsatisfactory (47). Return to text.6If it is objected that these women wear male attire and thus take on male characteristics, one might point to the many women in Shakespeares plays who exhibit masculine traits without adopting male attire or becoming monsters: Cordelia leads an army in King Lear; Helena, though a right maid for her cowardice, chases her l over through the forest night in Midsummer; another Helena outwits and ultimately catches Bertram in marriage in Alls Well, in part because of her skill in the masculine profession of physician; Beatrice expresses a desire to eat Claudios heart in the market place in Much Ado; and Paulina is the only member of Leontes court courageous enough to call the King mad in The Winters Tale. Return to text.7Interestingly, Sherry Flett played Katherine in this Stratford Shrew and in the very different 1982 Stratford Festival production which we will examine later. Return to text.8In addition to the knockabout elements, the USF played down the Kate-Petruchio problem by treating the play as an opportunity for ensemble performance, giving the Bianca subplot and even Hortensios widow a prominence they seldom attain. Return to text.9All act, scene and line references are to the Signet Classic Shakespeare, Sylvan Barnet, editor. Return to text.10If this is to be taken as a comic threat of rape, it is more in the spirit of the twentieth century and, for example, the 1991 Kevin Costner Robin Hood: Prince of Thieves than of anything Shakespearean. Return to text.11Performance is emphasized in another way at Petruchios home in Act 4 where Petruchio demonstrates how foolish Kates shrewish behavior looks to others by playing it himself. He behaves like an outraged monster with his servants, as when he calls a servingman A whoreson, beetle-headed, flap-eared knave (4.1.151), but is the very epitome of courtesy when he addresses Kate. For instance, just after he curses the servingman, he calmly invites, Come, Kate, sit down; I know you have a stomach (4.1.152). Return to text.12Berry objected to the Stratford Festivals program notes which suggested Petruchio frees her from this role of shrew by enacting a calculated plan of behaviour modification' (200). Berry was taken to task by H. R. Coursen, who said, While I am no fan of a directors program notes, good actors overcome concepts. And this concept does have textual support. Petruchio is holding a mirror up to Kate (287). Return to text.13However, as Jack Jorgens points out, the physical has not been abandoned or even subordinated, Apart from sentimental romance, Zeffirellis major emphasis is upon farce. The film delights in harmless violence and festive destruction (71). Return to text.14Scott McMillan sees Millers production as more deadly, in fact, a straightforward piece of shrew bashing. Casting John Cleese as Petruchio was first greeted as a sign of zaniness, but the anti-feminist inheritance from Monty Python was here being turned to explicit purpose. Kates concluding speech about the simplicity of women is the most centered and valorized speech in all of Millers productions (80). Return to text.