The Shoe-horn Sonata John Misto’s purpose for writing the play “The Shoe-horn Sonata” was to bring recognition to the brave Army nurses who were imprisoned by the Japanese during World War Two. In Misto’s word: “I couldn’t build a memorial, so I wrote a play instead”. Imagery is important and prominent in the play, as it enhances Misto’s ability to create recognition. With the imagery, the audience can immerse themselves in Bridie and Sheila’s story, giving them a sense of empathy, as if they were in the camp with Bridie and Sheila. The two scenes that I have selected are Act 1, Scene 3, as it recounts the time when Bridie and Sheila met each other, and Act 2, Scene 13, as it highlights the moment Bridie and Sheila find real freedom.
In the two poems Poppies and The right word both use language to present strong feelings. In Poppies the poem is about a mother whose son is off to war and her memories of him as a child. The poet Jane Weir uses language to show her worry and sadness about her son who is leaving to go to war. This is first shown to us in the first stanza after talking about poppies being placed on war graves. “Before you left, I pinned one onto your lapel, crimped petals, spasms of paper red, disrupting a blockade of yellow bias binding around your blazer.” What the poet says is significant because she is remembering exactly what she did that day all those years ago in fine detail.
I spoke out loud, the only time: help me.”(Adah 305). When the army of ants take over the village of Kilanga, Adah is thoughtlessly left by her entire family to fend for herself. She finally realizes that she is the only one who can take care of herself, and she will never be able to completely trust anyone else again. This evolution of Adah's character is of utmost importance to her accomplishments when all is said and done. In the end, she is fully independent; she discovers that she does not need others for her to survive.
The Henry V Chorus asks those present to look beyond the limitations of the small Elizabethan stage and imagine it as grander than it actually is. In the Prologue to Act 1, the Chorus asks “…Can this cockpit hold / The vasty fields of France? Or may we cram / Within this wooden O the very casques / That did affright the air at Agincourt?” (I.Prologue.11-14). Shakespeare also uses the Chorus before each of the acts to continually remind the audience of a need for imaginative cooperation. For example, in the Act III Prologue, the Chrous requests that the audience gives their imagination free rein: “Play with your fancies and in them behold” (III.Prologue.7) and supplement the performance with their own imaginings: “And eke out our performance with your mind” (III.Prologue.35).
We “And if this should lighten the toll of me, then it is a great evil, for men have no cause to exist save in tolling other men”(74). This is what Similarity 5-0306 said to Equality-72521 when he discovered a technology of the past that was invented by one single man. This is outlawed in the world of Anthem, for there is no “I” but only a “we”. In Anthem, there is no opposition to the leaders of society because everyone followed the rules and saw no reason not to, they thought that if everyone was equal it will better society, and no one questioned authority. In Anthem everyone follows the rules.
Additional work includes lighting design for several productions of the American Ballet Theatre, and work for various opera companies including the New York City Opera. References 1. ^ Natasha Katz Playbill biography 2. ^ "She’s Lighting Stages from Oberlin to Broadway" oberlin.edu 3. ^ Internet Broadway Database: Natasha Katz Credits on Broadway ibdb.com 4.
In support of my paper analyzing the idea that traditions influence people’s choices I have chosen a secondary source related to traditions. Using the writing “The Lottery” (Jackson 416) as an example and a paper written by Prof. Nayef Ali Q. Al-Joulan comparing the allegory described in the “The Lottery” to that of Islamic traditions. Pof. Nayef Ali Q. Al-Joulan begins by describing the structure of the story. He notes that the words chosen by Jackson pulls her reader in even though her reader is being subjected to what turns out to be a women getting stoned to death.
Document 7 says, “For this is the thunderbolt they always keep ready at a moment’s notice to terrify anyone to whom they are not very favorably inclined.” Erasmus is saying that problems are started over these juxtaposing things. He believes that it would be “better to pass them over in silence.” Otherwise, society will just come at you because “this race of man is incredibly arrogant and touchy” (Doc 7). All humanists are biased but they know what and how things will happen. People in history are primary examples to trust the words of. People offer their advice and opinions every day, why not follow it?
They are allowed to think, while everyone else has “unworthy little minds” (Rand 22). Yet they are known as “the voice of all justice” and the “voice of all men” (Rand 22). The logic behind the Councils is completely skewed. Prometheus still brings his finding to them, his “power of the sky,” thinking that they would “join our hands to theirs” and “work together,” not knowing the very opposite would happen (Rand 67). After displaying his invention to the Scholars, he is bombarded with the accusations of a greedy and haughty leadership.
He stated that the Japanese were deceitful through false statements and led the United States to believe that there was hope for continued peace. Through the body of the speech was section of repetition where Roosevelt drilled at Japan. He was able to use this repetition as a means exploiting Japan as an empire of immorality. Near the conclusion of his speech he uses a metaphor to help assist the audience in the comprehension of his sentence. “There is no blinking at the fact that our people, our territory, and our interests are in grave danger.” The aspects of his speech gave many dynamics towards the purpose of his speech and gave the audience a sense of action to make things right.