Aristotle, Antigone and Billy Budd :: comparison compare contrast essays

Aristotle, Antigone and Billy Budd In Poetics, Aristotle explains tragedy as a kind of imitation of a certain magnitude, using direct action instead of narration to achieve its desired affect. It is of an extremely serious nature. Tragedy is also complete, with a structure that unifies all of its parts. It is meant to produce a catharsis of the audience, meant to produce the emotions of pity and fear and to purge them of these emotions and helping them better understand the ways of the gods and men. Tragedy is also in a language in both verse and song. Aristotle's definition is clearly applicable to both Herman Melville's Billy Budd and the famous Greek tragedy Antigone by Sophocles. Antigone is definitely a good example of a Greek tragedy. It contains all of the elements of Greek tragedy as defined by Aristotle. Billy Budd has also been interpreted by some critics as a Greek tragedy. This seems true in that it contains many of the requirements in a Greek tragedy. However, as we look closer, there are many factors that are not found in Billy Budd that are required in a Greek tragedy. There are flaws to the theory. Analysis of the Billy Budd has shown that enough of these flaws are evident to interpret Billy Budd as not a Greek tragedy. There are differences in the character, structure, theme, magnitude, tragic heroes, plot, as well as focus. However, it can be argued that these differences can also be similarities. It can be explained as a variant. Interpretation has been a key issue in these two works. The two works have been interpreted in many different ways. Each way could lead to a different comparison of these two works. Therefore, the reader m ust decide which interpretation is most "correct" and conclude whether the similarities are sufficient to call Billy Budd a Greek tragedy. Aristotle states that "For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse. Dramatic action, therefore, is not with a view to the representation of character: character comes in as subsidiary to the actions. Hence the incidents and the plot are the end of a tragedy; and the end is the chief thing of all.

International Marketing Concepts Essay

How does the â€Å"standardized versus localized† debate apply to advertising? Communication takes place only when the intended meaning transfers from the source to the receiver. This can be a problem when a standardized approach is used. The message is not able to get through to the receiver due to different reasons such as lack of knowledge of the audience. There are people who feel an advertisement can be used anywhere in the world due to the converging tastes and preferences. The â€Å"standardized verses local debate† is very important in analyzing when advertising internationally. A standardized approach may be misinterpreted and/or misunderstood by certain cultures when the message is not altered to their values and beliefs. On the other hand, an advertisement using a localized or adaptation approach is able to reach a particular audience by portraying a message that is understood and comprehended. A localized approach is only meant for a particular audience so i t may cost more and it is not able to be used anywhere else. 3.) What is the difference between an advertising appeal and creative execution? The audience appeal is the communications approach that relates to the motives of the target audience. For example, ads based on a rational appeal depend on logic and speak to the audience’s intellect. Rational appeals are based on consumers’ needs for information. In contrast, ads using an emotional appeal may tug at the heartstrings or tickle the funny bone of the intended audience and evoke a feeling response that will direct purchase behavior. Creative execution is the way an appeal or proposition is presented. There can be differences between what one says and how one says it. There are a variety of executions including straight sell, scientific evidence, demonstration, comparison, testimonial, slice of life, animation, fantasy, and dramatization. The responsibility for deciding on the appeal, the selling proposition, and the appropriate execution lies with creatives, a term that appli es to art directors and copywriters. 5.) When creating advertising for world markets, what are some of the issues that art directors and copywriters should take into account? Art directors are in charge of choosing graphics, pictures, type styles, and other visual elements that appear in an advertisement. They must make sure that visual executions are not inappropriately extended into markets. For example, when I was in Europe I saw commercials for beer brands where the actors/actresses  were drinking the beer. In the United States, it is against the law to show people actually drinking beer in the commercial. Copywriters are language specialists who develop the headlines, subheads, and body copy used in print advertising and the scripts containing the words that are delivered by the talents in broadcast ads. A copywriter needs to be able to think in the target language and understand the consumers in the target country. A copywriter has the responsibility of accurately putting a message into writing that the target market is able to comprehend and understand. Both the role of the art director and copywriter have important roles in order for an advertisement to be successful. 7.) How does public relations differ from advertising? Why is PR especially important for global companies? Public relations is the department or function responsible for evaluating public opinion about, and attitudes toward, the organization and its products or brands. Public relations personnel also are responsible for fostering goodwill, understanding, and acceptance among a company’s various constituents and publics. One of the tasks of PR is to generate favorable publicity. PR is also responsible for handling issues and complications that arise in the media around the world that involve their company/product/service. PR is not responsible for any advertising, rather using different outlets to handle public relations related activities. PR is vital for global companies as they serve many different roles. They are called upon to build consensus and understanding, create trust and harmony, articulate and influence public opinion, anticipate conflicts, and resolve disputes. There are many differences between PR practices around the world. 8.) What are some of the ways public relations practices vary in different parts of the world? Public relations are affected by cultural traditions, social and political contexts, and economic environments. There are different ways to communicate in developing countries versus communicating in the United States. In the United States, PR is increasingly viewed as a separate management function. However, in Europe PR professionals are viewed as part of the marketing department. China is a country that lacks strong public relations. They are not able to handle damaging media content and they are not able to publicly explain their views.

Storytelling Improv Games to Improve Actor Skills

Most theater games are improv-based. Theyre intended to give actors an opportunity to expand and stretch their skills in a low-risk, no-stress, collegial situation. At the end of a session, however, actors will have improved their ability to imagine themselves in new situations and respond appropriately. Some improvisational exercises focus on a performers ability to tell stories off-the-cuff. These activities are often stationary theater games, meaning the actors are not required to move about very much. With this in mind, a  storytelling improv game might not be as entertaining as other more physically dynamic games but is  still an excellent way to sharpen ones imagination. Here are a few easy-to-perform storytelling improv games, ideal for a class activity or a warm-up exercise at rehearsal: Story-Story Known by many other names, Story-Story is a circle game for all ages. Many ​grade school teachers use this as an in-class activity, but it can be just as fun for adult performers. The group of performers sits or stands in a circle. A moderator stands in the middle and provides a setting for the story. She then points to a person in the circle and he begins telling a story. After the first storyteller has described the beginning of the story, the moderator points to another person. The story continues on; the new person picks up from the last word and tries to continue the narrative. Every performer should get several turns to add to the story. Usually the moderator suggests when the story comes to a conclusion; however, more advanced performers will be able to conclude their story on their own. Stagecoach Somewhat similar to Story-Story, this game involves collaborative story-building. It is also a chair-swapping and memory game, all at the same time. Begin the game by sitting in a circle, with the moderator standing in the middle. Their task is to point at each sitting person and receive suggestions for items or people they would find on the Stagecoach—a gun, a sheriff, moonshine, and so on. The game then proceeds as the person in the middle starts telling their story, including as many of the suggestions as possible, while making the plot coherent. To indicate that you just made use of one of the suggestions, spin around three times. The main active piece of this game is that at any given point someone may and should shout Stagecoach. When that happens, everyone has to swap chairs and the person from the middle tries to find a spot too, leaving a new storyteller in the center. This improv game is over when all the initial suggestions have been used or when all the characters perspectives have been described. It is a very fun game. And of course, you can change the title according to your imagination—Airplane, Castle, Prison, Fairground, etc. Best/Worst In this improv activity, one person creates an instant monologue, telling a story about an experience (either based upon real-life or pure imagination). The person begins the story in a positive way, focusing on terrific events and circumstances. Then, someone rings a bell. Once the bell sounds, the storyteller continues the story, but now only negative things occur in the plot. Each time the bell rings, the storyteller shifts the narrative back and forth, from the best events to the worst ones. As the story progresses, the bell should ring more quickly. (Make that storyteller work for it!) Nouns From a Hat There are many improv games that involve slips of papers with random words, phrases, or quotes written on them. Usually, these phrases have been invented by audience members. Nouns From a Hat is one of these types of games. Audience members (or the moderators) write nouns on a slip of paper. Proper nouns are acceptable. In fact, the stranger the noun, the more entertaining this improv will be. Once all of the nouns have been collected into a hat (or some other container), a scene begins between two improv performers. About every 30 seconds or so, as they establish their storyline, the performers will reach a point in their dialogue when they are about to say an important noun. Thats when they reach into the hat and grab a noun. The word is then incorporated into the scene, and the results can be wonderfully silly. For example: BILL: I went to the unemployment office today. They offered me a job as a... (reads noun from the hat) penguin. SALLY: Well, that doesnt sound too promising. Does it pay well? BILL: Two buckets of sardines a week. SALLY: Maybe you could work for my uncle. He owns a... (reads nouns from the hat) footprint. BILL: How can you run a business with a footprint? SALLY: Its a Sasquatch footprint. Oh yeah, its been a tourist attraction for years. Nouns from a Hat can involve more actors, as long as there are enough slips of paper. Or, in the same manner as Best/Worst, it can be delivered as an improvisational monologue. Oh, What Happened? This is an improv storytelling game more suited for older participants. It helps students develop an awareness of the importance of multiple points of view. The game begins with the moderator telling and acting out a story from their own point of view, including multiple characters and open ends. The catch is that by the end of the story, the storyteller has to die and their turn is over. The next person picks another of the characters that were already mentioned and tells the story from their perspective, ending it again with that characters death. The game goes on until you run out of characters, your set time, or when everyone had their turn. Guided Visualization While this may seem like an unusual type of improv game, a guided visualization can stimulate students imagination and give way to some unexpected stories. Have your participants close their eyes and prompt them to imagine various things, people, trips, places, events. Dont specify anything, besides saying something like, You find yourself in a place that feels safe. Look around. What do you see? Is it inside or outside? Feel free to employ a variety of questions, asking about other senses, such as hearing, smell, and so on. Or, make your own set of prompts adapted to the group you are working with. After a few minutes of this visualization, set a timer for each person to share their story—30 to 60 seconds per person. Once the time is up, even if the speaker is in mid-sentence, the next person shares their story. You can also vary this activity but inviting the participants to work in teams and combine their stories, then share with the larger group.