Mary The Virgin Mother Religion Essay

Mary The Virgin Mother Religion Essay Mary was the virgin mother of our savior Jesus Christ. She was born in One night the angel Gabriel came to Mary while she was at her cousin Elizabeths house. The angel said to Mary Hail favored one! The Lord is with you. Mary was frightened at the appearance of the angel. The angel said Do not be scared, Mary, cause you have found favor with God. Mary, you will have a child given to you by the Holy Spirit, and you will name him Jesus. Mary did not understand because she had not had sexual relations with any man. Gabriel told Mary the child was given to you by the Holy Spirit, and therefore the child will be called Holy, the son of God. Also your cousin Elizabeth has conceived a baby in her late years, and this is her six month, for nothing is impossible with God. Mary said I am the handmaid of the Lord. Let it be done according to your word (The Silent Scream). When Mary was visited by the angel Gabriel, she was betrothed to a carpenter from Bethlehem named Joseph. In Jerusalem, if you were pregnant before you were married and the baby didnt belong to the person the woman was betrothed to, the women was stoned to death by the village. Joseph and Mary were married after Joseph was assured by an angel in a dream that she conceived a child by the Holy Spirit (Delaney pg.390). When Mary was pregnant with Jesus, Joseph and her traveled to Bethlehem where Joseph was from, to register in their census that was ordered by King Herod. Mary traveled on a donkey to Bethlehem. When Mary and Joseph finally reached Bethlehem there were no rooms at any of the inns. But a manager at one of the inns told Mary and Joseph they could stay in his manager. So Mary and Joseph stayed in the manager where she had Jesus. Word traveled around that there would be a messiah from the highest of the high, and that he would come and rule his people, and save them from sin. King Herod feared that Jesus would be a rival to his throne (Delaney pg. 390). After King Herod died, they returned and settled back in Nazareth (Delaney pg. 390). The only thing that is known about Mary in the years she lived in Nazareth is Jesus presentation in the temple and one incident on a trip back from Jerusalem when Jesus was lost. Mary and Joseph found him in a temple talking with the doctors there about God (Delaney pgs. 390+ 391). Mary was a key figure in Jesus first miracle at The Wedding Feast of Cana. Mary and Jesus were invited to a wedding, and they ran out of wine. So Mary told Jesus to help, and then she left the kitchen and told the servants, do whatever he tells you. Jesus ordered the servants to fill six big canvases full of water and he turned the water into wine. One could say that Mary encouraged Jesus to perform his first miracle. Mary was present at Jesus death, Resurrection, Ascension as well as the days before Pentecost (Delaney pg. 391). At the crucifixion of Jesus, when Jesus was hanged on the cross, Mary was given into the arms of John the Apostle (Delaney pg. 391). According to tradition Mary went to Ephesus, where she died, but another tradition states that she lived in Jerusalem until her death, which is believed to have occurred in 48 A.D. (Delaney pg. 391).The belief that Marys body was assumed into heaven is one of the oldest traditions in the church (Delaney 391). Assumption means risen into heaven. The Assumption of Mary is celebrated on August 15 (Holiday Year). Mary was the second person of the Holy Trinity, and was free from original sin from the moment of her birth (Delaney pg. 391). Appearances of Mary have been reported in the last century and a half, at Lourdes, Fatima, and La Salette (Delaney pg.391). Other feast days for Mary are The Annunciation of the Lord on March 25, the Visitation on May 31, the Presentation of the Lord on February 2, Our Lady of Sorrows on September 15, Our Lady of the Rosary on October 7, the Queenship of Mary on August 22, the Solemnity of Mary, Mother of God on January 1, and the Immaculate Heart of Mar y on Saturday following the second Sunday of Pentecost (Delaney pg.391). Mary had the choice to say no, and not have Jesus, it was all done by choice. Mary knew what would become of her if people found out that the baby inside her was not Josephs. She knew she would be stoned to death by the village. Mary might have feared that Joseph would have not believed her but, somewhere in her heart she probably wished he did. Mary also knew what would become of Jesus her only son. To live and raise Jesus and know he would die probably killed her inside, but she accepted the call because thats what God asked of her. You could only imagine what it would be like to lose your son and just sit there seeing him suffer in so much pain and you not being able to do anything about it. I admire Mary for everything she did. Mary was never thinking of herself she was always thinking of us and God. In my opinion Mary is one of the most brave and amazing woman I have ever heard of, and she does deserve the title Mother of God. When we pray the Hail Mary we are praying to Mary telling her to tell Jesus to help us and to pray for us. Mary wants and helps us get closer to Jesus. She wants us to follow the right path and she wants us to be with her and Jesus and the saints in heaven. Delaney, John J. Dictionary of saints. Garden City: Doubleday Company, Inc., 1980.Print. Difiore, Kathy. The Blessed Virgin and Her Examples of Faith in God. The Silent Scream. Several Sources Shelters. April 2007.Web.20 November 2010. Mary, Saint Mary, Virgin Mary.Saint Mary. N.p n.d Web. 13 November 2010. Hoilday Year. Holiday Year. Holiday Year. N.p. n.d. 9 December 2010.

Justice and Morality in Platos Republic Essay examples -- justice as

Introduction This essay discusses and clarifies a concept that is central to Plato's argument in the Republic — an argument in favour of the transcendent value of justice as a human good; that justice informs and guides moral conduct. Plato's argument implies that justice and morality are intimately interconnected, because the excellence and goodness of human life — the best way for a person to live — is intimately dependent upon and closely interwoven with those 'things that we find desirable in themselves and for their consequences [1]. Hence, we acknowledge that Plato Is moral thesis cannot be interpreted either as a deontological or as a consequentialist argument — or as an act centred or agent centred moral concept. Plato's thesis is informative, in philosophical terms, precisely because it enables us to find new and more fruitful ways of looking at those basic questions concerning justice and morality, and the manner in which they are interrelated [2]. In the Republic Plato endeavours to answer complex questions about justice by introducing a unique account of what justice actually is, and how morally sensitive people are educated and informed about the real nature of justice and morality [3]. Our understanding of justice is more profound if we insist that what really matters is not merely the observance of external demands — normative and conventional moral rules — but the character of the truly just person [4]. Justice and goodness, based upon judgement as the virtue of a decent life, are seen as congruent in the context of a well ordered society. Plato's fundamental claim, in the Republic, is that justice is so great a good that anyone who completely embraces it is thereby better off, even in the face of the... ...4-225 [19] Rep. VI 573d & ibid., p.221-222) [20] ibid., p.327 [21] Nagel, 1986, pp. 195-196 [22] Rep VII, 540a-b [23] Rep. V, 46le-462e [24] Rep. IV, 419a-421c & Rep. VIII, 519d-521b [25] Annas, 1981, pp. 321-334 & White, 1979, pp.43-54 -------------------------------------------------------------------------------- BIBLIOGRAPHY Annas, Julia An Introduction to Plato's Republic Oxford 1981; Chapter 3, pp. 59-71; Chapter 6 pp. 53-169; Chapter 13, pp. 331-334 Irwin, Terence Plato's Ethics Oxford 1995; Chapter 12, pp. 181-202 Kraut, Richard (Ed.) The Cambridge Companion to Plato Cambridge 1992; Chapter 10, pp. 311-337 Nagel, Thomas The View from Nowhere Oxford 1986; Chapter X, pp. 189-207 Waterfield, Robin (Tr.) Plato's Republic Oxford 1993 White, Nicholas A Companion to Plato's Republic Indianapolis 1979 Justice and Morality in Plato's Republic Essay examples -- justice as Introduction This essay discusses and clarifies a concept that is central to Plato's argument in the Republic — an argument in favour of the transcendent value of justice as a human good; that justice informs and guides moral conduct. Plato's argument implies that justice and morality are intimately interconnected, because the excellence and goodness of human life — the best way for a person to live — is intimately dependent upon and closely interwoven with those 'things that we find desirable in themselves and for their consequences [1]. Hence, we acknowledge that Plato Is moral thesis cannot be interpreted either as a deontological or as a consequentialist argument — or as an act centred or agent centred moral concept. Plato's thesis is informative, in philosophical terms, precisely because it enables us to find new and more fruitful ways of looking at those basic questions concerning justice and morality, and the manner in which they are interrelated [2]. In the Republic Plato endeavours to answer complex questions about justice by introducing a unique account of what justice actually is, and how morally sensitive people are educated and informed about the real nature of justice and morality [3]. Our understanding of justice is more profound if we insist that what really matters is not merely the observance of external demands — normative and conventional moral rules — but the character of the truly just person [4]. Justice and goodness, based upon judgement as the virtue of a decent life, are seen as congruent in the context of a well ordered society. Plato's fundamental claim, in the Republic, is that justice is so great a good that anyone who completely embraces it is thereby better off, even in the face of the... ...4-225 [19] Rep. VI 573d & ibid., p.221-222) [20] ibid., p.327 [21] Nagel, 1986, pp. 195-196 [22] Rep VII, 540a-b [23] Rep. V, 46le-462e [24] Rep. IV, 419a-421c & Rep. VIII, 519d-521b [25] Annas, 1981, pp. 321-334 & White, 1979, pp.43-54 -------------------------------------------------------------------------------- BIBLIOGRAPHY Annas, Julia An Introduction to Plato's Republic Oxford 1981; Chapter 3, pp. 59-71; Chapter 6 pp. 53-169; Chapter 13, pp. 331-334 Irwin, Terence Plato's Ethics Oxford 1995; Chapter 12, pp. 181-202 Kraut, Richard (Ed.) The Cambridge Companion to Plato Cambridge 1992; Chapter 10, pp. 311-337 Nagel, Thomas The View from Nowhere Oxford 1986; Chapter X, pp. 189-207 Waterfield, Robin (Tr.) Plato's Republic Oxford 1993 White, Nicholas A Companion to Plato's Republic Indianapolis 1979

Reality TV is a huge success to the television industry in the 1990s Essay

Reality TV is a huge success to the television industry in the 1990s. As a genre description, reality TV is widening its usage from ‘news magazine programmes based round emergency service activities’ to ‘talk shows, docusoaps’ and a variety of ‘first-person’ programmes (Creeber, 2001: 135). ‘Reality TV’ with extensive meaning becomes popular to describe ‘any factual programme based on an aesthetic style of apparent â€Å"zero-degree realism† – in other words a direct, unmediated account of events, often associated with the use of video and surveillance-imaging technologies’ (Creeber, 2001: 135). While Barnfield has criticized ‘the loose usage of the term, suggesting that over the last decade such a wide range of productions have been categorized as â€Å"Reality TV† that one wonders if the term is too general to be helpful'(Holmes and Jermyn, 2004: 3). It is true that ‘reality TV’ is not explicit enough in meaning. However, it is the best word applicable to all situations and never unilateral. It gives producers more space to innovate new programmes as to prosper this genre. Reality TV evolves with the development of new technologies. New sub-genres emerged as the hybrids of established genres. It challenges traditional documentary and changes the serious content to more entertainment elements. Every format is close to everyday life to convince the audience as ‘real’ programming. In the short history of only two decades, reality TV has evolved into various formats. I will focus on five main forms which have either had a remarkable effect on television history or unprecedented audience ratings with reference to relevant representative programmes of British television. Contested Generic Identification: Definition of Reality TV It seems difficult to issue a particular definition of ‘reality TV’ to attest to debates over it. As Su Holmes and Deborah Jermyn point out: Producing a particular definition of Reality TV is nevertheless complex. This is partly because of the fundamentally hybrid nature of the forms in question. Yet it is also because of the range of programming to which the term ‘Reality TV’ has been applied, as well as the extent to which this has shifted over time with the emergence of further permutations in ‘reality-based’ texts. (Holmes and Jermyn, 2004: 2) Jon Dovey characterised this genre by ‘reference to the dominant and original forms of Reality TV that feature police and emergency service work’ (Dovey, 2000: 80). In his opinion, as form and construction, reality TV should be: à ¯Ã‚ ¿Ã‚ ½ camcorder, surveillance or observational ‘actuality footage’; à ¯Ã‚ ¿Ã‚ ½ first-person participant or eye-witness testimony; à ¯Ã‚ ¿Ã‚ ½ reconstructions that rely upon narrative fiction styles; à ¯Ã‚ ¿Ã‚ ½ studio or to-camera links and commentary from ‘authoritative’ presenters; à ¯Ã‚ ¿Ã‚ ½ expert statements from emergency services personnel or psychologists. (Dovey, 2000: 80) These elements are helpful in interpreting the origins of reality programmes and in understanding its sub-genres and new development. Only by bearing these elements in mind can we make reference to relevant programmes when we trace back history to discuss the evolution of reality TV. Is it American Innovation? : Historical Precedent of Reality TV There is no consensus about the first reality programme. Jon Dovey thought that ‘Reality TV is generally historically located as beginning in the US with NBC’s Unsolved Mysteries in 1987’ (Dovey, 2000: 81). While Bradley D. Clissold considered that ‘during the years that it aired, Candid Camera (US, 1948- ), arguably the first ‘Reality TV’ programme, proved itself to be one of US TV’s most memorable, enduring and popular shows’ (Holmes and Jermyn, 2004: 33). There is a consensus that the earliest reality programme came out in America. In addition to these mentioned above, other commentators like Richard Kilborn, Chad Raphael and Gareth Palmer all agreed with this conclusion (Kilborn, 2003: 55; Palmer, 2003: 21). In the commercial environment in America, technologies like cable, satellite and digital prospered reality programmes in television market. However, reality TV as a television genre has evolved into ‘a very strong Eurpoean form with regional variations in each country’ (Dovey). In mid-1980s, when surveillance technology such as CCTV (closed-circuit television) became accessible, Britain produced its own reality programmes, which revealed real accidents, crimes and emergencies. By using CCTV footage, these reality programmes departed from traditional documentary and were quickly accepted by the curious audience because of their witness techniques. They were real shows without actors and noted for low-cost which was attractive to most programme-makers. Among these early reality programmes, Crimewatch (BBC, 1984- ) was most influential. Jon Dovey said it ‘has been seen as central to the development of the form, particularly in respect of debates around criminology and the media’ (Creeber, 2001: 135). Deborah Jermyn, who is experienced in studying television crime appeal, commented on Crimewatch: Promoting the growth of crime-appeal programming in Britain – with a format where serious unsolved crimes are reconstructed, police and victims’ families interviewed, images of suspects publicized and the public encouraged to phone in and volunteer information – by this time the series had comfortably established itself as Britain’s foremost crime-appeal programme. (Holmes and Jermyn, 2004: 71) The effectiveness of Crimewatch as a detergent to crimes has been under much debate. It entertained the audience, but it was weak as a warning to the criminals. As Jermyn commented: ‘indeed some criminals have claimed that the poor-quality CCTV footage they witnessed on Crimewatch actually gave them an incentive to commit crime’ (Holmes and Jermyn, 2004: 82). ‘The use of CCTV conspicuously enhances the programme’s claims to authenticity and underlines its sense of a privileged relationship with real crime and actuality, qualities which programme-makers evidently believe to be ratings winners’ (Holmes and Jermyn, 2004: 83). In this case it is exciting for the audience to see the ‘raw’ footage without caring much about its effect of crime appeal. These early reality programmes about crime appeal, accidents and emergencies formed a new documentary format, which was the precedent of a new genre-reality TV. Later popular factual entertainment programmes are based on these elements to innovate. Their effect is remarkable in a long term. ‘Fly-Off-the-Wall’: Video Diaries Known as Access TV The 1990s was a golden era for the prevalence of reality TV. Jon Dovey points out: ‘it seems that â€Å"ordinary people†, non-professional broadcasters, have never been more present on our screens’ (Dowmunt, 1993: 163). Camera is no longer simply ‘fly-on-the-wall’ to observe and record, but closes to the object to become active ‘fly-off-the-wall’. For a long time, access TV, as new reality television, has been in a great demand. According to Jon Dovey, ‘there are some fundamental principles that identify access programming; they centre around control and power over the programme-making process’, especially ‘the authors should have control over the whole process of representation’ (Dowmunt, 1993: 165). Camcorder and video technology opened up expansive space for access TV. ‘Non-professional broadcasters’ became a leading role in making these programmes. As Patricia Holland commented on this innovative style: The video diary style, in which programmes are made with domestic video equipment by members of the public rather than by television professionals, has introduced a new way of making programmes. Low-tech, with a less polished appearance, they seem to bring the audience even closer to the realities they show. (Holland, 1997: 158) Video Diaries, produced by the BBC Community Programme Unit from 1990-1999, was a representative of access TV. From these series of programmes, Jon Dovey noted: the Unit solicits and researches ideas from potential diarists with a compelling story to tell. Once chosen, the diarist is trained in the use of an S-VHS camera and packed off to shoot their story, with support from the Unit should it be needed. In this way the diarists are given not only editorial control but also control over the means of production. They return with anything up to 200 hours of material and attend all the edit sessions, from an initial assembly which is viewed and discussed at length to the offline and online edit processes. (Dowmunt, 1993: 167) The format of Video Diaries is a development of documentary. Gareth Palmer has explained that it ‘imported the authorizing and legitimizing discourse of documentary into the personal, and in doing so it imported also documentary’s ordering principle into individual lives’ (Palmer, 2003:168). It was popular to the audience and also gained acclaim from the critics because of its flexibility in recording reality. Nevertheless there were debates that the producers had already controlled the programme by selecting the diarists, and there were also problems of quality and legality. New Observational Documentary: Emergence of Docusoap Docusoap is one form of the new observational documentary and one sub-genre of reality TV. It is a hybrid of documentary and soap-opera. It improves from serious documentary to emphasize on entertainment, especially everyday lives. ‘Developed in the UK in the mid-1990s, the docusoap enjoyed unprecedented success for roughly a four-year period (1996-2000)’ (Kilborn, 2003: 87). Docusoap combines documentary and drama. There are elements of narration, interviews and background music, and similar sequences as soap-opera. Each episode has a certain title and focuses on character, personalities, plot or situation. Technological advances promote the development of new observational documentary. New technologies like lightweight cameras, ‘portable sound equipment’ and ‘non-linear editing system’ accelerate editing process with better quality and effect. Besides, financial benefits also attract producers to choose new technologies. ‘As Paul Hamann has commented, docusoaps already cost on average only a third of the price of the equivalent in light entertainment or sitcoms’ (Bruzzi, 2000: 77). The entertainment factor of docusoap makes it popular with audience. Driving School ‘peaked at 12.45 million’ viewers (Bruzzi, 2000: 86). It ‘focused on the trials and tribulations of people preparing for their driving test’ (Kilborn, 2003: 96). Compared to the core character of reality TV, docusoap is blamed to be less factual with aesthetic reconstruction. According to Bruzzi: The sequence most frequently cited is that in which Maureen Rees, on the eve of another attempt at her theory exam, wakes in the middle of the night and asks her husband Dave to test her on the Highway Code. The sequence is a reconstruction, and Jeremy Gibson (head of BBC Television Features, Bristol) and others have gone on record exonerating themselves from blame, commenting that, having gleaned that Maureen did get up at night ghrough panic, it was perfectly legitimate to recreate such a sequence without the film crew having to camp out in her bedroom for an entire night. (Bruzzi, 2000: 87) The producers’ intervention revealed obvious dramatic skills, which aimed at telling a complete story. In any case, under these circumstances one can never expect a totally natural performance from the character with the presence of camera. These factors make docusoap not so ‘real’, but the audience appreciate it for the entertainment value and these factors do not affect their enjoyment. However, by the end of 1990s, this new documentary format had gradually lost its popularity. Critics and executives of TV channels began to complain the similar content with in the same format between series. It was also blamed as a challenge of ‘serious’ documentary. Then new factual programmes emerged and replaced docusoap in TV schedules. Docusoap is remembered as a creative hybrid of documentary and fiction with high ratings in the history of reality TV. Serve the Public: Prevalence of Lifestyle Lifestyle is another sub-genre of reality TV, of which BBC has been one of the biggest providers (Gareth Palmer; Holmes and Jermyn, 2004: 173). It originated in the 1990s and is still popular today. It occupies a large part of TV schedule, shown usually in the daytime and prime time. There is ‘a series of choices in dà ¯Ã‚ ¿Ã‚ ½cor (House Invaders [Bazal for BBC1, 1999-2002], Changing Rooms [Bazal for BBC1, 1996- ]), clothes (What Not To Wear [BBC2, 1999- ]) and manner (Would Love To Meet [WLTM, BBC2, 2001-3])’ (Holmes and Jermyn, 2004: 174). People now have strong sense that they are citizens and consumers. They are eager to improve their lives. Many are glad to show their private life in front of camera. For habitus, Gareth Palmer commented: ‘Britain is a nation of homeowners clutching close the belief that the home represents a sort of castle. Hence, it makes sense to produce programmes aimed at the house-proud’ (Holmes and Jermyn, 2004: 179). For fashion, according to Palmer, ‘in looking at fashion programming we come closer to seeing how the individual should ideally be styled according to the new class of experts’ (Holmes and Jermyn, 2004: 181). There is a debate as to whether fashion shows need be bitchy. Palmer has an interesting opinion: ‘fashion without bitchery, like academia without snobbery, is inconceivable’ (Holmes and Jermyn, 2004: 184). Bitchery makes fashion programming as amusement. It does happen frequently in our life, which is a factual element of lifestyle. Lifestyle programming is an innovation that television is not only observing people’s life, but also changing people’s way of life. It ‘serves the audience’ by giving instructions, which is the nature of European television, compared to ‘marketing the audience’ of American commercial television (Ang, 1991). Lifestyle is a good illustration how culture affects social life. New Interactive Reality Show: World Success of Big Brother Endemol’s ‘jewel in the crown’, Big Brother was thirty months in development and was the brainchild of co-principal, John de Mol. First broadcast on Veronica in 1999 and an immense ratings success, the programme has been adapted in over eighteen territories in Western Europe, the UK, the US and elsewhere. (Albert Moran, the Global Television Format Trade; Hilmes, 2003: 120) Big Brother, a new reality programme is based on established genres such as game show, quiz show, documentary and soap opera. It is a social experiment, in which we witness the reaction of the participants to their new environment and changing circumstances are often beyond their control. With the feature of game show, Big Brother sets its game rules as: The programme involved ten housemates interned together over a ten-week period in a specially designed hermetically sealed environment. The housemates were supplied with food and drink and had access to all amenities, but were isolated from all contact with the media and the outside world; there were no television sets, radios, newspapers. Every week each housemate had to nominate for eviction two fellow-contestants; the two with the highest number of nominations would then be subject to public voting. It was the role of the public to select, by telephone vote, which of the two was to survive. By the final week there would be only two housemates remaining the winner was decided by the public, and took away a cheque for à ¯Ã‚ ¿Ã‚ ½70,000. (Palmer, 2003: 182) From the above description, it is obvious that this programme innovatively uses interactive voting. The audiences have opportunities to join the programme and play a crucial role in deciding the result. In early 1990s, Mike Wayne criticized programmes at that time: ‘broadcasters and programme makers have paid relatively little attention to the way in which people watch television. They have been concerned with how many people see a programme, rather than the way audiences interact with the images on the screen: what they absorb, what they challenge and what they discard’ (Hood, 1994: 43). It seems that Big Brother answers all these criticisms. Compared to the audience, the participants are powerless to control the programme. They are observed at all times and their lives are exposed to the public. ‘We’ve been looking at the housemates through the eyes of thirty-one unforgiving cameras – we have seen them at their best and also at their worst’ (Ritchie, 2001: 279). What they need is just to relax and enjoy their time. ‘For all of them, without exception, it has been an amazing experience. They have learned a great deal about themselves, and the rest of us have learned not just lots about them, but also about human nature in general’ (Ritchie, 2001: 279). However, all the participants are under much pressure exposing their lives to millions of audience. There is probably some negative effect on the psychology of most participants. Gareth Palmer calls the programme ‘a psychological experiment’. Programme experience is not always as wonderful as Ritchie’s comment in the above paragraph. In Sweden there was a suicide of a participant on a similar programme (Palmer, 2003: 185). So in Big Brother ‘a team of mental health professionals will oversee both the selection process and the psychological well being of the participants while they are in the house’ (Palmer, 2003: 185). Big Brother creates a small society for the housemates away from the outside world. There are conflicts and also friendship. The participants are competitors and also partners. As the audience watch the trivia of their daily routine, the voiceover commentary helps them understand the situations. Big Brother, a hybrid of different forms with popular interactive elements, is a new format of reality TV. It is leading a new trend of reality programming. Many independent television production companies are professional and experienced in making these new reality shows. Channel 4 and ITV, such non-mainstream commercial channels have shown many this kind of reality programmes. The audience are looking forward to more innovation of reality TV. BIBLIOGRAPHY Allen, R. C. and Hill, A. (2004) the Television Studies Reader, London: Routledge Ang, I. (1991) Desperately Seeking the Audience, London: Roughtledge Bruzzi, S. (2000) New Documentary: A Critical Introduction, London: Routledge Creeber, G., Miller, T. and Tulloch, J. (2001) the Television Genre Book, London: British Film Institute Dovey, J. (2000) Freakshow: First Person Media and Factual Television, London: Pluto Press Dowmunt, T. (1993) Channels of Resistance: Global Television and Local Empowerment, London: British Film Institute Gunter, B. and Svennevig, M. (1987) Behind and in Front of the Screen: Television’s Involvement with Family Life, London: John Libbey Hilmes, M. (2003) the Television History Book, London: British Film Institute Holland, P. (1997) the Television Handbook, London: Routledge Holmes, S. and Jermyn, D. (2004) Understanding Reality Television, London: Routledge Hood, S. (1994) Behind the Screens: the Structure of British Television in the Nineties, London: Lawrence & Wishart Limited Kilborn, R. (2003) Staging the Real: Factual TV Programming in the Age of Big Brother, Manchester: Manchester University Press Ishikawa, S. (1996) Quality Assessment of Television, Luton: John Libbey Media Livingstone, S. and Lunt, P. (1994) Talk on Television: Audience Participation and Public Debate, London: Routledge Macdonald, K. and Cousins, M (1996) Imagining Reality: the Faber Book of Documentary, London: Faber and Faber Limited Palmer, G. (2003) Discipline and Liberty: Television and Governance, Manchester: Manchester University Press Ritchie, J. (2001) Big Brother 2: the Official Unseen Story, London: Channel 4 Books Swallow, N. (1966) Factual Television, London: Focal Press Limited Winston, B. (1995) Claiming the Real: the Documentary Film Revisited, London: British Film Institute

Pride And Revenge In The Cask Of Amontillado - Free Essay Example

Sample details Pages: 2 Words: 518 Downloads: 6 Date added: 2019/05/23 Category Literature Essay Level High school Tags: The Cask of Amontillado Essay Did you like this example? The The Cask of Amontillado is a Gothic fiction by Edgar Allan Poe who develops the theme of pride and revenge to show the motive for Montresor actions and to foreshadow what is to happen in the story. The Cask of Amontillado is told in past tense about a chilling murder Montresor committed 50 years ago. The narrator says the reason for his cruel intentions, was because Fortunato had wronged him for some unknown reason. All we know is that Montresor wants revenge, and he thinks his actions are right and just. As you continue reading, you see that the narrator has gruesome detail on he plans to kill Montresor and how revenge and obsession can dominate a personrs thoughts. Don’t waste time! Our writers will create an original "Pride And Revenge In The Cask Of Amontillado" essay for you Create order Poes dark style is one of his key trademarks in his writings. The Cask of Amontillado is no different. In the story we see how Montresor obsessions continues thru out the story. Montresor family quote Nemo me impune lacessit translates to No one insults me without impunity This quote is a leading factor to making Montresor obsessed with killing Fortunato who offended him for some reason we are never told. The story begins with . The supreme madness of the carnival season. This quote implies that there is going to madness, irrationals choices are going to be made during that day. Then as the story, the characters get to damp catacombs. The catacombs imply that death will be happening and gives us an image of a resting place for a murder. Montresorrs obsession with killing is also seen within the dialogue of the characters. I shall not die of a cough says Fortunato as he walks down to the catacombs. Revenge has also been seen with the irony in the story. Poe uses dramatic and very irony as a way to add darkness to The Cask of Amontillado. An example of dramatic irony is when Fortunato is dressed as a jester and intoxicated when Montresor approaches him at the carnival. We see Montresor be almost exited by Fortunato drunk state. Part of the irony is that Fortunato name means Good Fortune. As we learn thru the story, we know Montresor is planning revenge on Fortunato. The irony being that Fortunato will not have good fortune in the story. This irony become apparent after you read the story, because Fortunato fortune is anything but good. An example of verbal irony is how Fortunato uses the word Ignoramus to tell of a person. Ignoramus means a stupid and ignorant person. Fortunato is the ignoramus one thou, because he is so ignorant to everything happening around him. Fortunato had many chances to escape death, but never takes the chance. He is to intoxicate to understand the situation. Another example of verbal irony is when Montresor and Fortunato are walking down to the catacombs and Fortunato starts to cough. Montresor keeps asking Fortunato if he would like to turn around. Fortunato replies I shall not die of a cough (Poe 63). The irony is that Fortunato wont die of a cough. He is walking to his death in the catacombs, were Montresor will kill him.