Rhetoric of Resignation

In Rolfe's last body of work, he moves from a purely political perspective to that looks at everyday life. Also in this section, Rolfe shows less optimism than in his ideological poems praising communism. While Rolfe still has hope, he now takes a critical look at the world around him.

In the poem "Now the Fog" Edwin Rolfe uses several images of darkness to show a new perspective on life. He starts the poem out by commenting "imagination's eyes go blind" (Rolfe 2). Rolfe now questions the use of his art. He now sees that art alone, by expressing social ideas, can not save humanity. Nothing is inevitable. He clearly sees now that is possible for the forces of evil to triumph. Moreover, people themselves are susceptible to giving up the fight for freedom. As Rolfe comments "the habit of slavery, long discarded,/ becomes our normal comfortable suit" (9-8). People easily give up their freedoms for creature comforts. He comments that the path to freedom is made through resistance. By using the words "long discarded" Rolfe shows that freedom is a choice. We can ever fight for it or accept or lot in life. Again freedom is not the inevitable course of society, even for Americans. Therefore, Rolfe urges people to fight their oppression in his own life. While not making a clear political argument, the elements of Rolfe's early communism can be seen here. For example, as in the poem "Nightmare in Georgia" Rolfe tries to fight the oppression faced by African Americans. Communism with Rolfe should not be considered from the historical implications of such figures as Stalin but from the social philosophy. In both instances, Rolfe is indeed fighting for a "communal" aspect in society but only in the case of humanity itself.

Rhetoric of Revolution/ Spanish Civil War Poems

Inspired by his deep belief in communist ideology, Edwin Rolfe saw war as having a particular purpose. Certainly, Rolfe does not glorify war. He describes it in particularly gruesome and realistic terms. Yet, in spite of the horrors of war, he comments on the necessity of the "purging" sacrifice of war.

The poem "Epitaph" clearly displays Rolfe's beliefs of war. Rolfe first begins the poem by talking about the horrible conditions of war. He describes hos his friend is "pinned by a sniper "and everything/in a simple moment's/ quick explosion of pain [is] over" (Rolfe 7-10). Rolfe's comrade is shot down without mercy. The sniper does not hesitate to quickly end the life of his enemy. As such, the slain soldier is seen as just another target, a subhuman. However, the death of this soldier has purpose. Rolfe creates a simile comparing the death of the soldier with growing, pastoral imagery ( 15-20). Here Rolfe juxtaposes the brutality of war, with the soldier's death, to tranquil nature. In this metaphor, Rolfe states that the blood of the fallen soldier nurtures the land. Therefore, the merciless death of the soldier serves a critical purpose. The soldier's death serves as "nutrients" for the survival of Spain. Because he fights fascism during his life, he ensures that Spain will continue to be free after his death. According to Rolfe, struggling for posterity through war is the ultimate sacrifice.

Religious Imagery in Edwin Rolfe?

In the first period of Edwin Rolfe's work, he presents an unwavering belief in communism. To Rolfe, this is his faith, not Christianity. However, in many of Rolfe's poems, he directly uses religious imagery to set up his belief in the "redeeming" powers of communism. Thus, Rolfe presents a hybridization of American culture. On one level he is a leftist intellectual. On the other hand, his use of religious imagery echoes much of the foundations of America, and therefore a more mainstream America. These two disparate elements combined ultimately display the true "melting pot" of America's nature.

Rolfe sets up communism in a religious light, in order to more easily convince people of its' merits. For example, in "Winds of Another Sphere" Rolfe suggests that the coming of communism to the West will ultimately free man, as a sort of "second coming." He suggests that "winds/ blowing from the east" will soon create this freedom (Rolfe 1-2). This clearly evokes the Biblical imagery of the coming justice of the Lord on the four winds. Yet, the winds from the east is actually the triumph of the Soviet Union. As America harbored anticommunist sentiment at this time, Rolfe attempts to soften American resistance in a roundabout way. He does not make a clear propagandistic approach to his rhetoric. In "Testament to a Flowering Race," Rolfe crafts his use of religious imagery more craftily. From the very mention of the title, Rolfe seeks to praise the virtues of man. In the opening line he states "we are wise in ways which none has preordained" (1). Predestination is a major point of contention between various sects of the Christian denomination. By using this line of thought, he pits Catholicism against Protestantism. Rolfe thus appears as a Catholic humanist who believes in man's responsibility because he is not fated. By pointing these two camps against one another, Rolfe avoids the point of accusation against himself as a communist. He asks his reader to think, and he subtly is able to convince the reader of the merits of communism.

Rolfe certainly believes in communism as an almost religion. However, presenting communism in religious imagery also has implications for his rhetoric. This perspective allows him to negate the atheistic connotations of communism. He is thus able to win adherents over to his side through his rhetoric.

Bonus: Eat, Drink, Man Woman

Ang Lee's film "Eat, Drink, Man, Woman" creates an interesting look at the modern Chinese family. Each one of Chu's daughters ultimately try to escape their father's overbearing influence. However, the daughter's actions to remove themselves from their father show a complex family where they truly do care for one another.

Chef Chu's life centers around his elaborate meals, while his daughters detest such family functions. Every Sunday Chu labors to create a lavish meal for his family, to their nuisance as his sense of taste has gone bad in his old age. The youngest of the daughters Jian Niang tries to live outside the family through her boyfriend. Jian Niang however toys with her "boyfriend" by attempting to feign disinterest in him. This escape, however, becomes complicated as the friendly behavior of her friend ultimately woos the boy. Yet, this ultimately leads in the surprising revelation that Jian Niang has become pregnant and will be leaving the house. The middle child Jia-Chen is a successful worker for an airline company. She escapes her father through her commitment to her work. She is so committed that she ultimately is offered the job of vice president of the company in Holland. Jia-Chen is thus forced to walk the narrow road of leaving her father alone with only Jia-Jen, the oldest daughter, to care for him or to leave completely. An altercation between the two ultimately demonstrates the close bonds each have toward family. Jia Jen also attempts to escape through her commitment to religion and the potential for love in the high school volleyball coach. Jia Jen is a well educated chemistry teacher, albeit shy and often socially awkward. She looks to Christianity, a dumb religion by the standards of her father, to gain acceptance in her world. On the other hand, she attempts to follow the traditional Chinese role of "being married off" through the volley ball coach. However, the children she teaches continually make fun of her, making her dependant on the family. While each daughter attempts to live a life without their father, each of them ultimately realizes the solace found in family. Even though family is not always perfect, as represented by Chu's decision to marry Madame Liang.

Bonus: Robison Film Center, "La Nana"

Sebastian Silvan’s film the maid creates an interesting and comical look at the Chilean family. Raquel is a middle aged maid, who is worn out from her work. Through Raquel’s interactions with other members of the family, Silvan is able to create a thorough look at social norms in the Hispanic world. Ultimately, Silvan’s film portrays a moving portrait of what it means to be a family in any society.


In the film, Raquel is presented as continually annoyed and frustrated from her work. The opening scene shows Raquel eating dinner late in the evening with a scowl on her face. Eating dinner late in the evening is very common in Spanish speaking countries. In the background, the audience hears a large family happily chatting. Raquel’s dinner is soon interrupted as Mando, the father, rings a bell to summon her. This demonstrates both Raquel’s low position in the family and the father’s role as the “macho” head of household. The masculinity of men and the lower status of women are both typical traits of Hispanic societies. When the children give Raquel gifts for her birthday, she becomes angry, as she will only have to clean up the family’s mess. Raquel’s angry response is a hilarious moment for the audience. Raquel’s frustrated response is also demonstrated through taking several pills, intentionally annoying the children, and her constant sighing. In an attempt to relieve Raquel, the family eventually hires three separate maids.


Each maid eventually quits because she can not handle Raquel’s tactics or because they can not handle the job. The three maids’ distinctive personalities are chosen in order to see if they can handle Raquel’s tactics. Mercedes represents the young, beautiful maid. The second maid Sonia is a much grouchier and older maid. While the family at last attempts to find a permanent helper through Lucy, the bookish and polite maid. Raquel locks all three maids at and all but Lucy resort to desperation to get back inside. Lucy instead sunbathes nude in the backyard. Some of the most hilarious moments of the film occur as Raquel sanitizes the areas the other maids have touched. Raquel disinfects the shower immediately after Mercedes gets out. Any time Sonia finishes a glass of water, Raquel immediately put it into the dishwasher. The first two maids break under Raquel’s pressure. On the other hand, Lucy stands up to Raquel’s pressure and eventually befriends her, but becomes homesick. In the end, Raquel is the only one that can handle being a maid to the Pilar family.


The family eventually realizes that Raquel is a true part of the family. Lucas, one of the sons, endearingly calls her Raque, near the end of the film. After Lucy leaves, Mrs. Pilar stops listening to the advice of her mother that maids are essentially “disposable.” Mrs. Pilar’s mother echoes the hierarchical structure of many Hispanic societies created by colonialism. However, Mrs. Pilar rejects these norms, and instead chooses to view Raquel as an equal. Raquel thus becomes a true member of the family. Bickering and fighting between Raquel and everyone still continues. Yet this is a natural part of any family. This is illustrated with the sibling fighting between both the boys and the girls. At the end of the film, Raquel runs around the block to relieve stress. Her calm face, compared to her exasperated face near the beginning of the film, is a testimony to her new found happiness at being accepted as an equal.

Symbolism in The Secret History

Donna Tartt effectively uses symbolism in her novel the Secret History to enhance themes, plot, and build character development. The most reoccurring uses of symbolism are related to darkness and light or good and evil.

In the beginning of the novel, the author adeptly reverses traditional uses of symbolism in regards to nature. The prologue reveals to the reader that a student by the name of Bunny has been murdered. The narrator tells the reader that the murder took place in April. Likewise, the snow that is melting over Bunny's body is thawing with the weather. In fact, Henry replies that he is "looking for new ferns," when asked by Bunny what he is doing (Tartt 4). Normally, spring is associated with growth and birth in literature. However, in this passage, Tartt creates a death in the coming spring. She further complicates her symbolism by the use of melting snow. Traditionally, snow, also a symbol of winter, is associated with death. The melting snow represents a thawing and "dissolving" of the processes of winter. Tartt uses this reverse symbolism to possibly suggest a new "birth" for these culprits. Their heinous action, performed in the dismal April night, suggests that they are awakened to carry the burden of their actions throughout life.

Symbolism in regards to light creates a more dynamic picture of the character's personality. For example, Francis's movement is said to move "like a black bird, his coat flapping dark and crow like in the wind" (Tartt 33). This quote suggests a darker notion to Francis' apparent behavior. However, such "coloring" can also indicate the preferences of the narrator. Camilla is described as having "particularly angelic" hair and other light images (Tartt 62). While Camilla shows no clear efforts of altruism, these passages indicate the narrator's love for Camilla. The other main point of symbolism used in the book is toward older professors. Several professors, especially Dr. Roland, are described as being "mechanical" (Tartt 41). This description of the old, boring sedentary life contrasts with Dr. Marrow's appeal for them to live throughout their emotions. This mechanical description also sets up the broader context for what does it mean to be young compared to maturity in the novel.

Stanley Plumly Convocation "Constable's Clouds for Keats"

Stanley Plumly's poem "Constable's Clouds for Keats"evokes the spirit of the Romantic imagination and longing for nature. In the poem, Plumly speaks about John Constable, the Romantic painter, meeting John Keats. By doing so, he creates questions of one's influence after their death.

The Romantic imagination is evoked throughout the entire poem. The poem speaks of John Constable never having met Keats. The poet is already dead "[lying] in the artist's paradise." While on the other hand, Constable is still alive in Hampstead, living out a dreary existence. For the clouds Constable paints are becoming "darker, more abstract." Constable is still living through the pain in life, while Keats is dead in the grave. However, "dead Keats is amorphous, a shapelessness/re-forming in the ground." This is to say that Keats's influence on the Earth is changing after he is gone. By others remembering him, such as Constable indirectly by upholding the Romantic standard, he is being reinvented. Yet the poem also evokes the hardship faced by Keats in his life. For example, the poem states "[Keats is] there...writing odes...wondering what our feelings are without us." Keats also suffered in life and was able to come to terms with pain through the Romantic imagination. Constable and Keats are thus linked in this regard. Ultimately, the power of art and nature unites us by this relationship these two artists have that never met. In the poem, the clouds stand as an objective correlative for Keats. This is when an object stands in for something else as an almost symbol. Constable's clouds are amorphous and always changing. The influence of Keats is also changing and not steady. Constable's clouds are indicative of Constable's feelings for art and also Keats himself. Thus, the poem asks the question of what is art and what is its function. On one level, it becomes a way to deal with the harsh world around us. But also, Keats and the clouds are symbolic of art's power to unite us, by the similar patterns of two artistic individuals who never met in real life.

Art as Formal Beauty and as Concept

Cynthia Freeland, in her book Art Theory, explores many theories of art. One of the theories she discuses is pervasive for much of art history. This is the theory of formal beauty. As proposed by Clive Bell, this theory states that art is defined by "forms" or a composition structured by the artist exhibiting a shape and structure. However, in the modern age of art, many artists have rejected the notion of a form. They rely on more abstract productions of art, which cause the audience to think about the concept of art. As different as these theories of art are they can still be recognized.

The concept of formal beauty, in most instances, was not an attempt to create an exact representation; thus, it can be reconciled with the ideas at the forefront of modern art. Artists from the Renaissance and onwards created highly representative forms of art. They began to border on the realistic with such techniques as shadowing and perspective. In one aspect, they did actively seek to construct the world around them. However, they did not often portray the simple reality as in a photograph. For example, the Spanish court painter Velazquez was commissioned to paint portraits of the king, which were aimed at enhancing the prestige of the Spanish court. As such, even in this realistic framework, the idea was the central component behind the painting. So, then the idea proceeded the form. The form existed to enhance the meaning behind the painting. This was not only exemplified through political paintings but also even in religious painting. The forms of Madonnas and Christ, for example, sought to create a veneration of the religions. Again idea before form.

With the advent of modern art, ideas became more apparent and at the forefront. The meaning was no longer hidden behind the form. The form and concept became intertwined as the form lost concept. While many argue that modern art does not contain form, this is not the case. For example, the paintings of Jackson Pollock represent a form of movement, a moment. The form can thus not be pinned down. As such, the form mixes with the idea. Therefore, because people do not see the form that necessitates the concept, they see it as not art. Yet, the form is readily apparent and is shaped even more through the concept. Therefore, modern art can be seen as just another facet of the age old traditions of classical art.

Bonus "Bright Star"

The film "Bright Star" portrays the relationship of Romantic poet John Keats with Fanny Brawne. The movie uses the relationship of the two to set up the broader context of Romanticism. Through this romance and many other aspects, the film seeks to portray the Romanticism of Keats.

The relationship of Keats and Fanny demonstrates power of love, through both Keats's and Fanny's musings through love. When the move begins, Fanny is not very impressed with Keats. She ultimately looks down with disdain at him, going so far as to buy his book Endymion to see if he is an idiot. Keats likewise responds to Fanny's lack of fascination by attacking her sense of fashion. To Fanny, this is unthinkable. Fanny's knitting is equivalent to Keats's craft of poetry. In spite of this, Fanny falls in love with Keats due to the authentic emotion, which he displays. Fanny is intrigued when Keats's takes care of his terminally ill brother with tuberculosis. Likewise, she also discovers that Keats is not pompous, as is his always formal colleague Mr. Brown. This is best exemplified in the scene where Keats plays ball with Fanny's sisters. He laughs and enjoys himself in this revelry. While on the other hand, Brown stands in the middle, ultimately getting knocked in the head. This represents a clear wake up to the utter goodness of John Keats for Franny. It also, demonstrates Keats' Romanticism and affinity for emotion. He almost exudes a childlike wonder in everything he does. While at Christmas dinner at the Brawne's house, Keats leads the whole family in child like games, such as vigorously stirring their tea. This is stark contrast to stark English manners. These changes ultimately cause Fanny to fall in love with the charming Keats. By falling in love with him, she loses her prudish nature. The change is clearly evident. She is now more apt to playing with her younger sisters. In her infatution with Keats, her personality is changed. Each one loves the other greatly. In a scene that could be taken from the emotion of a Keats poem, Keats slowly rubs her hand, while her chest begins to move. Clearly, Fanny's heart is beating with excitement and longing. The true and sensuous emotion is ultimately indicative of the poetry Keats sought to write while he was living.

The film demonstrates the power of love, and thereby the importance of Romanticism. Love is able to change the Fanny from being prudish to being lighthearted. As exemplified by Keats' longing for life, the movie also demonstrates the importance of emotion in our world today. If John Keats were to see the film today, he would be pleased. For after all, his work drew almost exclusively on our need for honest feeling. As the film concludes, love and emotions are some of the most important things about us.

Cynthia Freeland's "Why Some Art Should Be Censored" Lecture

Cynthia Freeland presented a convincing argument in her lecture for why some art should be censored. For an art scholar, this seems to be an interesting position to set up. However, Freeland sets up her argument by showing the ways that we already censor art. She demonstrates that art is not banning or blowing up art, but includes, and is not limited to, rating systems on video games, movies, v-chips, and other age restrictions. From this platform, Freeland goes on to say that some art should be censored due to its ethical production.

Freeland makes a distinction between ethical production and depiction. Art that is unethically produced involves the destruction or mutilation of the subject in the art, such as the fish in the blenders. While art on the other hand, often depicts acts of moral savagery, as in the case of Goya. Rather than promoting such actions, it makes a call to action against such moral depravity. Similar to Freeland setting up her argument by showing that we already censor art, she immediately lends support to case by demonstrating the most extreme cases of offensive and art that is produced unethically. The mere progression of the topics clearly illustrates this: child sexuality, animal cruelty, treatment of human corpses, religious sensitivity, and public spaces. The artwork of Mapplethorpe and Sally Mann show graphic and disturbing representations of children's genitals. This is immediately shocking to the artists. In the case of Sally Mann, the artwork is of her children, and therefore is considered a form of consent. However, this does not represent ethically produced art. In fact it is an extreme case. In the work of Mapplethorpe, parents had to sign for their children to be used in such graphic displays. However, Mann is the legitimate authority over these children as her mother. Children have no rights and are subject to the will of the parents. Thus, when the parent violates moral law, they have no voice of discontent or will. They are ultimately forced to accept this or "consent". Forcing children to consent constitutes a crime. To allow art to be produced allows this form of art to be created, through such detestable aims. Likewise, this can be more clearly seen in the case of animal cruelty. For example, at one Danish art show live fish were put into blenders and minced to their death. The artwork itself damages life. By the creation of the art, it facilitates the destruction of life. Yet, there is a distinction to be made with art that depicts behavior. In the case of the treatment of corpses, for example, Ashley Hope paints actual murdered victims. While graphic and disturbing, her attention to detail, ultimately humanizes the artists. Unlike, the case of one artist who entered a morgue and photographed the dead. This action in itself constitutes a breach of the law first and foremost, but also violates the corpses of the dead, both the consent of the deceased and their loved ones. By the time, Freeland reaches the end of public art, where normal racist tensions would have been controversial by a depiction of a Hispanic in "Vaquero", the audience has gone through a turbulent ride. This clearly seems lest offensive, and the implications of immorally produced art becomes clear.

Freeland's use of rhetoric ultimately creates a successful argument. She begins by attempting to change our view of censorship as immoral and repressive. With such rhetorical appeal, she begins to show shocking and disturbing images. The audience begins to side with her for the elimination of such extreme cases.

Art and Museums

Museums institutionalize art and help it to develop a hierarchy. Most people think this is negative for art, but this is not the case. Museums provide the medium for which artists interact with the general population.

Museums create a structuring of art. In order for an artist to become known, their work must be placed in a museum. For this to happen, the artist must accept the role of the institution of art. Art is thus "formalized" such as any other disciplines criteria for working. The artist is forced to work within the community to become accepted. Art that is displayed in a museum is labeled as "good" art. While that which is not accepted is thrown out. In the age of modern art, this ensures that the quality of art is continually thought provoking or particularly germane to the art world in some way. If we did not have the formal structures of art, anyone and almost everyone would attempt to cash in on being an artist. True art would thus become indistinguishable in a flooded market. Art curators are also more apt to be better judges of good art than the average personal due to their formal education.

By displaying art in museums, a relationship between the viewer and the artist is evoked. We go to museums not only to see art but rather to consume it. The museum gives the artist a "meeting place" or an institution where this happens, just as sports stadiums allow sports to be played. Museums, for the general viewing public and not the artists themselves, is merely a housing place for art. The museum staff also creates an atmosphere by the set up of rooms. By putting similar or different pieces in the same room or many paintings of the same artist, the public is able to gain more perspective. This arrangement allows the public to consider art from differing perspectives, ultimately changing the meaning of the painting.

"Ode on a Grecian Urn"

John Keats's poem "Ode on a Grecian Urn" presents an image of the eternal nature of art. The narrator then compares this to the brevity of human life. Yet, there is central irony in the poem between these. The "eternal" urn is created with images of temporal life.

The struggle between the eternal and temporal ultimately causes one to appreciate their life. The narrator begins the poem by stating that the "unheard" melodies of the urn "play on" (Keats 12). Because the urn speaks through the images painted on it, it contains a message that will remain for the ages. While on the other hand, "heard melodies are sweet," yet they are fleeting since sound is grounded in time and human perception. The metaphor between the continuing unspoken song of the urn and the brevity of real song demonstrates that the urn is eternal. However, on this eternal piece of art, there are images of fleeting human life. For example, the narrator recalls a "fair youth" that "never canst... kiss" (15,18). This lover, ready to kiss his beloved, is unable to because they are not doing so in the painting. They are in stuck in this position forever. In essence, the eternal urn is composed of images of fleeting human life. This creates a situation of irony for the eternal is stamped with the images of the temporal. Yet, if the temporal can be so enjoyed in art, the eternal, our temporal lives must resonate through the universe.

The eternal urn is a thing of a beauty for being a celebration of both the woes and joys of human existence. The narrator's love of the vase demonstrates how human life is connected with good art. Keats ultimately creates the same concept through his work of art the poem itself. By his simple musings on an urn, we see a fragment of the poet's short life. But now his wondering still resound some two hundred years later. Thus, the poem is a call to action to enjoy the fleeting nature of life.

Bonus: Founder's Day Convocation Dr. Donald Webb

Dr. Webb's speech was particularly effective due to his use of humor. By using humor, he "woke up" the audience, eliminating the audience's expectation of boredom for such a formal event. With such an introduction, the audience was eagerly awaiting what Dr. Webb would say next. Ultimately, this allowed him to make a lasting impression with his message.

The speaker used humor extremely well by playing on the audience's expectations. Dr. Webb begins by reading the definition of founder from the dictionary. Immediately, the audience begins to think that this will be a long, dry, and boring speech. For after all, he is just reiterating the name of the event. Everyone clearly knows why they are here. Yet, Dr. Webb begins to read examples of founder that do not correlate with the audience's expected notion of founder. For example, one of the definitions he reads for a founder is that of a sinking ship. Clearly, opposite of the audience's first assumption of what a founder means. The audience immediately broke out into hysteria. Another example of Webb's mastery of humor occurs after he tells a joke. The audience laughed moderately. However, Webb adds to this by saying "well, I thought it was funny anyways." The audience then began laughing hysterically. Dr. Webb used several other examples of humor like these. Each was effective at enthralling his audience.

Dr. Webb's use of humor was one of the main components adding to the effectiveness of his speech. It allowed him to defy the audience's presumptions. Thus, the audience was eager to see what loop Dr. Webb would use next. All in all his use of humor made the call to service to seem likewise enjoyable. Combining work and joy will create a better world for us all, as Dr. Webb illustrated.

American Shakespeare's production of "Romeo and Juliet"

The American Shakespeare production of Shakespeare's "Romeo and Juliet" creates a lively and entertaining play from the classic text. The actors use several implicit cues and techniques so that the viewer may better understand the play. One element the actors portray particularly well is the distinction of class among characters. This sets up the hierarchy of the medieval system allowing the audience to become drawn up in the action of the play.

The actors use different patterns of dress for characters of lower class and upper class, allowing their status to easily be identified. The Servants and the Nurse both wear clothing of the same color scheme. In every scene, these characters are dressed in a reddish brown and white. The use of the reddish brown creates the illusion of clothing that has been worn out. With Peter, one of the Nurse's helpers, clothing is using particularly poignantly. For example, while others in high rank among the Capulets and Montagues wear brightly colored hosiery, Peter is wearing shorts that do not even cover his knees. In an era of ornate clothing this strikes the audience's eye. The same actor who plays Peter also plays the Prince. Yet, due to each character's clothing, there is no mistaking the two. The Prince wears a medallion along with a fur coat and a crown. It is obvious that he wears his rank.

Posture and stance is another way the actors portray different social class to the audience. The Nurse and Peter are prone to exaggerated and informal gestures. In no place is this better exemplified than when the Nurse uses several sexual poses. These bawdy gestures create disdain from nobles such as Lady Capulet. The servants also have poor posture throughout the play. Again when compared with the Prince, this creates a dramatic juxtaposition. The Prince carries himself formally standing completely erect with little other movement. It is clear from this stance that his word carries the weight of law.

The use of these cues create an enthralling play. It allows the play to mirror society with the numerous nuances and norms between different classes. Yet it also is used for humor. When the formal interacts with the informal, as in the case of the bawdy poses of the Nurse, humor is created. By using these techniques, the actors ensure the audience is enraptured and can both be entertained and enlightened by the play.

Extra Credit: 2nd Convocation Activity, "Prom Night in Mississippi"

The film "Prom Night in Mississippi" presents a modern image of relations between African Americans and Caucasians. The documentary follows a high school in Mississippi where both a white prom and a black prom are held, due to a remnant from segregation. The process of creating an "integrated" prom is ultimately smooth. The only people who oppose it are a few of the white parents. For the most part, the generation gap between the seniors and their parents allow the students, both black and white, to get along well. Ultimately, "Prom Night in Mississippi" is a testimony to the common bonds that unite us.

Near the beginning of the film, actor Morgan Freeman, who sponsers the integration of the prom, remarks that he is doing this to encourage social interaction, not to force better relations. He replies that he is trying to teach them to live without racism. In his view, changing and teaching them will ultimately change how future generations will see others. For example, one white parent by the name of Glenn Sumner says that the only he does not associate with blacks is because his parents taught him not to. As Freeman suggests, ultimately, one generation must break the cycle. Yet this can be extremely difficult for adolescents to swim against stream of what they have been taught.

Nowhere is this better demonstrated in the film than in the case of interracial couples. In one scene of the film, the parents of both Scott and Heather are asked how their parents feel about the relationship. Both sets of parents tell how they originally did not support the relationship. The father of Scott admits that he was reluctant to let his son go over to Heather's house. Yet, he becomes more supporitive as he realizes that Heather's parents have the same aversion. Ironically, Scott's father realizes the realtionship is okay by identifying that someone else has the same feelings of distrust and hate. On the other hand, Heather's father, Glenn Sumner, refuses to acknowledge the relationship, as he does not bend in his values. Strangely, at the same time, Glenn does not accept being called racist. This shows that he truely knows the difference between right and wrong, but he refuses to change his self along those lines. Heather and Scott's relationship also demonstrates the common experinece of humanity. They are in love with one another because of each other's unique personality, and in spite of all issues relating to race. This is the ultimate spirit of what King was trying to work for.

Yet despite this couple's unity, there is some divison between others. Jessica, a white girl, gets into a fight with Al'lisha, a black girl. Jessica threatens and ultimately accuess Al'lisha of bringing a gun to school. Yet, it is clear that Ali'lisha is completly innocent. While they present their stories to the principal, he ultimately takes the side of the white girl. Even though the prom created better relations between whites and blacks, tension will always exsist. However, this tension will not neccesairly stem from racism, but rather from people being theirselves. For example, the adults worry about the security of the integrated prom. But it is at a separate white prom, not sponsered by the school but by white parents, where a fight errupts. Human nature will always create conflict. However, it should never be directed to a certain group. Society can not control the actions of individuals but they constrain acts by large sectors of society.

Much of Martin Luther King's vision is realized through the integrated prom. It creates and facilitates social interaction. The prom also demonstrates to the community that things can change even where it looks like it is least likely. People are people, for better or for worse. Yet to the one who listens, we should always strive to improve ourselves and others. For afterall, as shown through the past, the most strained relationships in society can be improved.

Martin Luther King Convocation, Dr. Aaron Dobines

In his speech, Dr. Dobynesclearly shows us how important it is to understand King's life and legacy today. While African Americans and other minorities have made a lot of ground in society, the world of today is far from equal and just. Yet, King's method for dealing with such disparities is simple. As the speaker articulates, King's work was rooted in basic ideas. Without these ideas, King would not have been able to face the daunting task in front of him. Dobynes stresses King's core belief in the goodness of man. King believes in an "eternal hope for humanity," as Dobynes pulls from King's letters and records. If King did not believe people could change, then such an attempt to fight racism would have been useless and a waste of time. People are essentially good, but this good must be awakened in them. Such an awakening could be achieved through service and devotion to humanity. One good dead fosters another. Dobynesillustrates that King's life is primarily one of service. This is particularly shown when King fights for better pay for sanitation workers. Another one of King's core beliefs is that time does not necessarily create progress. Society must strive for progress, it is never inevitable. These beliefs demonstrate that one can change society, since man is good, but one must labor in this endeavor.

From King's work, Dr. Dobynes looks at the work needed today. He points to women's' issues, gay and lesbian rights, and poverty. These issues are essentially no different than King's stance on equality for African Americans and others in his day. They all point to injustice to humanity. It is not moral to keep anyone at a lower status in society, for any reason whatsoever. As King also posited, we are more united than we are separated. All of us share a common human bond. Thus, it is up to us to work for the betterment of ourselves as a species. Dr. Dobynes suggests that the work is all around us from our back yard to those ravaged by the earthquake in Haiti. It is only necessary that we move society forward by loving humanity.

Martin Luther King Jr.'s "I Have a Dream Speech"

In his speech, Martin Luther King Jr. gives a stirring call for equality in America. This message was particularly bold for the racially charged environment of the 1960's. However, through effective oratory, language that boarders on the poetic, and a direct message of kindness, King was able to change many people's opinion on race. While things have become drastically better, King's full vision has not been realized in the world today.

King attempts to win over his audience through several rhetorical devices. At the beginning, King creates an ethical appeal by echoing the words of Lincoln. While King references Lincoln directly through the Emancipation Proclamation, he also alludes to him a little more subtly (King 1). His use of "five score years ago" directly parallels the " four score and seven years ago" of Lincoln's "Gettysburg Address." After setting this premise, King continues his argument by stating that African Americans deserve and are entitled to the same rights as Caucasians. King notes freedom, liberty, and equality are given to all American citizens as fleshed out in the Constitution (1). However, King continues by stating that society should not only push for freedom because of the American government, which makes such a grandiose promise of freedom. Rather society should push for freedom in order to "make justice a reality for all of God's children" (1). It is society's obligation because it is moral and right. Conscience, not tradition, should lead society. While such a task is certainly daunting, King suggests through faith "we will be able to hew out of the mountain of despair a stone of hope" (2). To King, steady work and perseverance ensure the movement for equality. The monumental work King is trying to spur on can only be achieved by simple, but strong, faith.

While society has advanced, through the work of King and others, the world is far from an equal place. Yet society has also reached a point where equality can not be achieved through laws. The racism of today manifests itself in individuals. Likewise, respect must be taught through individuals. King's insistence in the morality of equality and simple faith, however, still remain as an impetus to fight injustice in the world of today.