An analysis of the economic differences between the tobacco and sugar industries of Cuba through a review of "Cuban Counterpoint Tobacco and Sugar" by Fernando Ortiz.
900 words (approx. 3.6 pages), 1 source, 2002, $ 35.95
Abstract This paper will discuss the nature of tobacco and sugar in the Cuban economy, and will show how they differ in the greater scope of the Cuban economy. By showing the statistics of how the sale of each of these items plays a part in the survival of Cuba, we can begin to see the ideas of how they interact within the value of their production value. By using the book "Cuban Counterpoint Tobacco and Sugar" by Fernando Ortiz, we can see how these values are created within the Cuban economic structure.
Examination of how pop music can be used in a film score to drive the narrative and create meaning by use of ironic counterpoint or dramatic forshadowing.
Abstract Popular music, as demonstrated in the movie "Boogie Nights", can be utilised to generate added meaning for the narrative. Time and place contexts are established and asserted, and connotations brought forth by lyrics inform the narrative, working with the onscreen action to generate new meanings and character motivations. This paper discusses how "Boogie Nights" has a tight synthesis with its music and the way it is arranged and the particular pieces which are chosen, reflect the central themes of change and accepting who you are and what you have to offer, as well as performing a metaphoric or comical purpose. It shows how this effectively demonstrates how popular music, in the (near) absence of a classical score can interact with the film text in a meaningful way.
From the Paper "The popular song score operates in a different way from the classical film score, with seemingly more specific purposes based on its lyrical content. Popular Music utilises cultural contexts and linguistic content to create meaning. Coupled with an image the popular song's lyrics can be used as pun, ironic counterpoint or provide commentary or insight into character thought and motivation. The music of Boogie Nights works to fulfil the above functions, denoting, as only popular music could, the trends and transitions of music and fashion over several years, as well as articulating the thematic concerns of the film and acting as guide through the unfamiliar world."
Abstract This paper is be a point/counterpoint argument against the view that abortion is wrong and dangerous for women to undergo. The paper's position is that abortion is a medically sound and reasonable procedure and one that should be available to women as an option. The paper addresses the following two arguments: that abortion is a risk for women in that it can cause or lead to breast cancer, and that abortion pills such as RU-486 and the morning-after pill are wrong and/or dangerous.
From the Paper "Abortion: Point/Counterpoint Even before the landmark Roe vs. Wade decision by the United States Supreme Court in the 1970s, the issue of abortion had been a divisive one within this nation's borders. With some individuals and groups claiming that abortion is immoral and akin to murder and others fighting for a woman's right to choose what is done or not done with her body, there has probably not been a more contentious and polarizing debate in America. To this day, as the government's current administration looks to make the court system and the Supreme Court one of conservative values, and as many disagree with these values, abortion is one of the defining issues within American politics and thought. This writer believes that abortion is an issue that is best left to the decision of the individual, of the woman who might possibly undergo such a procedure. "
This paper reviews Joseph Brahms' "Symphony No.1" as specifically performed by the Toronto Symphony Orchestra under Conductor Rafael Frunbeck de Burgos, March 22, 2007.
Abstract This paper explains that on the same program as the Brahms "Symphony No.1" were two other works by Spanish composers, Issac Albeniz and Joaquin Turina, which presented a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage. The author points out that Johannes Brahms' (1833-1897) "Symphony No.1" reflects to an extraordinary degree the composer's personal relationship with the legacy of earlier giants such as Beethoven and Schubert. The paper relates that the "Symphony No.1" is comprised of four movements, which reflects Brahms' allegiance to classical forms; however, the intense unity of the overall work seems to be more of an expression of Brahms' personal technique. The author underscores that scholars argue that the dynamic optimism that is so characteristic of Beethoven's symphonies is revisited by Brahms in a far more melancholic, late nineteenth century manner
From the Paper "The significance of the Spanish works to the Brahms' symphony, which was highlighted in the course of the intermission, was an interview-like session conducted in the lobby with two members of the TSO who talked about the program and about Frunbeck de Burgos' conducting of the works. These two TSO members - a violinist and a flautist (I believe) - noted that the Spanish pieces were carefully chosen as a counterpoint to the Brahms. Frunbeck de Burgos' work with the TSO in rehearsal, they noted, was very different with both of these pieces; one noting jokingly that de Burgos stood straighter and was more serious with Brahms than with the passionate Spanish works."
Abstract The paper is an examination of the Maori culture as described in the book "Counterpoint in Maori Culture" by Hanson and Hanson. The writer declares that he chose this book because it was, in his opinion, the comprehensive examination of the Maori culture available which left little of classic Maori culture uncovered. The author of the paper discusses and examines aspects of Maori culture as they are presented in the book and then attempts to explain and evaluate the purpose of the book's authors and methods used by them in their research.
From the Paper "The research for Counterpoint in Maori Culture was conducted from 1976 to 1977 in New Zealand by the authors. It was an interesting and eventful time in United States history; supposedly the "summer of fun" even though there were serious and grievous incidences going on all over the world. Pro-Palestinian terrorists hijacked a Paris-bound Air France A-300 Airbus over Greece June 27. But it wasn't all bad, Andy Warhol was in full stride as he put out skull and portrait of Andy, two iconic artworks. Jimmy Carter beat Ford in the US Presidential race and pardoned all Vietnam War draft dodgers in his first day of office. I'm unclear as to how these and many other events affected the authors. I don't get the impression that they had any effect whatsoever, especially since the book doesn't incorporate either of the two authors personalities into the work."
Tags: culture, new zealand, anthropology polynesians samoan tahitian cook ethnography
From the Paper "Nick Carraway, the narrator of The Great Gatsby commences the novel by reporting some advice his father had given him: "Whenever you feel like criticizing anyone"just remember that all the people in this world haven"t had the advantages that you"ve had? (5). Nick, a child of privilege, is able to maintain a rather jaundiced view of the wealthy and the beautiful women around him. Jay Gatsby, on the other hand, has struggled to become rich and he has never been able to overcome his childhood illusions that the rich and the beautiful are worthy of his respect. Gatsby wants to join wealthy society; Nick, already of member of it, is "inclined to reserve all judgements" (5). Nick, therefore, is a perfect counterpoint to Gatsby since he has no illusions about the wealthy and the beautiful. Nick also tells us that he highly values "conduct" (6) and he proceeds, throughout the novel to reveal the poor "conduct" of the wealthy."
Abstract In this paper the author looks at the characteristics of different time periods in music starting with Medieval music and cites examples in each category. The author then moves on to look at some prominent composers, including, (to name but a few), Purcell, Vivaldi, Shutz, Bach, Mozart and Beethoven, and shows how their works demonstrate the traits of the periods previously mentioned. The author concludes with a brief discussion of form and structure looking at various examples such as song form, themes and variations and sonatas.
From the paper:
?Franz Liszt
Liszt was a composer of the Romantic period and was among the first to arrange entire programs of solo piano music. He composed piano miniatures, solo piano music, transcription pieces, symphonic poems and symphonies. Some of his best known pieces include Mephisto Waltz, Totenanz,Leibestraum and the Hungarian Rhapsodies.?
Tags: middle ages baroque renaissance medieval plain chant troubadour music polyphonic motet opera trio counterpoint classical cadences symphony minuet rondo sonata romanticism symphonic poem concerto wagner impressionism debussy twentieth century rigadoon, con
Abstract The paper discusses the concept which is generally considered ?Early Music,? - the musical styles associated with the Renaissance period, beginning ca. 1450 and ending around 1600, and the Baroque period, commencing ca. 1620 until the death of Johann Sebastian Bach in 1750. The paper shows how these two styles share numerous musical traits which revolve around the application of stable harmony, polyphony and the progressive movement towards humanistic orientation. The paper shows how this contrasts to the musical style of the earlier Medieval period which was dominated by liturgical chant repertories.
From the Paper "The harmonic language was at times modal but more often than not was based on chord themes, such as rapid triads interspersed with much tonality. In Bach's case, this was known as the circle of fifths, a harmonic sequence with powerful chord progressions which took on the nature of "sweeping dynamics used for expressive purposes, much like modern-day improvisational techniques" (Masterson 324).
The role of dissonance in Baroque music cannot be downplayed, for it was at
times very influential with its long, drawn-out chordal suspensions characterized by appoggiaturas, or an embellishing note or tone preceding an essential melodic note or tone. The application of seventh chords, ninth chords and on occasion eleventh chords contributed to a vast array of melodic dissonance, often identified by large tonal leaps."
Abstract The Roman politician and philosopher Cicero, in his writings on friendship, conceived of it as being a high-order relationship; a relationship that was so intense and personal that it seems, in his view, to be more important than any other human bond. However, Cicero was a philosopher and, as such, was honour bound to give consideration to opposing arguments. One view of friendship in particular - what may be termed the cynical or realistic thesis - caused him great difficulty in his discussion. From this perspective, friendship is nothing more than a mode of exchange or an association between two parties for mutual profit or benefit. In this paper we will examine the reasons behind Cicero's difficulty in dismissing this counter-definition of friendship. As a counterpoint to Cicero's view of friendship, we will analyze the depiction of love in the love poetry of John Donne.
Abstract This paper explores the possibility of a progressive increase in the degree of evil in Shakespeare's plays, "Othello" and "King Lear". The paper also discusses the counterpoint to evil, regeneration, and how it appears in Shakespeare's plays.
From the Paper "Evil is encountered in the plays firstly though the actions of individuals. It is very difficult to categorize and separate the various themes or motifs in Shakespearean criticism. The study of evil for example, must also take into account another important theme ? the nature of man and the nature vs. nurture debate. This applies to the theme of regeneration, which is closely linked to the theme of appearance and reality - one of the most pervasive issues in the later plays. On the level of individual actions affecting others, regeneration is the result of a realization and an unveiling of illusion. Truth breaks through the miasma of illusion that often creates the tragic situation in the plays."
Abstract This paper reviews Hartmann's rmedieval poem "Erec" and concentrates on the ways in which the praise of women does not preclude misogyny. It argues that certain modes of praise could be construed as misogynistic by framing woman as passive exchange objects or complements to male heroism. It also analyses references to femininity as a negative counterpoint to masculinity in relation to a sense of anxiety in medieval texts about defining ideal masculinity. Further to this, it includes a short structural analysis of Arthurian romance with a view to associating agency and interest with masculinity in contrast to the passive, complementary status of the woman in the romance.
From the Paper "As the first female character to be described in any detail in Erec, Enite certainly seems to attract attention to herself. As in Chretien's version, many verses are devoted to description of her beauty, and Hartmann provides a few new images for this description, describing her white skin showing through her tattered robe as like the lily growing under thorns. We are also told that her wisdom surpasses her great beauty and from what we see of her, it is clear that she is a very efficient and obedient daughter to her father. Interest in a woman does not, however, preclude misogyny, and in a sense, nor does praise - it depends on the context in which the praise is set, and how it positions the woman in relation to men. Enite, though flawless in the terms in which she is described, is given little agency or individuality of her own: her existence and perfection are defined by men."
Abstract This paper examines how the military force that the Athenians fielded in the Sicilian Campaign was unprecedented in the Peloponnesian War. It attempts to determine why it was it utterly defeated. It looks at how a series of failures of command from the political and military leadership exacerbated the likely failure of the campaign. It also explores how the end result was a greatly weakened Athens, how there were numerous defections from the Delian League, and how the myth of Athenian invincibility on the seas was shattered.
Outline
Introduction
Discussion
Hubris Within Athens
Hubris Within the Expedition
The Athenian Failures of Command
Counterpoint Conclusion
From the Paper "The war-time footing on which the Athenians found themselves was difficult for them to maintain. The destruction of their lands and homes outside of the walls of Athens, the plague, and gradual breakdown of the structure of Athenian society led a shift away from Pericles? strategy for victory and away from the unity of purpose and common good within Athens and towards private ambition and gain. By the Melian dialogue, a year or so before the Sicilian Campaign, the Athenians had given up Pericles? conservative approach and limited war aim, the defeat of Sparta, when an Athenian acknowledged that of gods and men, ?by a necessary law of their nature they rule wherever they can.? Though not universal, by 415 B.C., the dominant theme among Athenians was the overbearing belief in their abilities and the growth of the empire."
Tags: hubris, pelopennisian, sicilian, sicily, sparta, thucydides, war
This paper analyzes the role of Bruno, the son, in the Italian neo-realist film, "The Bicycle Thief." It also explores the father-son relationship of Bruno and his father, Antonio, in its ethical dimensions.
Abstract In this paper, the author focuses on two scenes from "The Bicycle Thief:" The restaurant scene and the final scene in which Antonio attempts to steal a bicycle. By focusing on these scenes, Bruno's role in the film as an ethical counterpoint to Antonio is made clear.
From the Paper "In Victor de Sica's The Bicycle Thief (1948), the main character is Antonio, a working-class Italian living in Rome after the end of WWII and trying to support his family. However, equally important to the story is Antonio's son, Bruno. Throughout the film, there are many events, but it is through Bruno and the relationship between him and his father that they are given value and meaning. In some ways, de Sica uses Bruno as a ?barometer of the condition of Antonio's spirit as he pursues his agonizing search for the lost bicycle (http://www.enl.umassd.edu/InteractiveCourse/Ethompson/bicyclethieves.html).?"
Abstract B.F. (Burrhus Frederic) Skinner is regarded by many as the founder of operant conditioning, a form of behavior modification that, simply stated, depends on rewarding desired behaviors and initiating unpleasant consequences for undesirable behaviors. This paper explains that Skinner proposed that immediate and appropriate reinforcement of both good and bad behaviors would very likely increase the likelihood that the desirable behavior would be repeated and the undesirable one repeated less often. This paper provides a brief review dealing with the ways in which Skinner's theories are being looked at by educators today.
Outline:
Introduction
Historical Truisms Applied to Modern Classrooms
Current Point-Counterpoint Regarding Skinner's Theories
Using Skinner Early and Often
References
From the Paper "While Skinner and half a dozen contemporaries were expert at running animal experiments, with their forte being maze-running and operant conditioning of the sort employed in a Skinner box, they were also noted for "dustbowl empiricism" or, in other words, finding out what worked in reality, not in theory alone. The burden of their findings, including Skinner's, was that "repetition of a task, with suitable reinforcement for completing each trial, improved performance" (Bruner 2004, 13+)."
Abstract This paper looks at four philosophers' theories on epistemology. It discusses their views and understanding of the 'Twin Earth' thought experiment. The paper then describes each of the philosopher's commentaries on their individual philosophy and analyzes their points and counterpoints. It also analyzes their logical reasoning with regard to their philosophy of the 'Twin Earth' thought experiment. The paper explores exactly what it is that defines water, and further, what defines a definition. It is written in a narrative form from the writer's perspective.
From the Paper "What defines a definition? How can something be defined, and that definition be wrong? If a definition is indeed definite, what constitutes a "correct" definition? Or, what makes one definition more accurate than another? I have been presented with four different philosophical answers to the question raised of how words and definitions relate to each other. And here I am trying to come up with a definitive answer to what seems like a simple question: What is water? And as new ideas and new ways of conceptualizing come pouring in, one after the other, I am just trying to stay afloat. My mind floods with new thoughts and ideas - without letting the old ones wash away. I try not to think I'm in over my head, but I can at least skim the surface of profound thought as long as I don't hold back. Because fortunately for me, it's philosophy; there is no right and wrong answer."
