Abstract
This paper analyzes the definition of the outsider as discussed in two plays - "AlterNatives" by Drew Taylor and "Amigo's Blue Guitar" by Joan MacLeod. It explores how and why the various characters in the plays have constructed the outsider, while simultaneously fortifying their own position as outsider. The paper also analyzes the symbolism and language in both plays and discusses how this adds to the theme discussed.

Table of Contents:
Introduction
Dramatization of the Outsider
Outsider Constructing the Outsiders
Consequences of Dramatization by Characters
Symbolism in the Two Plays
Conclusion: The Nature of Experience

From the Paper
"In both plays, language is the main route to understanding the presumed outsider. At the same time, language is the main avoidance strategy. Elias, for example, serves a practical end for Sander in that Sander "gets to cut out of Spanish and English class and hang out at immigration. Everyone thinks he's some kind of hero" (MacLeod 38). When Martha is speaking quite rapidly to Elias and he requests that she slow down, she does understand but ignores him. Martha even repeatedly mispronounces Elias' name. Elias points out to both Callie and Sander that the most formidable barrier to comprehending his reality is language. "If you want to know my story, then you can learn my language" (MacLeod 42)."

Tags:aboriginal, characters, experience, insider

Abstract
This paper examines and analyzes fictional representations of Third World peoples as marginalized outsiders. Particular emphasis is placed on Aboriginals. Various authors and their literary works are cited in the paper. These writers include Taylor and MacLeod, who exploding stereotypes and alter our accustomed ways of interpreting canonical texts.

From the Paper
"Currently, writers such as Taylor and MacLeod are exploding stereotypes and altering our accustomed ways of interpreting canonical texts. We are conditioned to consider aboriginal peoples and all inhabitants of the Third World as outsiders, or those who either do not fit in with or are excluded from mainstream society. In alterNatives and Amigo's Blue Guitar, we are led by Colleen, Sander and Callie to examine the multifaceted motivations and underlying psychological needs which determine our definition of the outsider as deficient and needing redemption or change..."

Tags:native, outsider, construct

Abstract
The paper provides a thorough investigation of the presentation of Beckett's philosophical themes within the dramatic genre in order to determine whether meaning is indissolubly connected to innovation in dramatic technique. The paper shows how meaning is not indissolubly linked; Beckett allows his plays meaning outside of the dramatic arena. The paper does note, however, that Beckett's unconventional dramatisation of his philosophy contributes greatly to the plays.

From the Paper
"In his essay, 'Beckett Out of His Mind: The Theatre of the Absurd', William Haney asserts that '[b]y dispensing with narrative sequence, character development, and psychology in the conventional sense, Beckett portrays the process by which awareness moves from the qualia of a historically mediated experience to a state beyond linguistic and cultural boundaries'. This statement has two key implications: firstly that that Beckett's plays do have an intrinsic meaning, and secondly that this meaning lies beyond linguistic boundaries and is thus inseparably linked to Beckett's unconventional dramatic technique. This perspective on meaning itself, however, is problematised when placed into Beckett's cultural context. Indeed, that 'Beckett actually encouraged critics to adopt a philosophical perspective on his work' seems to indicate that this is a useful approach."

Tags:stage, settings, genres, images, characters, audience

Abstract
This paper explains that, in the colonial era, education was largely exclusive and focused on the religious education of males. The author points out that modern higher education has been shaped by the implementation of technology, with students commonly using laptops in class and with teachers using overheads and computer-generated lessons. The paper stresses that higher education today encompasses much more than the universities, degree-granting accredited community colleges, and four-year colleges recognized as "higher education" by the U.S. Department of Education; in addition, corporate classrooms, virtual universities, and proprietary schools educate millions of individuals outside of this narrow definition.

From the Paper
"At the same time, educational opportunities of minorities, including African Americans were limited during the early years of higher education. W.E.B DuBois was the first African American to get a Ph.D. degree from Harvard, receiving his degree in 1890 despite opposition to his entrance to the school. Booker T. Washington was also an important figure in African American education, and as head of the Tuskegee Institute, he taught newly freed slaves skills in education, business, and the trades."

Tags:minorities, virtual, men, women, secularized

Abstract
This paper shows how Ibsen and Strindberg both wrote plays taking place in one setting over a short period of time, often only a day or two in scope. The writer explains that to propel the plot there had to be action that took place off stage, outside the constructed set. Ibsen embedded offstage action into his texts more so than Strindberg did, but Strindberg succeeded elsewhere. Whereas both were successful in removing important action from the stage, Strindberg's work was brought further into the realm of what will soon be defined as off the off stage than Ibsen's, with the difference being Strindberg's better use of a new form of player: the audience. The plays analyzed are Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie."

From the Paper
"Dealing first with the off stage world of Ibsen we can see many examples of the action he writes for the express purpose of invisibility to the audience. In "A Doll's House" the audience is given a very good chance to hear events offstage. The main stage area comprising of one room with four doors leading to other parts of the house. Throughout the play the characters move within this space, but constantly refer to actions taking place outside of it as well. Beginning in the opening scene, the audience is allowed only a glimpse of the outside world in the porter bringing the Christmas tree in for the maid (Ibsen, 3). This is one of the few visuals the audience has of the off stage world; most of our comprehension of the off stage happens as a result of utterances. "Is that my little lark twittering out there?" (Ibsen, 4) Helmer calls from his room early in the first Act. This simple line, with the stage direction, immediately defines the space we see. As he is calling from his room, we immediately identify the space on the stage as belonging to Nora. This is further strengthened throughout the play as we see Nora take charge of this main stage space. When her life is interrupted, so is this space. Krogstad's entrance through a door left ajar upsets her, removing control from her hands to his. Her first instinct is to take control where she can by taking her children to the room on the left and shutting the door after them (Ibsen, 26). Nora's space, her life, is thus defined by the space around her off stage; her boundaries of power remain clear. She has power only as it relates to people invading her space: for one example she is able to bolt the door to Torvald's room on her side of the door, giving a degree of privacy to her affairs (Ibsen, 55). Her space thus defined the actions offstage suddenly take on a greater importance: these are actions that Ibsen has defined as outside of Nora's world."

Tags:audience, technique, playwright, character

Abstract
in this article, the writer discusses that the film 'Goodfellas' (1990) is a dramatization of the real workings of the US mafia. The writer explains that the film shows the natural evolution of the mafia once boundaries were crossed and mafia families began to fight amongst themselves and recruit, outside the family despite early assertions that only Italians could become full members of the group. The writer looks at the history of the mafia and how the system worked. The writer concludes that there is far more record keeping involved in the kinds of games the Mafia historically engaged in and the enforcement of laws and punishments for crimes are greater and more accepted than the mafia itself by authorities and the public.

From the Paper
"Cold blooded murder, destruction of property and an expansion of the kinds of activities they engaged in, such as underlings, not getting enough of the action to support themselves seeking out illegal pursuits such as selling drugs. Henry in particular fell to the drug scene, as the only means he had to support his family, and in doing so he became a marked man. Henry eventually turned informant and entered the witness protection program but he and his cronies as well as the mafia itself showed serious signs of destruction at the close of the film. The mafia, lacking the ability to find either support or "respect" or a new fast money game, with limited consequences will likely never be the same, as is seen by the film and its devolution."

Tags:group, members, mobster, organization, respect

Abstract
Fifty years ago it was common to find the American family consisting of a mother, father, and two children. The father went to work, while the mother performed her motherly duties throughout the day. This paper explains how, over the last few decades, however, the work of the woman has shifted dramatically. Women are entering the work force at a higher rate, and with this, their motherly duties are shifting. It shows how some women are now perform these duties after their shift at work outside the home, and while they are at work, their children are placed in child care. Only after understanding the history of child care, the types of child care, and the government involvement in child care is it possible to know how the changing of family dynamics has resulted in the need for child care.

From the Paper
"Once women began to enter the workforce, more and more mothers decided to join with other women and go to work. This caused these mothers to take on twice the responsibility as other people because they now had two full time jobs. "Working mothers still do twice as much housework as their husbands, and more than half of all women questioned expressed at least some dissatisfaction with the amount of help their husbands provide around the house" (Morin and Rosenfeld 1998 A1). This responsibility of raising children while working is not limited to women though, increasingly men are becoming the caretaker of children and they face the same struggles. The continuation of women in the workplace, while extremely stressful, is a result of the feeling of satisfaction that comes with a job. According to Clarke-Stewart (1993), "They get more satisfaction from outside work than nonworking women do from housework. They feel better about themselves as individuals and as competent achievers. They feel healthier, more independent, and in control of their lives" (2). However, with this sense of independence comes a feeling of overwhelming responsibility."

Tags:childcare, government, head, high, kindergarten, nursery, pre, school, start

Abstract
By comparing the clowns that appear in the plays "Hamlet", "Macbeth", and "As You Like It", the role of the clown is elaborated as something greater than comedic relief. In all instances, the clowns play a double role that works to appeal to a particular audience of Elizabethan England, a wider social and cultural group of theatre-goers than typically present at play performances. In doing so, the clowns work to participate within the play itself, and within the audience as well. This is achieved through humour that speaks outside the context of the play and towards immediate cultural knowledge of the audience. The clown also uses this same kind of humour within the play, as a way to clarify what is happening within the story itself. The clown acts as a mediator between characters and as a mediator between the play itself and the audience. The clowns of the dramatic plays, such as "King Lear", "Hamlet", or Macbeth, the clowns' role serves to provide the audience a break from the tension and violence of the narratives as well as to address the audiences own cultural understandings of these plays. In the comedies and the dramas, the clown is always more knowledgeable about what is happening and so acts as the interpreter for the characters, and for the audience.

Abstract
This paper examines how ?The Yellow Wallpaper? by Charlotte Perkins Gilman and ?The Story of an Hour? by Kate Chopin are both stories that illustrate the same view of a subordinate woman in the late 1800s. It discusses how each story portrays a saddened, oppressive view of marriage, representing the negative effects experienced when a woman lives under the control of a dominating husband. It looks at how both stories take place in a small room, without many outside forces. In ?The Story of an Hour,? the experience in the room proves to be positive, as Louise comes to terms with her situation. In ?The Yellow Wallpaper,? the room serves as a virtual prison, pushing the narrator deeper into depression. It analyzes how each story dramatizes a woman?s emotional transformation in a small room that leads to tragedy.

From the Paper
"In addition, each story describes how dominating husbands do not have to be bad people, per se. In "The Yellow Wallpaper," John is more harsh as he resists his wife's pleas. For instance, when she asks if they can go away, he refuses, because he cannot see what is haunting her and also because he does not want to give in to her "false and foolish fancy" (768, 29). He even intimidates her by asking her if she can't trust his judgment as a doctor. The reader is left with the impression that John is the less caring of the two husbands; he seems to rather not be bothered by his wife's condition because he stays gone all day and sometimes stays late at night when his cases are serious. (763, 42) In "The Story of an Hour," Chopin depicts a husband that takes good care of his wife, but in so doing so, smothers her to the point that the thought of his death does not represent agony for Louise, but happiness. Each husband is seen as a hindrance to his wife; each husband is the ultimate reason for his wife's demise."

Tags:subordinate, woman, husband, marriage, room

Abstract
This paper discusses how the author Emile Zola attempted to use his novel "La Bete Humaine" to provide a window upon a perverse society through a narrative about an individual whose desires have become perverse because of social oppression. It examines how, when the director Jean Renoir chose to dramatize this particular film in 1938, Zola's original intent, perhaps invariably, was slanted in favor of the sensationalistic narrative rather than his realistic analysis of the class-bound French social system. It looks at how this may be partially ascribed to the particular ideological nature of the filmmaking process of the turbulent era of French history in which Renoir dwelled. It analyzes how the film differs most substantively from the original novel because of its focus upon the central character, rather than upon the particular reasons for the existence of the outside forces surrounding and pressuring the main character Jacques.

From the Paper
"However, Renoir's reasons for slanting the plot appear to be more complex. The crime novel aspect of La Bete Humaine also ideally called forth Renoir's ability to use the visual techniques of film noir, creating striking dark and light visions that the train setting of the plot seemed uniquely suited to. Given Renoir's previous ideological stance in many of his earlier films, this might strike an historian of French cinema as rather curious. However, in this case, the director, in the words of film critic Richard Roud, seemed more interested in "playing with trains," than playing with politics. In other words, the artist over the ideologue in Renoir won out. The director's fascination with the cinematic medium's ability to portray and render light and dark was more forceful than his devotion to a social cause."

Tags:jean, renoir, social, oppression, france, class