... OF OBSCENITY "The beginning of a new legal approach may be traced to the action of the federal courts in the 1930s, when they held that Irish author James Joyce's Ulysses was not obscene and could be freely passed through customs. The courts ruled that the use of "dirty words" in "a sincere and honest book" did not make the book "dirty." Since the 1950s many obscenity cases involving books, magazines, and film have been brought before the Supreme Court. In the cases during the 1970s the court ruled that laws against obscenity must be limited " to works which, taken as a whole, appeal to the prurient interest in sex; which portray sexual conduct i ...
... events that precede the madness that ensues by the end of the play. Abigail Williams, for instance, has a love affair with John Proctor, and wants Proctor to leave his wife Elizabeth for her. Another character with a hidden agenda is Mr. Thomas Putnam, who hopes to take over some of his neighbor's land. To amplify the situation, a group of girls are questioned by ministers for performing witch-like rituals in the forest. A Puritan belief of the 17th century is that the devil and other demons live in the forest, and that witchcraft is performed there as well. Dissembling citizens begin to accuse others of witchcraft, with a very selfish motive. As John Proctor de ...
... Willy's love for his sons was very apparent, however he set in them very low moral values. For example, Willy told Biff and Happy to run up the street and steal some sand to finish some steps, which tells them that stealing is OK. This is a trait set in him by his father, which proves to haunt him his entire life. Willy was also a cheat, whether it was adultery or simple card cheat, his dishonesties certainly rubbed off on his children, and proved to be the downfall in their lives. On the other hand, Willy affected more than just his sons life with his deceit. He greatly altered his own when he was caught in the mist of an affair with a meaningless prostitu ...
... Brutus' tragedy would have never happened. This is why Brutus should have never listened to Cassius' conspiracy plan. A large harmartia that Brutus made was not killing Antony. Brutus says, “ For Antony is but a limb of Caesar.” (Shakespeare Act 2, Scene 1, Line 165). . Brutus feels that Antony would not be able to do anything without Caesar, and would probably commit suicide. Cassius thinks that Antony should be killed, but does not argue with Brutus. Antony ends up being even stronger without Caesar and is a tyrant ruler in a triumvirate. Antony and his army are the reason why Brutus kills himself. If Brutus did kill Antony he would probably of lived and b ...
... He feels the deceased once dead with there honor will not be able to feel the honor the died with nor will he be able to hear stories of his valiant efforts when they are told. When a deceased man looks back upon this honor the conveyed the decest will see that their own honor was their downfall. Lastly Falstaff believes a man with honor will not or cannot be remembered forever for distractions will fade the memory of the fallen hero in every man’s mind. Falstaff defies the image of a hero simply because he doesn’t believe in honor and would save himself rather than give own life to save another. Falstaff exposes this in a conversation with his trusted frie ...
... (Garner 1996; Alexander 1996). The pupose of expansion is to invigorate the frequently reified conceptualizations of social movements by recognizing the contribution of organized collective action to definitions of social problems and cultural knowledge in general (Eyerman and Jamison 1991; Sztompka 1993). As Benford (1997) explains, doing this entails focusing upon the framing process and providing an in-depth analysis of negotiation, conflict, and compromise in the development of the collective action frame. The framing perspective’s nodal point is frame alignment, what McAdam (1994, 37) calls "the efforts by which organizers seek to join the cognitive ori ...
... the play Macbeth, Macbeth's tragic flaws were actually the deadly sins. They were greedy and envy. Macbeth was not satisfied with his current position, "Thane of Glamis," and not even his newly gained "Thane of Cawdor" would please him. He had only one thing on his mind, the throne. When he became the king, he envied Banquo's having heirs who would be rivals for the throne. The Christian also developed the theory of the great chain of being. It basically stated that a person could not and was not allowed to change his social status. Thus in the play, everyone eventually turned against Macbeth, who had broken the great chain of being by taking the throne fro ...
... to the overwhelming success of the show is its cast of unstererotypical characters. The main characters refereed to as the "Fab Four", consist of Jerry Seinfeld, Elaine Benes, George Costanza and Cosmo Kramer. Jerry Seinfeld, known by his own name on the program, is the central figure of the sitcom and the catalyst for almost everything that happens. He is involved in the antics revolving around Kramer, George and Elaine. On one episode George, Kramer and Jerry are spying on the naked lady across the street all day to see who can win a bet. The twist at the end of the show is when we see George and Jerry peering through the window and gasping, " Is that Kra ...
... murdered Macduff's family, and continued to create chaos in Scotland. Macbeth in Act 4 is described as an agent of disorder, "untitled tyrant bloody-sceptered". The language in Act 1 that described Macbeth has changed from "noble" and "kind" to the diction of Act 4 witch describes Macbeth as "black Macbeth" and a "tyrant". The Castle that Macbeth lives in, Dunsanine is also indicative of darkness. Dunsanine is similar to the word dungeon a dark and dirty place. In Act 4 Macbeth is an agent of disorder, he murders and he consults witches, because of this he is described using dark imagery. Scotland under the rule of Macbeth is described as, "shrouded in ...
... arrives to announce the approach of Don Pedro. Suddenly, the mood changes--the approaching soldiers are seen far below this bucolic scene, the sound track soars, a flag is whipping in the wind, there is a close-up of each soldiers face; they raise their fists to signal victory. The excitement is intense. Everyone rushes to the villa amid laughter, squeals, soaring music, shedding cloths, bare bottoms, and bathing. The mood is set. Utilizing the beautiful rose colored villa, gorgeous scenery, glorious music, imaginative cinematography, Branagh's Much Ado is more sensual and aesthetic than intellectual. Shakespeare relied almost wholly on his language for ...
