Summary Of The Evil Genius

When someone is asked what is evil, the first thing that usually comes to mind is murder. Dennis Prager(nationally syndicated radio talk show host) said “Murder is [evil] because we understand that if everyone killed everyone they wanted to kill, chaos would ensue.” Merriam-Webster’s Dictionary definition of evil, which I agree with, is, “morally bad; causing harm or injury to someone; marked by bad luck or bad events.” Murder meets that definition perfectly and is a reasonable way to think of something evil, but is all murder evil? That might be a very unruly thing to ask, but is it really? For example, if a young boy is cutting something and he accidently kills his sibling, is that evil? His intention wasn’t to murder him

     The stage props and the lighting seemed to be different in each performance. Swan Lake had a backdrop of a lake. This was key for this dance. When the girls would turn back and forth from swans they would show a group of swans swim across the lake. This was very important for the audience to understand this very important transformation. The lighting in

While observing this dance ballet, there were many things that caught my attention. First, the theater itself was extremely large, and the stage itself was big, and the dancers had plenty of room to move across the stage and perform their routines. There were many dancers, and they all played various roles that ranged from Clara, Fritz, Herr Drosselmeyer, the Rat King, the Nutcracker, the Sugar Plum Fairy and her Cavalier, and many more. All of the performers wore vivid costumes

One of the oldest dilemmas in philosophy is also one of the greatest threats to Christian theology. The problem of evil simultaneously perplexes the world’s greatest minds and yet remains palpably close to the hearts of the most common people. If God is good, then why is there evil? The following essay describes the problem of evil in relation to God, examines Christian responses to the problem, and concludes the existence of God and the existence of evil are fully compatible.

‘Swan Lake' was re-choreographed by Marius Petipa and Lev Ivanov in1895, after initially being choreographed by Julius Reisinger in 1877. The musical score was composed by Pytor Tchaikovsky. ‘Swan Lake' was created towards the end of the romantic period, so the culture and style of romanticism was prominent, with glimpses of the beginning of the classical era. Because of this, it contains elements of both eras. Some of the romantic characteristics include the pursuit of the unattainable, romance, fantasy, focus on the female role, gas lighting and simple sets, pointe work, soft and feminine technique for females and the bell tutu. Some of the classical features include the length of the ballet, the classical tutu and more

As world has changed over the last century or so, the ballet world has been changing with it. There are many people who have helped shape that change. The changes in style were mainly influenced by George Balanchine. George Balanchine, a Russian choreographer and ballet dancer, also known as the father of American ballet, was the man who was said to have changed the style of ballet forever. Along with these changes in style came changes in visual design elements, inspirational figures, and changes in what the ballets themselves tend to rely on. Many of the features given to ballet in Russia in the 15th and 16th century still remain to this day, but many features have been altered to fit . Let’s take a closer look at what features truly

Whether we look at a romantic ballet like La Sylphide or a classical ballet such as Sleeping Beauty, audiences are constantly mesmerized by the gracefulness and weightlessness of the ballet dancers. They seem to defy the laws of physics, which is greatly possible due to the use of the pointe shoe. However, many masterworks that were created in the Romantic era did not solely rely on the pointe shoe to help convey messages. Instead, the choreography, dancers, scenic elements, subject matter, and music all helped shaped masterworks such as La Sylphide, Napoli, and Giselle. Similarly, in the Classical era, these elements all played a role in shaping famous ballets like La Bayadere, Sleeping Beauty, and Swan Lake. But once we take a closer look at these ballets from the Classical era, we can see how much ballet evolved. Nevertheless, it is important to note that the Romantic era was the stepping stone for this pure art form that we have been able to preserve for more than 160 years.

Listening to Music class has taught me a new way to listen and enjoy music. I have learned how to differentiate the melodies, rhythms, and instruments in a song. It has also introduced me to different genres in the music world, aside from what is usually played on the radio. I can now attend any concert, listen to any genre, or watch any ballet and easily recognize the many specific aspects the music being played has. Ballets are very interesting to me. The audience is able to enjoy the music being played as it is telling a story, and being acted out through the performer’s body language. In the two ballets, The Rite of Spring and The Nutcracker, a great story is told in both referencing the many great dynamics music has. These two specific ballets are written by different composers, and each one of them have certain conditions they were written under. As well as different receptions, popularity, and development. The Rite of Spring and The Nutcracker’s differences has made some sort of an impact in the performing world back then as well as now.

John Hick discusses in his essay The Problem of Evil, the objections to the belief in the existence of God is the presence of evil in the world. He begins by posing the traditional challenge to theism in the form of the dilemma: That if God was perfectly loving, he must wish to abolish evil, and being all powerful, is able to perfectly do so as he will its. He then proceeds to present some views regarding this issue, giving insights from three point of views, that of contemporary Christian Science, the Boston Personalist school, and the theologian Augustine. The first opinion takes evil as an illusion, as a construct of the human mind. The second confers upon God finity, God as a struggling ruler,

In the Frivolity of Evil by Dr. Theodore Dalrymple, the author conveys the reader in the predicament of Frivolity using his own experiences while working as a psychiatrist in the hospital and prison ward. He believed that the lack of accountability for one’s own action is source of evil. Evil that manifests through the flawed idea of medical diagnosis system, government system, and libertinism. The author believed these three doctrines contributed to the “metastasizing social pathology of Great Britain;” and he ultimately held the intellectual and political elites responsible for the country’s downfall. As he stated at the end of his article, “Ultimately, the moral cowardice of the intellectual and political elites is responsible for the continuing social disaster that has over taken Britain, a disaster whose full social and economic consequences have yet to be seen.”

Theodore Dalrymple is an English writer and psychiatrist who recently retired as a prison doctor. His article “The Frivolity of Evil”, is one of his most well known from the book Our Culture, What's Left of It. He writes about how there is so much evil committed by individuals in his city in Britain even though they are not being compelled by a dictator of any sort to perpetrate it. He contrasts evil that is “unforced and spontaneous” to evil that is being dictated to individuals; beating a woman and breaking her arms out of jealousy in contrast to the 6,000 people that have been slaughtered by the president of Liberia, respectively.

The unmistakable photograph of two radiant schoolgirls in their Manchester United shirts makes the case of the Soham murders hard to forget. This very photo is the front cover of Nathan Yates’ written account and description of this case in his book called, ‘Beyond Evil: Inside The Twisted Mind of Ian Huntley’. Yates, working for the Daily Mirror, was one of the many reporters enquiring into the murders of Holly Wells and Jessica Chapman. This true crime book is clear to comprehend Nathan Yates’ shock and understanding of the investigation while he was so close to the case as it developed and more and more evidence surfaced.

Evil Genius, written by Catherine Jinks is a treat for fans of young adult crime fiction, as it is about a young boy, Cadel Piggott, who has a brilliant IQ and love for computer hacking. At the age of seven, he was illegally hacking websites, banks, and other computer software. After turning fourteen he was eligible to join the Axis Institute a school where intelligent children learn illegal activities. For example, infiltration, manipulating, explosives, forgery, and embezzlement. The institute was established by a genius criminal named Dr. Phineas Darkkon along with his right-hand man who goes by the name of Thaddeus Roth.

So, Siegfried thinks he's (ahem no pun intended) killing two birds with one stone: he's being true to both Odette and his social obligation to marry. Siegfried isn't undone because he thinks Odile is smokin' hot; he's undone because he thinks she's Odette. In essence, Rothbart gets him on a technicality. As far as I'm concerned, this makes the ballet hollow at its core. We are set up to believe that

I've also wondered just what, exactly, Siegfried is guilty of. But I think that if he genuinely mistakes Odile for Odette, that still could be considered a moral lapse. Kathleen O'Connell makes that point in the passage quoted, but doesn't see it realized in stagings. For me, it is there, in the traditional staging, though perhaps requires the audience give some thought to what is happening. Siegfried should be able to make the distinction between the two figures, especially given the archetypal weight the ballet gives them. And he should not, say, behave like a ballet fan, who loses her/his head at the sight of 32 fouettes :wink:. I don't think it takes two different ballerinas dancing Odette/Odile to make this point. In fact, it should be at least somewhat hard to tell them apart--that's what makes it a kind of moral test. If the two women are no more similar than Swanilda and Coppelia than Siegfried is just a dolt like Franz. It could be done with two ballerinas, but it's subtler with one...