The Post War Era

The perception that all representations are limited in perfectly conveying the absolute past due to the subjectivity and specific purpose of the composer is an acknowledged idea drawn from post-modernist beliefs. In both Mark Baker’s The Fiftieth Gate and Art Spiegelman’s Maus, composers represent past events through making particular choices to communicate the interplay of both history and memory in order to gain a deeper understanding of the past as relevant to one’s identity in the present. Both texts are able to achieve an emotive representation of the Holocaust through memory to gain a deeper subjective understanding of their personal Jewish identity rather than to seek the conventional objective truth. They also successfully demonstrate the value of including historical validation when representing the Holocaust in gaining deeper understanding of how their past shapes their identity.

Good Afternoon Ladies and Gentlemen of the Multi-cultural convention, I have been selected to address the statement, “The Language used by composers has the ability to present responders with opportunities to challenge their perception of self and the world”. I will be doing so by closely analysing the language used by Komninos in ‘Hillston Welcome’ and ‘Back to Melbourne’ and John

congress managed to limit the power of the speaker so more voices could be heard

Composers’ representations of the complex relationship between people and politics are influenced by various moral and social agendas, whereby a portrayal of reality and meaning is inherently subjective.

The universality of themes pervading both Emma and Clueless in correlation with the humanistic, obviously flawed protagonists in both texts, captivates and immerses responders. This engagement leads to an involvement and enjoyment in the composer’s craft, which enables the responders’ to obtain sophisticated insight into the text’s concerns on both subjective and objective levels. Critiques agree that the transformation enables an audience to “enjoy cultural capital and aesthetic knowledge” while retaining a “connection to the past through classic text and cutting edge post modernism.”

The antiracist activities during the post-WWII era were in a complicated situation, it reached certain success in several areas, in educations, job markets, and cultural development and so on. And yet, it was inevitably hindered by numerous backlashes from different aspects of the movements. Interestingly, people tend to ignore the activisms at that time, like Manning Marable suggests in his Race, Reform, and Rebellion, historians rarely discuss the black movement of the post-war and cold war period (Marable, 17). In this paper, I would like to discover the merits and weaknesses of the movements in 1940 to 1960, and figuring why they are being overlooked.

An effective book should be relatable to the readers of the author’s time and still influence the generations in the future. Each individual novel shares a different rendition of the common themes of human nature and adversity that can reflect on the reader. A reader, from a century ago or in today’s society, interprets a story in a unique, personal way. For instance, although The Crucible is a story written about witches and the power of public opinion and truth, it relates to more modern day issues.

The characters presented in Fritz Lang’s film Metropolis and George Orwell’s novel 1984 are unique in terms of their personalities however share similar values of freedom, purity and honesty. As a result, the comparative representation of characters in these texts has substantially informed my understanding that composers affirm values like individuality, freedom and equality in order to respond to contextual concerns and warn of a future where these values would not exist.

By looking at these texts, we can see that both texts are merely representations fabricated by the composers to persuade their audience on the fidelity of their perspective, thus both texts provide their audience with a provocative

Through the various textual is features, the composers of both The Shoe Horn Sonata and The boy In striped pyjamas have created didactic texts that explore the extremes of human suffering during the brutality of war, effectively engaging the audience by appealing to their emotions.

Drawing upon literary modes and textual form, both composers construction of diversity is explored through the psychological and emotional impact a landscape has on an individual. This, shaping the audiences’ response to understanding “our” place in the world, such that through representation composers meaningfully engage with the audience and shape their response.

The image of post World War II America is, generally speaking, identified as an era of wholesomeness revolving around the nuclear family, the emergence of the suburban middle class and most importantly social conformity. This period was also marked as one of oppression towards those that did match the image of a good American citizen such as African Americans, working women, and homosexuals. All of these groups, more or less, were subjected to legislation that blatantly limited their freedoms as American citizens as well as demonization through the media and propagandist images and news stories. For these oppressed groups, the mid 20th century almost appeared to be a completely different world in comparison to the early 1900s when these restrictions weren’t in place.

Texts are cultural artifacts that reflect the thoughts and values of the composer’s context; they serve as a social barometer through which an individual can examine society’s changing ideals. This is evident in a comparative study of the novella Maestro by Peter Goldsworthy, and the film Pay It Forward, directed by Mimi Leder, By exploring the ways in which textual form reflects the context of these texts, audience members are able to draw distinct connections between the concerns expressed and the values of the time. The meaning of these texts can be shaped and reshaped by considering the nature of the connections between them — they both explore the multifaceted nature of transformations in character by contrasting the disparities and commonalities

In the way of politics, under the presidency of Truman and Eisenhower the way our nation was viewed changed greatly during the fifties and what was the post WWII period in America. I could not imagine when WWII ended, to be in the position Harry Truman was in because Americans were basically left in his hands. Truman accomplished a lot during his career from being the 33rd President of the United States, serving as senator for 10 years in Missouri and for a year was Vice President. He seemed like an individual who wanted the best for his state and later for our country. Due to poor eyesight, Truman was refused an appointment with the United States Military Academy at West Point. Truman rejoined the National Guard when the US entered World War

It is when the artist begins to add nuances and harmonies to the melody that the work becomes inaccessible to the unlearned ear, thus isolating a portion of the audience. When works of art are created to express the universality of humankind they are more beneficial to it. As an example, this view is dissimilar to the view if Dante, who believed that the language of a work should be elevated. Tolstoy argues the more details that are given in the work the more opportunities for disconnection from its message the audience has (391).