The Velvet Wall Poem

Our world is full of mysterious things. There are different places around us filled with mysterious history. “Keith Albee Theater”, was the popular theater of Huntington, West Virginia in 1940s and now as a performing arts center for Marshall University. Though it was popular for its beauty, it was one of the haunted theater during 1940s (Keith Albee Theater). It is said that “Do not judge book by its cover”,

Ray Bradbury uses a writing technique called charge words to describe with the fact on how he uses censorship his mood is once happy but as the story

I decided to write my paper on Poe’s tales of Terror film and Poe’s The Fall of The House of Usher. I’ve have always found Poe’s work interesting. In this paper I will identify the author’s and film intentions. As well as identifying University themes, conflicts and climaxes in both Poe’s Tales of Terror and The Fall of The House of Usher.

In her time not spent preparing her skills, Sue was frantically searching for new opportunities to further her art career. Originally her endeavors were small, one or two pieces in a gallery, occasionally receiving a private commission, however one day everything changed. Sue burst through the door of the studio, running towards her room, nearly slipping twice along the way. “What is the matter with you, Dear?” asked Johnsy, rightfully confused by the sudden commotion. “I’ve found it! I’ve found my opportunity to create my masterpiece!” Sue exclaimed between breaths, after frantically heaving her luggage bag out from under her bed. “One of my pieces on display over at brown’s gallery caught the eye of an art collector. He said that it “Spoke to him,” so much that the wants for me to accompany him on his journey to Europe!” “Oh my – that’s wonderful!” Johnsy exclaimed, “When do you leave?” “I’m to meet the collector at the docks in the morning, we’ll be on our way by noon!” The two celebrated and packed all night, both overflowing with excitement for the journey to

Starting with Ancient Greece and following into vaudeville and the variety of acts it included, yet even then, before motion films, artists who didn’t succumb to the suggestion of leaving out any “blue material” faced backlash. Next, during the time when the great war was in our midst, Adolf Hitler became a key factor of scrutiny for the comedic realm, and still arises in many television shows, movies, and comics today. The humor found from using Hitler is an attempt for easement of emotions felt from his reign of terror, where we can find solace in his misfortunes. Afterwards, Mike brings in those three comedians that are esteemed as the best in their art, but that didn’t make their job easy. Lenny Bruce, George Carlin, and Richard Pryor all faced tremendous turbulence throughout their careers. Bruce was arrested for use of profanity during an act, severely affecting his career. Pryor’s use of derogatory racial terms, and making fun of his own drug use, fell outside the box. Carlin’s “Seven Words You Can Never Say on Television,” got him arrested and eventually resulted in a Supreme Court case in 1978 against what should be considered indecent material. “Indecency is wholly subjective and therefore impossible to lay down a hard-lined definition for,” here, Celestino is explaining the

In the article, One Term Is as Fatuous as Another: Responses to the Armory Show Reconsidered, the author, JoAnne M. Mancini, argues that while historians typically “veil” the Armory Show in terms of a political crisis, the American Modernism that yields from it owes its origin to the “legacy of professionalism”. She also contends that the Armory Show was, in fact, a momentous turn of the century event where art and politics joined together and cooperated instead of fighting one another. This marked an important transition in the history of art. Mancini explains that the only reason that critics of the Armory Show believe it was too insurgent is because once it was seen as a radical movement, we search for more radicalistic ways to interpret it. Mancini then goes on to break her article into three subtopics: “Skeptics”, “Antagonists”, and “Champions”. These three ideas have arguments of their own. In “Skeptics”, Mancini argues that the cynics did not completely dispute the show but, often were able to find a silver lining in some portion of it. The “Antagonists” section aims to prove that while the critics of the show had an amazing impact on the publics opinion, many professionals wanted the public to create their own opinion. Mancini quoted Kenyon Cox saying “Do not

Finally, Mom and Pop Art reveals the postmodern ideals of phase 3 as described by Gibson. True to the postmodern questioning of defining anything as fixed, the episode critiques the recognition of museums as educators and asks what determines something as culturally valuable. Returning to the discovery of Homer as ‘artist’, the first question of judgment is Marge’s disappointment that she has long dreamt of being an artist, while Homer who has no artistic capacity is the one deemed talented. Ambivalent of this designation, Homer relents when the gallery owner describes his composition as “outsider art”, or in other words “art that could be created by a mental patient or a hillbilly or a chimpanzee” (Jean 1999). We would be amiss here to disregard

Bigger the population, the more minorities. Don’t step on the toes of the dog-lovers, the cat-lovers, doctors, lawyers, merchants, chiefs, Mormons, Baptists, Unitarians, second-generation Chinese, Swedes, Italians, Germans, Texans, Brooklynites, Irishmen, people from Oregon or Mexico. The people in this book, this play, this TV serial are not meant to represent any actual painters, cartographers, mechanics anywhere. The bigger your market, Montag, the less you handle controversy, remember that! All the minor minor minorities with their navels to be kept clean. Authors, full of evil thoughts, lock up your typewriters. They did. Magazines became a nice blend of vanilla tapioca. Books, so the damned snobbish critics said, were dishwater. No wonder books stopped selling, the critics said. But the public, knowing what it wanted, spinning happily, let the comic books survive. And the three-dimensional sex-magazines, of course. There you have it, Montag. It didn’t come from the Government down. There was no dictum, no declaration, no censorship, to start with, no! Technology, mass exploitation, and minority pressure carried the trick, thank God. Today, thanks to them, you can stay happy all the time, you are allowed to read comics, the good old confessions, or trade

Returning again to the tour of the Springsonian, we see the postmodern challenge of authority when the often self-referencing practise of The Simpsons visually interrupts Marge and Homer. Seeing a cartoon by Matt Groening, Homer states “Matt Groening? What’s he doing in a museum? He can barely draw” (Jean 1999). Homer’s comment mirrors Marge’s view of his artistic ability and reinforces that the cartoon is out-of-place among all the other famous works. Wolf argues that this implies a “parallel that neither Homer’s nor Groening’s productions qualify as art” (p. 102), however I contend that this also alerts us to the challenge of the power of our institutions. For example, in our museums we see great importance on the most basic drawings like

Disturbed. Uncomfortable. Unpleasant. These are some of the prominent emotions I felt and words that came to mind when first visiting this exhibit by myself. Currently in the John and June Allcott Gallery, artist Peter Williams’ Dark Humor is displayed and will be kept there until September 28th. The purpose of this exhibition is to “tell the appalling story of humankind and the evils it perpetuates” according to Williams in an interview with Artslant.

Reading literature, writing poetry, prose and essays and participating in theatre and forensics have been the major contributors to a better perception of the many facets of "English" for me, and that perception, I believe, was the catalyst for my ongoing romance with the components of the English language. I simply adore the use of words and the medley of ways in which words can be ordered to create new and distinct works of art. Just as an architect must thrill at the preparation of blueprints for the design of a building, I tingle at locating the right words to construct the perfect sentence. Reading diverse literature by a variety of authors has enabled me to take apart sentences and phrases and ponder why the author chose specific words as the blueprint for the design of a theme, message or character.

This semester in Drama 1101: Intro to Theate we are required to read and attend plays that confront social and aesthetic issues. I have a love for plays and broadway productions. So, when enroll in the course I knew that this will be something I will enjoy. I learned so much and enjoy the overall class experiences. The first play that we were required to attend is The Importance of Being Earnest, by Oscar Wilde. The importance of being Earnest one of the most remarkable works of satire and criticism not only in the Victorian age, but also nowadays, since it discloses many aristocratic behaviors that seems to be very weird and funny at the same time. the several interpretations of this play may be considered as an enough reason for explaining the wit and cleverness of Oscar Wilde.

art for arts sake for art comes to you professing frankly to give nothing but the highest quality to your moments at they pass (Pater A Twentieth-Century

The genre of comedy, throughout the history of dramatic art has always served to not only entertain audiences, but to make them aware of their own individual flaws, or flaws that exist in society. (Weitz, E.) Comedy has no precise definition, and its boundaries are broad. One function of comedy however has remained the same - to hold up a mirror to the society of the time but through pleasure, inviting audiences to reflect and also providing amusement. Set in the late nineteenth century, the play An Ideal Husband by Oscar Wilde (1895) epitomises comedy, as both a literary and dramatic genre. Wilde was masterful in his ability to combine aspects of evolved comedic traditions and dramatic conventions to critique Victorian society. Drawing on characteristics of Greek and Roman tragicomedy, the choices in the play’s plot involves elements of tragedy as well as scenes that serve as comic relief and give the audience a sense of finality through a happy resolution. (Bureman, L) Focussing on the upper class stratum, Wilde employs a comedy of manners Molière style, of the Restoration Period in the seventeenth century in the play by combining forms of comedy with aspects of realist drama. The portrayal of archetypal figures such as Lady Chiltern and Lord Goring satirize rigid moral value of the time and expose their hypocrisies, through dialogue involving irony, wit and humour. Elements of farce and disguises characterized by ‘commedia dell’arte’, a form of comedy first developed in

Sylvia Miller is renowned for her understanding and interpretation of the aesthetic aspects of English literature throughout the periods Old English to the Modern English, ranging from 800 A.D, all the way to the twentieth century. Sylvia argues that the language is based on entertainment and that the enjoyment of the text lies in bringing out the beauty of the language and the craftsmanship of the author. And, as for Joseph Johnson, his insight and deconstruction of text and the English language through linguistics is able to magnify the origins of the text and how its historical context would have affected the language and style of writing. With this analysis, text and language becomes a historical timeline that contains the foundations of Modern English. With these two individuals tonight,