Hamlet - Ophelia Character Analysis Essays - Characters In Hamlet

Hamlet - Ophelia Character Analysis Ophelia is a beautiful and simple-minded woman, easily molded by the more powerful opinions and desires of others. The thoughts of her father and her brother influenced her the most. The love letters from Hamlet also swayed her opinions and confused her mind. Ophelia wasn't able to realize herself because of all the pressures exerted on her to be something she's not. That weakness of mind and will, which permitted her obedience to her father and thus destroyed her hope for Hamlet's love, finally resulted in her insanity and death. When her father had challenged the honor of Hamlet's intentions, Ophelia could only reply "I do not know, my lord, what I should think" (III, iii). Used to relying upon her father's direction and brought up to be obedient, she can only accept her father's belief, seconded by that of her brother, that Hamlet's "holy vows" of love were simply designed for her seduction. She was to obey her father's orders not to permit Hamlet to see her again. Her father also wanted to prove Hamlet's madness to the king. He used Ophelia as bait so he and the king could listen to Hamlet's words. Ophelia willingly obliged to her father's desires. By not thinking for herself and only doing as her father wished, she ruined her chances of love with Hamlet. Hamlet put pressure on Ophelia by expecting her to surpass his mother's shortcomings and be an epitome of womankind. He searched her innocent face for some sign of loving truth that might restore his faith in her. He took her mute terror for a sign of her guilt and found her to be a false person, like his mother. In his letter to her, he addressed the letter to "the most beautified Ophelia" and he terminated the letter with "I love thee best, O most best, believe it" (II, ii). He used the word "beautified" to display a sincere tribute, and it is apparent he still loves her. His attempts to win her affection are not triumphant. Ophelia is still too much under the influence of her father to question his wisdom or authority, and she has no mind of her own to understand how much she has made her lover suffer. No matter how much it pained her to not see Hamlet, all she could see in his present behavior is the madness that terrified her. Ophelia's insanity was a mixture of love and hate caused by her father and Hamlet. An example of hate is when she sings about a "baker's daughter"(IV, v). Ophelia is referring to the way her father used to treat her before the tragic incident of his death. The love within her madness is when she speaks about the events on "Valentine's Day"(IV, v). When Ophelia speaks about Valentines Day she is referring to the events of romance that she was denied. Ophelia's madness is brought on by her lack of being able to demonstrate any maturity in trying to cope with her losses and in return can only inflict her madness on the court. Abused by her lover, and bereft of her father's protection she loses control of her mind. In her insane state she came to believe that the seduction her family tried so hard to protect her from has passed. Her father's admission of error might have embittered a more independent Ophelia. This explains Hamlets rejection of her. Being tormented of scenes of death and the burial, she reaches out to the beauty of hanging flowers in a willow tree and somehow drowns. Ophelia was never able to understand exactly what Hamlet was suffering from, and in a way he created a situation for her to relate; death of a father and betrayal by a loved one. Hamlet managed to rise above insanity and feelings of suicide, but her weaker spirit could not hold the burden.

Input Devices essays

Input Devices essays Computers would be useless without input devices. Even small-scale computers from calculators to GPS navigation systems require some input from the human being in order to work properly and produce worthwhile output. Some of the everyday input devices like keyboards, mice, joysticks and microphones have reached increasingly more sophisticated levels of technology. Other input devices that are available to the general public but are generally used in commercial settings include touch-screens, keypads for ATMs and bank card purchases, credit card scanners, bar code readers, and more. However, new technology is constantly being developed to create ever more sophisticated and futuristic input devices. Some of these, like the digital signature capture pen and 3D body scanner, may never make it into the common household but are nevertheless fascinating new developments in technology. They enhance the ways in which human beings can interact with machines. Some other new input devices discussed in the Popular Science online magazine include touch screen GPS systems, fancy digital music centers that operate independently from the PC, and the most outlandish: the wearable computer. The wearable computer is mostly a thing of fantasy but baby steps will continually be made to eventually enable the entire human body to potentially interact with a computer. The portable navigation systems currently out on the market are very helpful for drivers, hikers, and campers. They usually require the user to input coordinates in a cumbersome manner, by scrolling down a list and manually inputting navigational points of reference. This tedious process has been recently made more streamlined by the introduction of the touch screen GPS system. However, this is really no different from the technology used for touch screen computers; the difference is in the output of the The advances in digital music...

The importance of Commitment in any relationship that one hopes will Essay

The importance of Commitment in any relationship that one hopes will last - Essay Example The role of the simplistic Gimpel in â€Å"Gimpel the Fool† is a classic example of total commitment to a relationship – in this case, to his wife Elka. The story, set in a small Jewish town, tells how a gullible Gimpel is lured into marriage with an adulterous woman who treats him with contempt and ridicule, brazenly carrying on affairs with different lovers. Gimpel suffers this humiliation, sometimes yearning to break away from the relationship (â€Å"Enough of being a donkey,† he used to chide himself, â€Å"Gimpel isn’t going to be a sucker all his life†). But sucker he chose to be, turning down the advice of the rabbi to divorce Elka (â€Å"Let her go, the harlot,† said he, â€Å"and her brood of bastards with her†). Gimpel continues to believe in his wife â€Å"What is the good of not believing? Today it’s your wife you don’t believe, tomorrow it’s God himself you won’t take stock in†), staying totally committed to her until her untimely death. Elka realizes the importance of commitment in their relationship only when she is on her death bed, when she pleads with her husband to forgive her (â€Å"Forgive me Gimpel. It was ugly how I deceived you all these years†). The wrongs that she committed, and the bad way she treated her simple but good husband, continue to plague her even after death (at the end of the story, Elka’s ghost materializes, urging Gimpel to continue in the path of righteousness). â€Å"The Lady with the Dog† is a story set in Russia. The protagonist, Dmitri Gurovm denigrates women and refers to them as â€Å"the lower race†. Unhappy with his marriage, bound to a wife â€Å"who loved without any genuine feeling†, and linked to the conventional Moscow society, he looks for diversions. He does not attach importance to commitments in various extra-marital relationships as â€Å"simple and amusing,† testimony of his â€Å"eagerness for life.† Anna

Six Sigma Quality Essay Example | Topics and Well Written Essays - 1750 words

Six Sigma Quality - Essay Example Wide spread of this concept has led to unreasonable growth of supervising personnel. Up to 40 and more percent of strength of workers involved in manufacture, that in its turn has caused irrational increase of expenses for quality management and, hence, has lowered efficiency of production. As a result in 20th the attention of managers has moved from rejection of production in the process of its yield to quality control in the process of manufacture. The most significant role of this stage was played by Mr. Shuhart, Western Electric company's employee, who suggested to apply statistical methods (known now as Shuhart control charts), which allowed to increase qualitative products yield in the process of production. However improvement of separately taken process has been often restrained by inefficiency of other fields of companies' activity. This problem has been solved owing to activity of Japan manufacturers who, having collided with a strong competition from the side of foreign pr oducts, have decided to take steps for improvement of quality at simultaneous decrease of net cost. They have invited American experts Deming and Juran, who worked the program consisted of 14 items, and based on improvement of entire company's management system, on direct participation of management in all quality issues of company, and on stimulation of personnel to qualitative labor activity. It appeared a 'Zero Defect' concept. New approaches have led to growth of quality produced goods and decrease of expenses for their manufacturing. However the qualitative product still was understood as production being congruent with norms, established by the manufacturer, instead of by consumers. In this connection the high-quality goods sometimes did not go through. From the middle of 60th of twentieth century manufacturers were focused on better satisfaction of consumers' demands. At this stage appeared the theory of reliability and system of the automated designing of works. As a result of analysis of industrial systems it was found out, that the reason of a better part of defects (about 80 %) is insufficient quality of design works. That is why before testing of samples in real conditions they began to conduct mathematical modeling of products and processes of manufacture properties. It has considerably raised efficiency of developmental works.Six Sigma Today companies use various technologies for decrease of costs, satisfaction of requirements of clients, reduction of terms of development and yield of production to the market. In order to transform consumers' demands into technical requirements to products and their manufacture, it is often conducted the functional-cost analysis (the analysis of expenses for manufacture of a product with the purpose to decrease its cost price); the analysis of opportunities of occurrence and influence of defects of a developed product on consumers; the is functional-physical analysis (the analysis of quality of technology projects, principles of product and its components working). At this stage the quantity of concepts of quality management grows. Despite of otherness of names and used tools, they have been based on the same principles. Quality can be presented in the form of a five-pointed star, in the basis of which lays documented, the formalized organizational system of quality manage

Marketing Plan for The Times Newspaper Essay Example | Topics and Well Written Essays - 2750 words

Marketing Plan for The Times Newspaper - Essay Example This essay stresses that marketing strategy is primarily concerned with the process where a need satisfying product or service is exchanged for a certain value and there are mainly four variables that constitute a market offering and they are: product, distribution/place, price, and marketing communication. To a greater extent, the success of any marketing strategy employed by any company is strongly dependent on the effectiveness of its marketing communication. There must be a good flow of information between the buyer and the seller to enable the buyers to make informed decisions which always take precedence before the actual purchase. In its endeavor to establish a new product, The Times ought to adopt strategies that would allow them to clearly distinguish their target market in a bid to have some competitive advantage over other rival competitors who also operate in the same industry. This paper makes a conclusion that communication plays a very important role in marketing a product to the customers. The advent of the internet has brought about sweeping changes in the way organisations operate as well as market their products. There is need for an organisation to segment its market in order to clearly identify their target customers in order to have a competitive advantage over other rival competitors that may exist in the market. As noted, there is need for The Times newspaper to effectively use marketing communication in order to successfully launch a new product to the customers.

The Eisenstein And Architectural Montage Film Studies Essay

The Eisenstein And Architectural Montage Film Studies Essay From a lump of clay a vessel is made, what makes it useful is space within the vessel, for a room, we make doors and a window, but what makes a room habitable is the empty space, so while theres advantages in the tangible, it is in the intangible that theres use.  [1]   Lao Tzu, Tao Te Ching, c.550 BC Tzu describes a space which is not empty but which is a gap, a gap which is waiting to be transformed by experience. These spatial gaps are inherent in fragmentation. In his book Actions of Architecture, Jonathan Hill focusses on these spatial gaps and discusses the Chora L. Works by Jacques Derrida and Peter Eisenman. The book is split into three sections. It doesnt start at the beginning nor does it end at the end. The first and last sections are penetrated by nine holes whilst the middle section has only conceptual holes. Hill states the intention of this was to convey that the absence of a section doesnt mean the absence of meaning. In the book, Eisenmann and Derrida declare that solid and voids are architectural representations of presence and absence. Voids have as much of a presence as solids in the book, as users can fill in missing words with their own meaning. Montage: In Actions of Architecture, Jonathan Hill discusses the use of montage in architecture. He uses Alvar Aaltos Sanatorium and Le Corbusiers 1931 rooftop apartments for Charles de Beistegui as examples of buildings where montage was used as a strategy for architectural composition. In Aaltos Sanatorium, montage is used as a strategy to join two dissimilar aspects of the building which have no connection expect for being adjacent to each other. Aalto achieved this by utilizing two distinct fragments.  [2]   In Le Corbusiers rooftop apartments, the architect departs from his traditionally rational design approach. Various surfaces of the apartment are juxtaposed with elements of the surrounding city. Important fragments of the city are isolated from the rest of the urban context below with the use of high walls surrounding the perimeter of the terrace. By doing this, Le Corbusier twinned the fireplace with the Arc de Triomphe in the far distance. The architect revealed selected views of the city with sliding walls. A periscope in the centre was the only means by which the entire city could be seen as a spectacle.  [3]   Space Between: Hill explains montage as a spatial exercise where fragments are brought from other sites to a new location while maintaining to some extent the essence of the older location. He uses film to explain this. In film, we perceive fragments through the arrangement of components. In Baldessaris artwork, the artist claims the process is as important as the final result. He juxtaposes unrelated components as he opposes the predictability and linearity of film.  [4]   Jose Quetglas suggests that Mies is concerned with the creation of visual perspective that acts as a guide to movement.  [5]  A Miesian plan is primarily concerned with compositional aspects of perspective painting than that of the anti-perspective intentions of the De Stijl. Jonathan Jones, a researcher at the Applied Visual Research Unity in Derby University found that according to his research, it is impossible to comprehend a painting in its entirety at once. A single glance is not sufficient to take in everything. Visual perception is fragmentary in nature. Our visual field is quite small so to focus on objects results in the background becoming blurred. Similarly in a film by a montage director, the world is viewed through a series of glances.  [6]   While designing the Barcelona Pavilion, Mies drew an axial line over and over from which he measured asymmetries against.  [7]  Mies orientated the Pavilion along an East West axis. Through termination of axis and spaces, movement was diverted. Mies used this technique to formulate movement sequences. Zimmerman states movement flows on the outer of planes in contrast to the delimiting floor and ceiling planes.  [8]  Mies contrasts symmetry and asymmetry and slices space with elements of the building which is characteristic of postmodernism.  [9]   In his book Neoclassicism Architecture Rowe analyses the work of Mies. He states the centre is diminished by the international style and emphasis is placed on dispersion along the axis in which Mies creates a composition of balanced symmetry.  [10]  The Pavilion is an example of decomposition of a volume which is deconstructed into individual planes. Through Mies Pavilion we see a focus on multiple viewing positions as opposed to a single perspective of the classic. The positions of internal walls are determined by the use of triangulated lines. Mies aligns corners and end points of planes using this technique.  [11]  His attention was divided between the fragmentation of the space and the integration of visual perception through this method. The image was fragmented by The Cubist Art Movement which created multiple points of view. As discussed, in Mies Pavilion we see a shift from centrality, abstractions of geometries and facades with frontal relations.  [12]  Buildings such as this cannot be experienced or understood from a static position. Cinema Montage is composition and the assembly of movement images. This comprises an image of time.  [13]  These parts succeed each other creating a parallel alternate montage. Eisenstein criticises Griffith for what he see as the juxtaposition of parts and not a unity of production. A cell, which makes its own part by division and differentiation. Eisenstein agrees with Griffiths idea of an organic composition as an assembly of movement images to the transformed situation through the transcendence of opposition.  [14]   Deleuze investigates cinema in terms of movement, the philosophical and the technical. Movement informs our understanding of the formation of worlds in terms of the types of information it selects and generates as new forms. Deleuze discusses cinema in terms of framing the movement image. In a relatively closed system; framing, type of shot and cut are the vital aspects for the films quality creating what he calls a set of values.  [15]  The speed and rhythm of the shots affects the image. Cinema Montage: Dleuze looks at four schools of montage. American, French, German and Soviet. Deleuze situates montage in the relation the movement of time. In the Deleuzian system, montage is the determination of the whole of the image, achieved through the techniques of cutting and creating continuities. Montaged images creates sets of images. Montage creates movement which in turn produces specific modes of time that are not fixed but events that are contextually reproduced over the passage of chronometric time. He regards montage as the coming together of images to create a whole whose final form is in movement. He refers to the work of Bob Dylan as an example of the long preparation for creating work. To him things are made after an encounter with other things, people but also with after encounters with movement, other ideas, events, entities. Cinema is comprised of a number of different kinds of images, Deleuze calls this image- assemblage montage. Through connections as of yet un-thought, un-named, but intuited through things already manifested in forms and the performance of those intuited spaces. Montage makes possibilities take new forms. Eisenstein: Architectural Montage. For Eisenstein, a relentless vertigo is determined from the architectural forms interacting with each other. Eisenstein intention was for architectural representations of space to explode into successive stages of montage from decomposition to recomposition as though it were an array of shots. From this, Eisenstein claimed the principles of montage are embodied by architecture. In Montage and Architecture by Eisenstein, he sets out this theory. Two paths of spatial perspectives are contrasted, where the viewer follows an imaginary line created among a series of objects. Varying positions moving in front of a spectator and the architectural, where, the viewer moves through an array of carefully positioned elements which he has viewed in order with a visual sense. Eisenstein claims that the perspective path of the Acropolis constructed by Auguste Choisy depicts composition of the site.  [16]  He asks the reader to view it with the eye of a film maker. Eisenstein claims there are carefully sequenced perspectives here. He suggests that there is a relationship between the viewers pace of movement and the rhythm of the buildings. To him, Choisy has set up a combination of a film shot effect, producing new impressions from each new emerging shot. This creates according to Eisenstein a montage effect, where effect is gained from sequential juxtaposition of these shots. In the movie street Eisenstein shows his interest of cause and effect as a notion of movement. Shots are decomposed and recomposed. Architectural composition is compared to cinematic montage by Eisenstein in an essay on two Piranesi engravings for the early and late states of the Carceri series. The flux of form which contains the potential to explode into a series of successive states Eisensteins theory of space constructions depicted new ideas of architecture as frozen music. Eisenstein compared the basis of architectural composition, massing and the establishment of rhythmic elements to that of music, painting and cinematic montages. Montage: As Frozen Music In The Culture of Fragments Gianmarco Vergani puts forward a proposition for the unification of interdisciplinary arts to create an original art form. This is an area which offers a depth of experimentation. According to the author, the merging of architecture and music can be achieved through two principles, synchronic and diachronic expression.  [17]  He terms music as a diachronic art form as it is derived from change and continuous transformations in time. Architecture on the other hand, is synchronic, it a fixed medium consisting of structure and volumetric elements. This leads to two methodologies by which to create architecture through music. First, music must be reduced to its architectonic dimensions outside of time. Music is then seen as a synchronic structure in which it can be applied to architecture. In the diachronic approach, architecture unfolds through time. Space is read sequentially in time increments and is experienced through the observers movement.  [18]  This is a reversal of positions as the observer is required to move in order to experience the architectural composition unlike the listening of music where the observer remains static whilst enveloped in music. Relationships are formed between the two elements. The author proposes that in music; tone timbre, pitch, dynamics and duration can be extracted while in architecture; texture, material, light, colour, scale. These can be transposed into architectural spaces. In music the pitch is transposed into colour, tones and timbres are transposed into textures and materials. The dynamics of a piece of music can be read as contradiction and increasing scale.  [19]   However, he does claim some limitations in this methodology. He states the art form is not truly fluid or dynamic as it can only become such through the participation of the observer. Architecture is static; representing time in this medium cannot be fully executed. The author proposes that a truly diachronic visualization of music is needed. Folding In Folding in Architecture Greg Lynn declares the importance of defining compositional complexity in architecture. Gregg seeks a progression from the collage aesthetics of Robert Venturis Complexity Contradiction in Architecture and the spatial collage of Deconstructivist Architecture. Greg terms Intricacy as a fusion of components into a continuity creating a whole in which the various elements form a larger composition.  [20]   According to the author, this intricacy is unlike compartmentalisation or hierarchy. Instead it is the variation of components. He aims for the term to move from an understanding of detail in architecture as an isolated component. What is proposed is an architectural system where there are no details in the traditional sense. Instead the detail is everywhere continuously variegated throughout the whole. As mentioned in previous chapters, the loss of structure to Greg was in favour of an infinitesimal component and displacement of a fragmentary collage.  [21]   The infinitesimal is a fragmentary approach to form. It is based on the slipping between single frames and interconnections. From a distance the form possess similarity and in a coherence of detail between varying elements that compromise the structure. According to the author, the composition of the intricate is organic, in that every component interacts and communicates simultaneously. Every instance is affected by every other instance. The outside is not a fixed limit but a moving matter animated by peristaltic movements, folds and foldings that together make up an inside: they are not something other than the outside, but precisely the inside of the outside. Deleuze Foucault p.96-97 Le Pli, the concept of the fold, is Deleuzes architectural philosophy. In which, the fold is seen as continuous multiplicity of differentiation Thus a continuous labyrinth is not a line dissolving into independent points, as flowing sand might dissolve into grains, but resembles a sheet of paper divided into infinite folds or separated into bending movements, each one determined by the consistent or conspiring surroundingà ¢Ã¢â€š ¬Ã‚ ¦ A fold is always folded within a fold, like a cavern in a cavern. The unit of matter, the smallest element of the labyrinth, is the fold, not the point which is never a part, but a simple extremity of the line.  [22]   The fold is the integration of elements that are unrelated into a continuous form. Deleuzes philosophy of the fold offers continuity and variation in the development of a form. To him the form is the conclusion and the process. The Inflection as Delezue describes is the point at which a curve begin to form as either convex or concave. Inflection is the ideal genetic element of the variable curve or fold. The essence of a fold is the temporal nature in which it develops from the inflection to its subsequent position. A memory is maintained of its previous position.  [23]   to unfold is to increase, to grow; whereas to fold is to diminish, to reduce, to withdraw into the recesses of a world.  [24]   An example of this can be viewed in Origami. The folds of which shift from enfolding, unfolding to enveloping. After the first fold, the context begins to reduce in size. The form is unpredictable, after each fold the shapes from the previous fold cease to exist. According to the author, in this instance memory can be enacted through unfolding. A variation of this is Kirigami. The continuity of the folds becomes obstructed by cuts in the fold. This demonstrates conflict and contradiction instead of smoothness and continuity. The folds in origami act as bounding agents between other folds, in Kirigami when a conflict arises, the folds deviate from their continuity and exhibit but not resolve the occurring confliction. In this way, Origami is like folding architecture seeking to realize conflict and contradiction whereas Kirigami is similar to Deconstructivist architecture, it exhibits them. According to Deleuze, multiple is not many parts. It is something that has been folded in many ways. This becomes a unity that envelopes a multiplicity.  [25]   As a by-product of the fold, form and context become surfaces with no distinct interiority or exteriority. The continuous nature of the fold implies a dialogue between time and environment. Case Studies: Montage Strategies Rem Koolhaas who had involvement in cinema as a scriptwriter conveys cinematographic image in some of his plans. In his proposal for the City Hall in The Hague, we see a transfer of the Manhattan skyline to the European City. The famous skyline which is seen so many times in film is utilized here as a movie set made into architecture. Koolhaas breaks down the overall volume into various slabs and uses a series of prisms of differing heights. From a distance, the effect appears like a series of skyscrapers compressed on a flattened image, as would be the view from the opposite side of the river in Manhattan. Since the latter decades of the 20thCentury, fragmentation has been a central issue in architecture. The many different guises of architecture today from postmodern, Deconstructivist and to all subsequent trends are based on fragmentation. A transcript of Rem Koolhaas and Sarah Whilings conversation is quite revealing in this aspect. as an entire object from the exterior of a building. That is what seems to unite the biggest project competitions from 1989 (Zeebrugge, ZKM and Bibliotheque). In some of the projects, the architectural language is quite unstable. The facades and the angles of Porto Case de Musica and Seattle are odd structures which no longer possess a unified identity. For the most parts these projects appear more decon now than they did as part of the 1988 Deconstructivist Exhibition.  [26]   For Koolhaas, the characteristic of Deconstructivism was not in the strange forms, but in the fragmentation. According to Koolhaas, each new building insisted on assembly and integration, the construction of a new whole, which may be unstable but which remains a single entity.  [27]  An example of this are the Seattle and Porto projects which have forms that cannot be recognized as regular geometric shapes but they have in their volume a unity of materials on the outside. In terms of metropolitan scale, Koolhaas has said, A city can obtain a coherence in its planned composition through a system of fragments.  [28]   This is evident in his large scale urban projects where he strives to achieve coherence. According to Koolhaas when a building gets beyond a certain size, it becomes a big building. The volume can no longer be articulated by one architectural gesture nor a combination of gestures. It is this which initiates the autonomy of its elements. This is not fragmentation as the elements remain committed to the overall building. To establish links between independent elements, Koolhaas relies on the programmatic hybridizations, frictions, overlaps, proximities and the superimpositions that are possible in a building of large scale. Montage itself was founded to organize relationships between independent elements. As Maholy-Nagy stated in 1929. The technique of montage is present as efficient in many fields of design. It can be found in methodology, in text, writings and in painting through collage.  [29]   In Soviet avant-garde cinema, Lev Kuleshovs idea of montage can be viewed as an analysis, a dissecting into parts, with the aim of reintegration or as he stated, Montage is a two way operation Montage is the basis of cinema. It enables us to fragment and to reconstruct and finally to remake the material.  [30]   Dualities: Koolhaas utilizes these methods of montage in the urban planning and architectural projects his office undertake. A dualism is present in his use of montage. A decomposition and a reintegration. For example, in Lille Congrexpo, there are three independent sections. The zenith, the conference and the expo which are all juxtaposed without any articulation as though the three sections had been cut from one complete form. The CCTV HQ project in Beijing can be viewed as a single skyscraper which has been divided up into six parts which contain functionally different divisions. In these examples the concept was to concentrate all the activity and program into a single system. The Hyper Building in Bangkok is an assemblage of a series of pieces that maintain their independence in the final building. This is both sculptural and architectural. The building was designed by Koolhaas as a veritable city that groups a vast array of programs together giving the essence of a hybrid building on an urban scale. According to Koolhaas, several buildings fuse together into a larger singular whole which brings together the coexistence of real space and cyberspace, of electronics and real facilities. To him the montage consists of material bodies and immaterial flows. Montage as a collision: Urban Complexity Koolhaas compares the work of an architect with the cinematic montage. Im certain the work of a screenwriter and the processes of an architect are methods based on editing, in creating programmatic, cinematographic or spatial sequence  [31]   The complexity of urban life such as infrastructural congestion is the central themes to many of Koolhaas projects. He highlights these elements through the collision of contrasting elements. As with Eisenstein  [32]  , this collision sometimes occurs at several scales in Koolhaas projects, from the urban scale down to the encounter between materials. The Kunsthal in Rotterdam is an example of this issue. The concept was a square with two routes crossing it. The collision between these routes gives rise to the project. These two infrastructures also cross over other collisions, crossing between ramps and staggered planes, and between these and the horizontal planes. A similar instance can be found in The Euraille project. A tower was placed over the TGV station, this solution was the symbol of infrastructural and programmatic congestion that characterized the architectural operation. Similarly with Eisensteins films, through collisions, the visual and mental conflict involved in this montage is what expresses the concept. In The Hague, a service tunnel comprising of a subway with a station at either end and two car parks with pedestrian entrances, was not designed by Koolhaas to resemble a tree like system. Instead it is a hybrid project, building and infrastructure. The different program elements interpenetrate spatially and form an assemblage in which the flow and the visuals are participants an altering but not segregated perception. The strategy utilized here is that of the montage in which collisions between constituent environments and elements give rise to a richer and clearer spatial experience. The Villa Savoye marked a high point in Le Corbusiers promenade architecturale As a critic explains The movement, in one sense, is more virtual than real, to progress through the building you must engage your imagination  [33]  and if entertainment is associated with the displacement of the viewer, then the house becomes the source of that entertainment. It does this by choreography; there is no fixed image but a series of overlapping images. This architectural effect is clearly associated with cinema  [34]   Sequences There are three relations in an architectural sequence. The first deals with the working method. Secondly, external relations where spaces are juxtaposed and thirdly the program. The mode by which architects traditionally draw implies a transformational sequence. Layers of transparent paper are placed on top of each other. Each has a variation around a theme. An open system of sequencing sees transformation through the addition of new elements which are juxtaposed according to criteria such as narrative or programmatic. However, not all architectural sequences are linear and comprised of spatial additions. Fragmented montages produce structure where meaning is found through order of experience rather than the order of the composition. Mies Pavilion as discussed in previous chapters is an example of this fragmentation of space. Its sequence is organised around a thematic structure and variations.

The Relationship of Torvald and Nora Essay -- A Dolls House Henrik Ibs

The Relationship of Torvald and Nora At the beginning of the play, Nora and Helmer seem to have a happy marriage, although it is quite a childish relationship as Helmer often uses diminutive language and names such as ‘songbird’ or ‘squirrel to talk to Nora. However, by the end of the play Nora seems to have changed. The way Nora speaks changes from being a young girl to being like a woman. Finally, she leaves Torvald. At the start of the play Nora speaks in a very childish manner. You notice this when she says things such as ‘heaps’ and ‘the great blue sky’. This shows that she is mentally naive. She says these things as a child would say them. For example, the lines that she speaks have a lot of exclamation points and as Nora says some things she jumps up and down or claps her hands, this shows the childish way she acts. Torvald speaks to her in very over-romantic language and it seems as though maybe it isn’t real and their love is just part of a game. It is so romantic it seems as though he is trying to convince himself that he loves her. He says things such as ‘squirrel’, ‘lark’ or ‘songbird’. Songbirds are kept in cages so this may have something to do with Nora’s situation as Torvald controls the way she thinks and so she is caged in his world. Torvald also acts very paternally towards Nora and patronises her. Helmer uses the word ‘little’ a lot when he speaks to Nora. He calls her his ‘little Nora’ or ‘little creature’ which shows that their relationship seems to be more paternal than marital. Helmer treats Nora like a daughter. This is really noticeable when he does things like kissing her on the forehead or putting his arm around her. Helmer and Nora play a game and Nora manipulates Hel... ...lived by performing tricks for you, Torvald.’ She also says that Torvald had her as his ‘doll-wife’ and that Torvald played with her as the children played with their dolls. When she announces that she is going to leave him Torvald reacts at first by trying to forbid her from leaving ‘I shall not allow it! I forbid it!’ and since this doesn’t work Helmer tries to use religion as an argument so that she doesn’t leave. Also, he suggests that society will look on her badly, and then he pleads with her not to leave and says that he’ll change for her. However, Nora had her set view even though Helmer tried to use strength, religion and his sweet charm to keep her at home. In the end Nora leaves. She slams the door as she goes which shows a symbolic cut between her former life and the life that she is about to lead. She has finally left her Dolls house.