Romantics cautioned Essay

Whereas the great minds of the Enlightenment has placed great value on the pursuit and acquisition of knowledge, the Romantics cautioned that knowledge, unrestrained by a proper respect for the natural order, could lead to despair. There are several episodes in the book that point to the destructive power of knowledge that does not respect proper boundaries. The reader’s impression of Victor undergoes a transformation from a light, idyllic childhood, to a darker, more solitary figure pursing his passion by moonlight at Ingolstadt. His retelling of the story takes on a rushed, obsessive mood as he talks of nights in graveyards and charnel houses, foraging in the ground for human flesh and body parts. He remarks, â€Å"I seem to have lost all soul or sensation but for this one pursuit.†(Shelley 39) In his obsessive pursuit of knowledge and the power to create life, Frankenstein oversteps the boundaries of nature. In a moment of reflection, Frankenstein warns Walton, â€Å"Learn from me†¦ how dangerous is the acquirement of knowledge and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow.† (Shelley 38) In a similar manner, the innocence and naivetà ¯Ã‚ ¿Ã‚ ½ of the monster undergoes a transformation while sitting outside the cottage increasing his knowledge from tales in Ruins of Empire. Retelling this new knowledge to Frankenstein, the monster laments, â€Å"I could not conceive how one man could go forth to murder his fellow, or even why there were laws and governments†¦when I heard details of vice and bloodshed, my wonder ceased and I turned away in disgust and loathing.† (Shelley 104) Having previously been enamored with the beauties of nature, and capability of man, the monster reflected a sense of disillusionment when he asked, â€Å"Was man, indeed, at once so powerful, so virtuous and magnificent, yet so vicious and base?†(Shelley 104) Perhaps the most powerful caution against knowledge that does not respect natural laws comes when Shelley invokes the themes of Genesis, and Milton’s Paradise Lost. What more powerful image could there be to prove this point, than that of Adam and Eve disobeying God’s laws, eating from the forbidden tree of knowledge, and being cast out of the Garden of Eden into the dark world? Shelley’s portrayal of Victor and the monster’s evolution seem to align the innocence of childhood with the Romantic themes of sentiment, emotion, and an idealized view of the world. Victor’s depiction of his childhood seems to be filled with hope and happiness. He retells fond memories of family and friends that appear in stark contrast to the path his life took after the death of his mother. Similarly, the monster is initially described as possessing a childlike inquisitiveness, innocent and optimistic, until the outside world changes him. â€Å"I was benevolent and good; misery made me a fiend.†(Shelley, 84) Experience and knowledge change both of these characters for the worse. It is only the return of a friend from Victor’s childhood, Henry Clerval, which can pull Victor out of his darkness and rekindle an appreciation for the beauties of nature. Romantics believed that people should look to the natural world around them in order to provide insight into their inner selves. (Spielvogel 152) Frankenstein’s obsessive and reclusive studies cause him to neglect correspondence with his family for two years, and it is only Clerval’s appearance that can draw him out of seclusion and into nature. Their explorations through the countryside restore life to Victor. His renewed appreciation for nature makes him temporarily forget the dark, destructive path he was on. Clerval is the epitome of a Romantic character, well read in books of chivalry and romance, a composer of heroic songs, and an author of tales of enchantment and knightly adventure. (Shelley 23) These are the themes of the Romantic Movement! Shelley’s depiction of Victor and Clerval are not meant to be an indictment of education and knowledge, or even of science for that matter. According to Patricia Neal, Shelley â€Å"considered education essential for improvement.† (Neal) In fact, it is the knowledge the monster receives by reading great works of literature that allow him to develop a sense of awareness and truth about himself. Shelley cautions against the unrestrained quest for knowledge, as Victor warns Walton â€Å"you seek for knowledge and wisdom†¦and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been.†(Shelley 15) It is the selfish pursuit of knowledge, to the detriment of an appreciation for natural beauty, which leads her characters down destructive paths. An important theme of Romantic literature, and one very present in Frankenstein, is the idea that the progression of industrialization would cause people to become estranged from their inner selves, their identity, and the natural world all around them. (Spielvogel 152) The Movement placed a great deal of emphasis on nature and a glorified past because the Industrial Revolution was destroying nature and creating a gloomy environment. Victor is so immersed in his selfish scientific pursuits that he becomes oblivious to natural beauty all around him, â€Å"Never did the fields bestow a more plentiful harvest or the vines yield a more luxuriant vintage, but my eyes were insensible to the charms of nature.† (Shelley 40) Waldman’s characterization of scientists penetrating the depths of nature to discover its secrets, draws attention to industry and Science’s attempt to master the natural world, and the disruption of the delicate balance between humankind and nature that had existed in a previous era. (Shelley 33, Damyanov) The early days of the Industrial Revolution held so much promise and potential for improving civilization, but the results were not always so beneficial. Similarly, Victor had noble intentions when he began his research, but a lack of self-restraint meant the outcome was destructive. Shelley was alarmed by â€Å"the absence of conscience, or awareness of implicit obligation to provide safeguards in scientific creations.† (Neal) She was concerned about the long-term effects as Victor/mankind focused on his ability to manipulate nature, and lost sight of the bigger picture. The creation that held so much promise in the beginning, whether it was Shelley’s monster or the Industrial Revolution’s machines and science, had become a scourge upon society and a threat to its very existence. Shelley issues an eerie warning as the monster threatens the lives of Victor’s loved ones, â€Å"Remember that I have power†¦you are my creator, but I am the master.† (Shelley 152). The countless adaptations of Frankenstein that have been drawn from the original, fail to capture the essence of the story and the societal conflict it addressed. Victor Frankenstein’s desire to challenge the laws of nature led him down a path of self-destruction. His pursuit of knowledge and glory consumed him as he lost sight of the larger purpose, and lost respect for the natural world. Shelley intended his story to be a lesson to a rapidly changing society. Originally applied to the Industrial Revolution, these same lessons are still appropriate to a contemporary society engaged in a Technological Revolution. Works Cited Bushi, Ruth. â€Å"The author is become a creator-God’ (Herder). The deification of creativity  in relation to ‘Frankenstein'† October 15, 2002 http://www.kimwoodbridge.com

Bite Me: A Love Story Chapter 21

21. Being the Chronicles of Abby Normal: The Mopey Monosexuality of an Outcast Cutie Corpse Much like the guy in Herman Hesse's novel Steppenwolf (which everyone knows means, â€Å"wolf going up the steps†) who runs into the ENTRANCE NOT FOR EVERYBODY sign outside of the Magic Theater, when it comes to romance, I am definitely not on the list. Loneliness is my â€Å"plus one.† Bitterness is my boo. Oh, it was sweet waking up at sundown, nearly in the arms of my Dark Lord, snuggled up in our utility shed on the roof. I probably shouldn't have snatched that pigeon out from under the eave and sort of sucked its little throat, but in my defense, breakfast is the most important meal of the day, and I swore off anything with feathers because they are nasty. Still, I think Lord Flood would have forgiven me spitting bloody feathers on his linen trousers if my tail hadn't harshed our search plan. There, now everyone knows. I have a tail. Which is kinda the reason we had to return to the love lair instead of continuing our search for the Countess. Foo called just before sunup to say that all the rats had died. So I'm like, â€Å"Non sequitur much, Foo? If you miss me, you can just apologize and grovel a little and we'll move on.† And he's like, â€Å"No, Abby, you don't understand. There's something in their DNA, they just sort of expire after a week or so of being a vampyre.† And I'm like, â€Å"My poor, sad Foo Dog, are you sure that your mantenna isn't just using dead rats to send an S.O.S. for a return to tuna town? Hmmmm?† And he's all, â€Å"No, Abby, you have rat DNA tied in with your vampirism, the same way Chet has human DNA.† And I'm all, â€Å"Nuh-uh.† And he's all, â€Å"You have to come back here. Abby, I know you have a tail.† And I'm like, â€Å"Fucksocks,† and I offed my phone. So when Flood and I come to in the shed on the roof, I'm like, â€Å"We may need to check in with Foo.† And Flood is like, â€Å"Call him and tell him that there are old vampyres here to clean up. He needs to be ready. We'll be there in a few minutes.† And I'm like, â€Å"I'll text him. I'm not speaking to him right now.† So, like, Tommy showed me how you couldn't run too fast, or someone would notice something was up, so you had to sort of go in bursts and I wasn't supposed to jump over cars and whatnot because that shit is a dead giveaway that you are nosferatu. Although I did â€Å"rawr† some tourists on the cable car, because they needed it. And if you ask them they will all be, â€Å"She was trs scary, and back in Cowfuck, Nebraska, we know that ‘rawr' is totally a thing because we have family values and whatnot.† So after running in bursts for like three blocks I rawred down a cab that was halted by my awesome dark powers and the hundred-dollar bill I was waving, and we rode to the love lair, where Jared let us in. And Jared was all, â€Å"OMG, OMG, OMFG, Abs, the rats are dead!† And I'm like, â€Å"Not news. Awesome vamp robot pirate ship, equals news.† And Jared is like, â€Å"For realz?† And I'm like, â€Å"Totes.† And he kind of does a gayboy squee that was a little embarrassing, so I'm all, â€Å"Where's Foo?† And Foo comes out of the bedroom and I go to kiss him and he sort of stops and holds up his little blood vials, like, â€Å"Oh, no kisses, Abby, I have breakables.† So I backed off. And he's like, â€Å"Abby we need to change you back. Right away.† And I'm like, â€Å"No way, Foo. I am finished with your petty human weakness.† And he like waves to all the rat boxes, and all the rats are just lying in the bottom of them. And I'm all, â€Å"So?† And Foo's like, â€Å"They just dropped, within hours of each other. There's some incompatibility with the vampyre virus.† â€Å"It's a virus?† goes Tommy. And Foo's all, â€Å"I don't know exactly what it is, but it binds to the host DNA and it carries the DNA to the infected.† And I'm like, â€Å"So?† And that's when Foo blurts out that I have a tail to Flood, and I just want to crawl in a hole and die, except for it being redundant. Then Jared's like, â€Å"Would you guys like something to drink? Some blood or something?† And I'm like, â€Å"No thanks, I had a pigeon.† And Flood is like, â€Å"Yes, I'll have some.† And he's about to take a sip from a wineglass that Jared poured, and I see his fangs, which are trs sexy now that he's not ripping my throat out with them, and he's like, â€Å"Oh, Abby, if this turns out to be drugged, tear Steve's arms off.† And I'm like, â€Å"‘Kay,† then to Foo, I'm like, â€Å"Rawr. Shut up.† And Foo's like, â€Å"It's not drugged.† So we tell Foo and Jared about the ship and the old vampyres and how they are here to clean house, and about what the Kona guy said about second generation vampyres. And Foo's like, â€Å"That's you, Tommy.† And Flood is like, â€Å"I know. I have to find Jody. And you and Jared need to get away from this apartment. Go somewhere, stay until you hear it's all clear or the Raven leaves.† And Foo is like, â€Å"How did you think to go to the dock anyway?† So we told him about Madame Natasha and the sunken ship in the north end of the City and whatnot, and he's all rolling his eyes, because he doesn't believe in magic, despite the fact that he's rolling his eyes at two vampyres. And he's like, â€Å"Did you try the Sunken Ship?† And we're like, â€Å"Whaaaa?† And he's like, â€Å"It's a bar down on Jackson Street. It was built on top of one of the Gold Rush ships that was abandoned there. You can still see the ribs of the ship in the basement.† And Flood's like, â€Å"The Sunken Ship? That's what it's called?† And I'm like, â€Å"Kind of obvious.† And Flood's like, â€Å"We need to go there.† And Foo's all, â€Å"No, I have to change you both back. You could drop any minute.† So I go, â€Å"As if. We have to find the Countess.† And Tommy's all, â€Å"After. All that after.† So Foo goes, â€Å"Well, then take these.† And he gives Flood and me each a thing that looks like an aluminum flashlight with a blue glass erection. And I'm all, â€Å"Uh, we can see in the dark, and heat, and we have someone on retainer who can see into the future, so, thanks, but†¦Ã¢â‚¬  â€Å"They're UV lasers,† goes Foo, in the middle of my dismissal. â€Å"They use them to fuse UV sensitive polymers in vacuum chambers.† And Tommy looks at me like, â€Å"What?† And I look at him like, â€Å"No fucking idea.† So Foo runs on like, â€Å"They would just burn me or Jared if you held it on us, like a high-intensity sunlamp. But you'd have to hold it there for about five seconds.† So Flood looks at me like, â€Å"What?† And I look at him like, â€Å"I got nothing.† So Foo takes Tommy's flashlight from him and he goes, â€Å"Like this.† And he points the flashlight at one of the dead rat boxes and it busts out with this intense blue beam and whoosh instant rat charcoal. So Flood and I are like, â€Å"Oh.† â€Å"You can't just leave them on like the UV jackets. They work with a capacitor that builds a charge and lets go with a two-second burst, but you can probably cut a vamp in half in that time. I made them for Rivera and Cavuto.† And Tommy goes, â€Å"Well don't give one to them, for fuck's sake, they're hunting me and Jody.† â€Å"And me,† I go. â€Å"And me,† goes Jared. And we look at him. And he goes, â€Å"Not because I'm a vampyre. Because that big cop hates me.† Then he looked embarrassed and he goes, â€Å"Hey, you guys, your eyes are bleeding.† And I look at Tommy and I'm all, â€Å"WTF?† And Foo's like, â€Å"You guys should probably wear sun-glasses with UV filtering if you're going to use those, or, you know, they could hurt your eyes.† So Flood's like, â€Å"Good to know.† And Foo's like, â€Å"You should know that they can't go to mist if they're hurt or under exposure to any significant UV. I tested it with the rats. Which means you can't either.† And we're all, â€Å"Uh-huh.† And he's like, â€Å"What will you do?† And Flood is like, â€Å"We're going to the Sunken Ship and see if we can find Jody, and then I guess we're going to see if we can get on a pirate ship. What about you?† â€Å"I have to break the lab down first, but I know some guys in my program at Berkeley that have an extra room. I can stay there.† And Flood is like, â€Å"Take Jared with you. Elijah saw him. Anyone Elijah knows or who knew about him is in danger.† And Jared is all, â€Å"Nooooo, Berkeley is way too butch.† So I ‘splain to Tommy, â€Å"Jared is afraid of butch lesbians. They were invented in Berkeley.† And Foo is like looking at Jared, and looking at me, and looking at Flood, and looking at his dead rats, and he's all, â€Å"Can't you at least leave Abby here and let me change her back?† And Flood looks at me and I'm all, â€Å"Bitch, please, I have a light sabre.† And I grabbed Foo and kissed him hard, but I could feel him pulling away. And he's like, â€Å"Abby, after this is over-â€Å" And I'm like, finger on his lips, â€Å"Shh, shh, shh, Foo. Do not awkwardize the moment with sniveling. I've been preparing my whole life for this.† And I have. So we jammed. And outside Flood is like, â€Å"You okay?† And I'm all, â€Å"Yeah. Do you think I'm a freak because I have a tail?† And he's all, â€Å"No, not because of that.† Which was awesome for him to say. So we did the low-profile walk to Walgreens, where we bought three pairs of sunglasses and a disposable cell phone for Tommy and I got some Gummi bears, which I am dipping in blood and eating now-biting off their little bear heads. Then we go over to the financial district and we find the bar called the Sunken Ship on Jackson Street in the old section, and there's a big picture of a sailing ship, and THE SUNKEN SHIP is carved in big letters, and we're not two blocks from the roof where we spent the night, and I'm all, â€Å"Oops.† And Flood is like, â€Å"Now what?† And I'm like, â€Å"Don't you have fake ID?† I was kind of fucking with him for pretending to be five hundred years old when we first met, when he's only nineteen. And he's like, â€Å"No, do you?† â€Å"Yeah. Like six of them. I'll go in and look around.† And he's like, â€Å"Okay.† So I start to go inside, where all these suits and citizens are, and I hear, â€Å"Hey,† a girl's voice. Quiet, but like she knows we can hear. And it's the Countess, palming a door shut on this below-street apartment. And she's in like black jeans carrying a pair of Nikes, but her hair is all glorious, and in like an instant she's up over the rail, not even touching the stairs, and in Tommy's arms. And it was beautiful, and sad, and I felt my heart break, but then it was like leaping for joy, because I really do love the Countess, and I love Tommy, but they love each other, and well-fucksocks. So I'm like, â€Å"Cold-faced killers on the clock, bitches, we don't have time for your bonery right now.† And the Countess like lets Tommy go and gives me a big hug and she's like, â€Å"So, girl-e-girl, the dead thing, it works for you.† And I'm like, â€Å"Duh.† And she looks at Flood and she's, â€Å"I'm not sure about the tropical thing though.† And he's like, â€Å"Abby sprayed pigeon blood on my pants.† And she's like, â€Å"No, that part's good.† And he's like, â€Å"She has a tail.† And I'm like, â€Å"Traitor!† Then she looks all sad, and she's like, â€Å"Tommy, we need to talk.† And he's like, â€Å"No, we need to move.† So, while we walk toward the water we explain about the old vamps and the clean up, and the Raven and whatnot. ‘Kayso, now we're on the roof of the Bay Club, which is a really nice gym across the street from the dock, and we are staking out the Raven, and from up here we can see into the cockpit, which is like the size of a whole apartment. And they're there. The three of them and Kona, the blond Rasta guy. Two women and a guy. And they're looking all fly in their black bodysuits and black trench coats and all. But the tall blond guy has something on the table, a long case, and he takes something out and starts putting it together. I'm all, â€Å"What's he got?† â€Å"It's a rifle,† goes the Countess. WTF? WTF? WTF? I go, â€Å"A gun?† And Tommy goes, â€Å"What's with the gun?† And I'm like, â€Å"Yeah, guns are for shit on vampyres. Uh, us.† I still totally don't want to get shot. And Jody's like, â€Å"They're not going after vampyres.† And Tommy's like, â€Å"Abby, would you stop typing. Please?† And I'm like, â€Å"Rawr!† And Jody's like, â€Å"He's leaving the ship.† And I'm all, â€Å"WTF?† And Jody's all, â€Å"We have to follow.† ‘Kayso, gotta jet. L8erz.

Attrition Rate in It Industry Essay

According to human resource experts, the average attrition rate is projected to grow at 31 per cent in Indian firms in the April-June quarter, a rise of 9-10 per cent from the preceding quarter (January-March). SPECIAL: Best companies to work for India In the April-June quarter of 2011-12, the average attrition rate was 27 per cent. Generally, employees would have received their annual appraisals during the April-June period and those not happy with their performance review or salary hikes seek better opportunities. Consequently, attrition rates are seen going up in these three months, experts opined. â€Å"In the current quarter, we are expecting an average attrition rate of 30 per cent. In Q4 employees were not keen to switch jobs due to appraisal season. Now in April they reached on higher salary compared to previous one and have a chance to negotiate for better salary with new employer along with new appraised designation,† MyHiringClub.com CEO Rajesh Kumar said. â€Å"Salary and designation are the major factors for higher attrition outlook in Q1, FY13. One more concern is having in employees mind if they’ll change their job in this quarter they are entitled to enter into appraisal cycle with their new employer also. So they are not going to loose anything with job change,† he added. Another HR consultant Ripples Consultancy Services CEO and MD Rishi Raman said. â€Å"We would see a high attrition rate of 30-31 per cent in the first quarter of the current fiscal. The reason behind such attrition is many employees are not satisfied with their appraisals. â€Å"A good performer did not expect 10-15 per cent of hike, their expectation is not less then 20 per cent,† he added. Experts said that attrition would be in double digits in all the sectors. It would be highest in the IT/ITeS sector at 31 per cent, followed by telecom (26 per cent), banking and financial services (23 per cent), aviation and hospitality (22 per cent ), real estate (15 per cent), FMCG (21 per cent), automobile and manufacturing (19 per cent). HR consultants are of the view that employers needs to take various steps in order to retain talent like providing career opportunities and suitable work environment as high attrition impact the company’s resource negatively. â€Å"One of the most effective way to ensure good working conditions for your employees is to provide them with advancement opportunities,† Raman said. HeadHunter Solution Director Priyanka Pawar said,† the high attrition costs increases the costs to the organisation considerably. â€Å"The more the people leave an organisation, the more it is a drain on the company’s resources like recruitment expenses, training and orientation resources and the time. The high attrition rate also affects the productivity of the organisation,† she added. High attrition rate hits IT companies’ bottomlines TNN | Aug 26, 2010, 12.44AM IST CHENNAI: Bad things happen in good times too. Indian IT companies are finding it hard to recruit and retain employees as the recovery takes a definite shape. And their bottomlines are getting hit due to rising wages and high attrition. Earnings before interest, tax, depreciation and amortisation (EBITDA) margins or operating margins have been dipping for most of the IT biggies in the recent quarters largely because of the spurt in wage inflation. Operating margins of Infosys Technologies declined by 2.36% in June quarter compared with the March quarter. Tata Consultancy Services (TCS) and HCL Technologies saw their operating margins falling by 0.7% and 1.1%,  respectively. This slide is not an aberration. The companies’ EBITDA has been on a decline for the past four quarters. On the attrition front, a report by Motilal Oswal, a financial services firm, said that Wipro leads the pack with 23% attrition, followed by Infosys (15.8%), HCL Tech (15.7%), and TCS (13.1%) in the June quarter. The figures have been increasing for all these companies for the past few quarters.

Qrb/501 – Week 3 – Forecasting with Indices

Week 3 – Forecasting with Indices QRB/501 Week 3 – Forecasting with Indices The individual assignment for this week tasked the students to select one organization from either our week two assignment or the University material. This paper will show the data in an index using the time series data to forecast inventory for the next year. The Winter Historical Inventory Data from the (University of Phoenix, 2010) shows four years of actual demand of inventory data for the seasonal Winter Highs. Each year is divided into 12 month increments.Methods This breakdown of data allows for quantitative analysis. This approach is objective in nature compared to qualitative analysis which is developed using the judgment of experts. Results The data was plotted and graphed into a chart to show the trend. Based on the chart the index has shown an increase from year to year during December but the other winter months do not show a clear trend. University of Phoenix Material Winter Histor ical Inventory Data | Typical Seasonal Demand for Winter Highs| | | | | | | | | Actual Demands (in units)| | | | | | | | | Month| Year 1| Year 2| Year 3| Year 4| Forecast| 1| 55,200| 39,800| 32,180| 62,300| 47,370| 2| 57,350| 64,100| 38,600| 66,500| 56,638| 3| 15,400| 47,600| 25,020| 31,400| 29,855| 4| 27,700| 43,050| 51,300| 36,500| 39,638| 5| 21,400| 39,300| 31,790| 16,800| 27,323| 6| 17,100| 10,300| 31,100| 18,900| 19,350| 7| 18,000| 45,100| 59,800| 35,500| 39,600| 8| 19,800| 46,530| 30,740| 51,250| 37,080| 9| 15,700| 22,100| 47,800| 34,400| 30,000| 10| 53,600| 41,350| 73,890| 68,000| 59,210| 1| 83,200| 46,000| 60,200| 68,100| 64,375| 12| 72,900| 41,800| 55,200| 61,100| 57,750| Avg. | 38,113| 40,586| 44,802| 45,896| 42,349| Conclusion This inventory provides good information to suggest that forecasting December will show an increase but the other winter months are not clear. My recommendation would be to would be to increase the inventory for December but hold the inventory for t he other two winter months at an average level. This would allow for the businesses minimal risk of inventory shortage and overage based on the data.

Alvin Ailey Contextualisation Essay Example for Free

Alvin Ailey Contextualisation Essay Ailey used his culture and many childhood memories to base his choreography on. Church and worship played a huge role in the lives of black Americans and was the center of Ailey’s community. â€Å"The exuberance and poignancy of the black experience are well served in Ailey’s splendid. â€Å"The church was always very important, very theatrical, very intense. The life that went on there and the music made a great impression on me. † (A. P Bailey 1997 pg. 8) He grew up in Texas in the 1930s with both racial segregation and the economy being big problems of the time. â€Å"Black lives were as peaceful and secure as racism and poverty would allow. (Dunning, 1996) â€Å"In those days black people were forced into certain sections of the town†¦you couldn’t buy a house in other sections of the town, so you had to go to schools that were essentially segregated’’. In spite of the miserable living conditions   Ailey’s community and others alike were joyful in church and the drew drop inn which was where all the adults used to go on Saturday nights to dance to the blaring juke box. The dew drop inn was a rough place to be. My mother was in there, and everybody was doing what they considered to be the nasty dances†¦many of the same people who went to dew drop inn on a Saturday night went to church on a Sunday morning. In dance I deal with these two very different worlds: Blues suite and revelations. † (A. P Bailey 1997 pg23) At the age of 12 Ailey joined his mother in Los Angeles where she was to work as cleaner for a wealthy white family â€Å"I remember very well seeing my mother on her knees scrubbing these white folks’ rooms and halls. That image is in my ballet cry† (A. P Bailey 1997pg32) Here he experienced the theatre and heard the music of Duke Ellington for the first time, who’s music he later came to create a total of 14 dances to. Including The River’ â€Å"The River is a legendary collaboration between Ailey and Ellington†¦ was Ellington’s first symphonic score written specifically for dance†¦The legendary and highly acclaimed collaboration mirrors together the art forms beautifully. (http://www. exploredance. com/article. htm? id=1635) Creations of Two Masterful Artists, Alvin Ailey and Duke Ellington by Amber Henrie December 28, 2006. It was not until the 1940s that Ailey took a serious interest in dance, seeing the Dunham Company perform excited him in a way that nothing ever had before. Proving it to be a transcendent experience for him, he felt a connection with her and her dancers and was ‘lifted into another realm. I couldn’t believe there were black people on a legitimate stage†¦before largely white audiences†¦doing afro-Caribbean. Lester Horton not only inspired Ailey with his stylized technique and incredibly expressive movement but also in the way he offered his students a ‘complete education’ teaching them how to participate in all aspects of production from lighting and reading music to choosing the correct fabric for performances â€Å"He knew every fabric in the world and was extremely knowledgeable about color, design, dyeing and tailoring†¦I am still guided by Lester’s insistence that costumes must be made from extraordinary fabric† (A.P Bailey 1997 pg. 63) The Horton Technique focus’ on movements that lengthen the spine and the hamstring muscles with flat backs, lateral stretches, descending and ascending from the floor into horizontal positions, release swings, leg swings and deep lunges all of which appear in Ailey’s works regularly. Lester Horton has proved to be Ailey’s biggest influence; the similarities between the 2 choreographers are due to Ailey’s awe of Horton, his works and his attitude. As he just as Martha Graham had, had a mixed racial company â€Å"He realized that you have to use the best dancers regardless of color† (A. P Bailey 1997 Pg. 60) All of the above stylistic features are seen in works of Ailey’s such as Revelations, Cry and Witness to name a few. Each using deep plies and stunning lines to create interesting and meaningful viewing, using a combination of modern dance with jazz and classical ballet. Each with a meaning and a message to its audiences worldwide. Ailey (cited by De Frantz) said From his roots as a slave, the American Negro – sometimes sorrowing, sometimes jubilant, but always hopeful – has created a legacy†¦ which have touched, illuminated and influenced the most remote preserves of world civilisation†¦ We bring you the exuberance of jazz, the ecstasy of his spirituals and the dark rapture of his blues. † Yet while Ailey drew lots of his choreography from his ‘blood memories’ he did create plot less works too, making more use of ballet technique which can be seen in Streams. After Lester Horton’s death, Ailey founded his own company and had great success that still lives to this day; he and his company toured worldwide and were awarded with numerous honours before settling In New York. Yet Thomas F DeFrantz (2004) said the unasked question, implicit in dozens of feature articles and reviews, seemed to be: how could a gay black man from dirt-poor. Rural, depression-era Texas, with limited dance training and no college degree found and run the most successful modern dance company in the idiom’s history? Alvin Ailey Contextualisation. (2018, Nov 07).

The Hope House Hosting the Treatment Works March Event this Year Article

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Justice vs Drug Companies in the USA Research Paper

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