The document provides analysis of key themes in Eugene O'Neill's play Long Day's Journey into Night. It discusses several themes:
1) Addiction - All the Tyrones depend on drugs/alcohol to escape their problems, but this exacerbates rather than alleviates their issues.
2) Displacing blame - The characters obsess over the past and blame others for their problems rather than accepting responsibility.
3) Denial and self-delusion - When sober, they deny flaws and choose to argue they are victims rather than face failures.
4) Hopelessness/religion - A lost faith results in a loss of hope, especially for Edmund who awaits his death without purpose.
5) I
Eugene O'Neill's play Long Day's Journey into Night follows the Tyrone family over the course of a single day in 1912. It is considered O'Neill's masterpiece and one of the greatest American plays of the 20th century. The semi-autobiographical play depicts the family's decline as they struggle with addiction and mental illness. Each character lives in denial of their own failures and blame the others, escaping their problems through alcohol and drugs. As the day progresses from morning to night, their illusions are shattered by reality and the play ends in tragedy as the family disintegrates.
The Theatre of the Absurd developed in response to the senselessness of World War II and aimed to capture the absurdity of life. It was formed by separate playwrights in different places over time, though the term was coined by Martin Esslin. Absurdist plays by figures like Samuel Beckett, Eugene Ionesco, and Arthur Adamov featured bewilderment in an unexplainable universe and questioned human traits through devices that left some details ambiguous. The Theatre of the Absurd influenced modern drama and introduced philosophy to theatre in a basic way.
Chracter analysis of long days journey into night presented by fakharh muhabatFakhra Muhabat
- The document analyzes the characters in Eugene O'Neill's play "Long Day's Journey into Night". It discusses the characters of Mary, Edmund, James Tyrone, and Jamie Tyrone.
- Mary struggles with morphine addiction, isolation, and suspicion from her family. Edmund acts as a peacekeeper but seeks escape through philosophy and poetry. James is an alcoholic who still struggles with regrets from his past. Jamie is cynical, bitter, and jealous of the preference shown to his brother Edmund.
Long day's journey into night by fakharh muhabatFakhra Muhabat
The play Long Day's Journey Into Night explores the breakdown of a dysfunctional Irish-American family. The family members, which include the father, mother, and two sons, are all suffering from various issues such as addiction, illness, and mental health problems. They are isolated from each other and tend to argue, blame one another for problems, and avoid openly communicating about their issues. Key themes in the play include drug and alcohol abuse, suffering, guilt, lies and deceit, and the failure of the family to support one another.
This lecture on ppt slides focused on analysis of the Duchess of Malfi. It has been prepared by Faisal Ahmed, Faculty Member, Department of English, World University of Bangladesh.
Harold Pinter was a British playwright, screenwriter, and director who was born in 1930 in London. He wrote 29 plays and directed nearly 50 productions for stage, film, and television. Some of his most famous plays include The Birthday Party and The Caretaker. Pinter is known for his use of ambiguous language and situations that escalate from mundane to menacing in a way that reflects everyday speech. His works often explore themes of isolation, power relations, and the inability to communicate. Pinter was diagnosed with cancer in 2001 but continued working until his death in 2008, when he was awarded the Nobel Prize in Literature.
1. Miss Julie explores the power dynamics between a countess and servant on Midsummer's Eve as they succumb to passion.
2. Written by Swedish playwright August Strindberg in 1888, it examines issues of sexuality, class, and gender roles in a naturalistic single-set work.
3. Directorial interpretations can vary the understanding of who seduces whom between the title character and servant Jean.
The document provides an overview of the Theatre of the Absurd and Samuel Beckett's play Waiting for Godot. It explains that Theatre of the Absurd explores the absurdity of existence in a godless universe where life has no purpose or meaning. Waiting for Godot follows two homeless men, Vladimir and Estragon, who pass the time waiting endlessly and in vain for someone named Godot to arrive. Their dialogue shows how they try to maintain their friendship and identity through memory and conversation to avoid confronting the meaninglessness of their existence.
Eugene O'Neill's play Long Day's Journey into Night follows the Tyrone family over the course of a single day in 1912. It is considered O'Neill's masterpiece and one of the greatest American plays of the 20th century. The semi-autobiographical play depicts the family's decline as they struggle with addiction and mental illness. Each character lives in denial of their own failures and blame the others, escaping their problems through alcohol and drugs. As the day progresses from morning to night, their illusions are shattered by reality and the play ends in tragedy as the family disintegrates.
The Theatre of the Absurd developed in response to the senselessness of World War II and aimed to capture the absurdity of life. It was formed by separate playwrights in different places over time, though the term was coined by Martin Esslin. Absurdist plays by figures like Samuel Beckett, Eugene Ionesco, and Arthur Adamov featured bewilderment in an unexplainable universe and questioned human traits through devices that left some details ambiguous. The Theatre of the Absurd influenced modern drama and introduced philosophy to theatre in a basic way.
Chracter analysis of long days journey into night presented by fakharh muhabatFakhra Muhabat
- The document analyzes the characters in Eugene O'Neill's play "Long Day's Journey into Night". It discusses the characters of Mary, Edmund, James Tyrone, and Jamie Tyrone.
- Mary struggles with morphine addiction, isolation, and suspicion from her family. Edmund acts as a peacekeeper but seeks escape through philosophy and poetry. James is an alcoholic who still struggles with regrets from his past. Jamie is cynical, bitter, and jealous of the preference shown to his brother Edmund.
Long day's journey into night by fakharh muhabatFakhra Muhabat
The play Long Day's Journey Into Night explores the breakdown of a dysfunctional Irish-American family. The family members, which include the father, mother, and two sons, are all suffering from various issues such as addiction, illness, and mental health problems. They are isolated from each other and tend to argue, blame one another for problems, and avoid openly communicating about their issues. Key themes in the play include drug and alcohol abuse, suffering, guilt, lies and deceit, and the failure of the family to support one another.
This lecture on ppt slides focused on analysis of the Duchess of Malfi. It has been prepared by Faisal Ahmed, Faculty Member, Department of English, World University of Bangladesh.
Harold Pinter was a British playwright, screenwriter, and director who was born in 1930 in London. He wrote 29 plays and directed nearly 50 productions for stage, film, and television. Some of his most famous plays include The Birthday Party and The Caretaker. Pinter is known for his use of ambiguous language and situations that escalate from mundane to menacing in a way that reflects everyday speech. His works often explore themes of isolation, power relations, and the inability to communicate. Pinter was diagnosed with cancer in 2001 but continued working until his death in 2008, when he was awarded the Nobel Prize in Literature.
1. Miss Julie explores the power dynamics between a countess and servant on Midsummer's Eve as they succumb to passion.
2. Written by Swedish playwright August Strindberg in 1888, it examines issues of sexuality, class, and gender roles in a naturalistic single-set work.
3. Directorial interpretations can vary the understanding of who seduces whom between the title character and servant Jean.
The document provides an overview of the Theatre of the Absurd and Samuel Beckett's play Waiting for Godot. It explains that Theatre of the Absurd explores the absurdity of existence in a godless universe where life has no purpose or meaning. Waiting for Godot follows two homeless men, Vladimir and Estragon, who pass the time waiting endlessly and in vain for someone named Godot to arrive. Their dialogue shows how they try to maintain their friendship and identity through memory and conversation to avoid confronting the meaninglessness of their existence.
This document discusses Samuel Beckett and his play Waiting for Godot. It provides background on Beckett, describing him as an Irish writer who took part in the French Resistance during World War 2 and wrote in both English and French. It characterizes Waiting for Godot as an absurdist play, noting that it has a minimal plot, loosely constructed characters, and an ambiguous ending. The document also analyzes how the play uses both tragic and comic elements to portray the absurdity and meaninglessness of human existence.
Samuel Beckett's 'Waiting for Godot' belongs to the tradition of the Theatre of Absurd. It is unconventional in not depicting any dramatic conflicts. In the play, practically nothing happens, no development is to be found, there is no beginning and no end.
Vladimir and Estragon are waiting endlessly for someone named Godot to arrive. They try to pass the time by talking, but their waiting feels interminable. Though they don't know who or what Godot is, he represents their hope for meaning or purpose. Their endless waiting exposes the meaningless and absurd nature of human existence. No matter what they do to occupy themselves, time continues to pass without purpose or end.
David Herbert Lawrence was a British writer born in 1885 in Eastwood, England. Some of his notable works include the novels Sons and Lovers and Lady Chatterley's Lover. Sons and Lovers, published in 1913, is semi-autobiographical and focuses on the protagonist Paul Morel and his complex relationship with his mother. It explores themes of social class differences and Freudian psychoanalysis. The story follows Paul's love interests in Miriam and Clara and how he struggles with his mother's suffocating control over him. Lawrence drew from his own upbringing and relationships in the former mining community of Eastwood as inspiration for the novel.
Dramas staged between 1660 and 1700 are called ‘Restoration Dramas’. The dramatic literature of the period was dominated by comedies called ‘Comedy of manners’. Actually ‘Restoration Comedy’ is used as a synonym for “Comedy of Manners”. The plot of the comedy, often concerned with scandal, was traditionally less important than its witty dialogues.
The comedy of manners was first developed in the new comedy of the Ancient Greek Playwright Menander. His style, elaborate plots, and stock characters were imitated by the Roman playwrights Plautus and Terence, whose comedies were widely known and copied during the Renaissance. The best-known comedies of manners, however, may well be those of the French playwright Moliere.
Oscar Wilde and William Congreve are the most celebrated authors of ‘Comedy of Manners’.
The Duchess of Malfi Presented by MM Shariful Karim Monir Hossen
This document provides an overview and analysis of John Webster's play The Duchess of Malfi. It begins with background on Webster and an introduction to the play. It then discusses major characters, plot, themes of revenge tragedy, and excerpts of critical analysis. The play is described as a revenge tragedy centered around a Duchess who secretly marries below her class and is executed, leading others to seek revenge. The document provides historical context and analyzes characters and themes through quotes from the play.
Dejection: An Ode" was originally written as a letter to Sara Hutchinson, the woman Coleridge loved. The much longer original version contained references to Sara and William Wordsworth that were removed. Coleridge revised the poem significantly, shortening it and making it less personal. The poem describes Coleridge's inability to write poetry and living in a state of paralysis due to his unrequited love for Hutchinson.
The French Lieutenant's Woman by John Fowles is a historical fiction novel set in 1867 that follows Charles Smithson and Sarah Woodruff. Charles is engaged to Ernestina Freeman but falls in love with Sarah, a mysterious woman who lives alone after being abandoned by her lover. The novel explores their relationship amid the social constraints of Victorian England. It also features a narrator who comments on the story and writing process, highlighting the constructed nature of fiction.
George Eliot included many autobiographical elements in her novel Mill on the Floss. Several characters and events parallel aspects of Eliot's own life. Tom and Maggie drowning at the end mirrors Eliot's grandfather drowning. Maggie's love affair with the committed Stephen Guest reflects Eliot's own relationship with the married George Lewes. Tom represents Eliot's brother Isaac, while Maggie's character incorporates many details from Eliot's own childhood that portray her as a somewhat unruly and unconventional child, similar to how others saw Eliot. Overall, the novel closely mirrors Eliot's life and experiences in its portrayal of the Tulliver family and characters.
A feminist critical approach to ibsen’s a doll’swmstutts925
This document provides a feminist critical analysis of Henrik Ibsen's play A Doll's House. It summarizes that the play examines how Nora's husband treats her as his property rather than as an individual. It is not until their final confrontation that Nora realizes she can be her own person, leading her to decide to leave at the end of the play. The passage cited asserts Nora's belief that she is a human being equal to her husband, and she aims to become one. Throughout, Helmer treats Nora like a child or doll rather than recognizing her full humanity and individuality.
The document summarizes several major themes in Sophocles' play Oedipus Rex:
1) Light and darkness are central themes that represent both literal sight and metaphorical insight. While Oedipus remains blind to his origins, the blind prophet Teiresias has foresight.
2) Sight and blindness operate both literally and metaphorically, as Teiresias can see the future despite being blind, and Oedipus blinds himself upon discovering the truth.
3) The play explores origins and family relationships, as Oedipus discovers his true parents and that he committed incest with his mother and is both father and brother to his children.
4) A central inconsistency is who
This document summarizes several key themes in Thomas Hardy's novel Tess of the D'Urbervilles:
- Tess represents the split between traditional rural culture and the more "refined" educated class of the Victorian era.
- The novel explores themes of memory and the past, fate versus free will, humanity's relationship with nature, women and femininity, justice and judgment, and the contrast between rural and industrial regions in 19th century England.
- Tess is continually punished despite not being responsible for her own actions, raising questions about justice that the reader is left to consider.
Sons and Lovers: A introduction to the life of David Herbert Lawrence, Vocabu...Britnie Ten
This is for students studying Sons and Lovers by David Herbert Lawrence and may want a pre- introduction to the book before they actually begin studying the novel for analysis. It contains vocabulary used in the book you may need to know, his biography and a brief synopsis of the book. It is tailored for students writing CAPE literature exams. a thorough analysis of the book will be coming in the future.
The document discusses key elements of Elizabethan drama including characters, plot, and characterization where good is pitted against bad. It focuses on these core components that define dramas from this period.
An interesting and twisting life course of Major Barbara Under shaft that leads to the realization of true insight of the Hippocratic behavior of religious institutions and to admire Undershaft' dogma about life and humanity.
The document summarizes key themes and characters in the play. The overarching themes are greed, morality, and deception. Greed motivates all the main characters, and their downfall comes from deception for financial gain. The resolution provides a moral lesson that greed will lead to ruin. The main characters include Volpone the greedy fox, his servant Mosca the fly, and various victims like lawyers and merchants who are deceived for their riches.
This document discusses how Christopher Marlowe's play "Dr. Faustus" can be considered a morality play. It contains elements common to morality plays, such as Good and Bad Angels providing guidance to Faustus, the portrayal of the Seven Deadly Sins, the presence of the devil Mephistophilis, and a vision of Hell. These allegorical elements convey the moral lesson of the soul's struggle between good and evil and the consequences of giving in to temptation. The use of such symbols and allegories effectively positions "Dr. Faustus" as a morality play that warns against straying from righteousness.
Use of Allegory and Symbolism in Dr. Faustus.AleeenaFarooq
The document discusses the use of allegory and symbolism in Christopher Marlowe's play Doctor Faustus. It provides examples of important allegorical elements in the play, including the Good Angel and Bad Angel representing Faustus' conscience and desires, Helen representing sensual pleasures, and the appearance of the Seven Deadly Sins symbolizing Faustus' surrender to vices. Key symbolic elements are also examined, such as the roles of blood, Mephistophilis representing Faustus' evil nature, and Faustus' rejection of ancient authorities signaling his break from tradition. The summary concisely outlines the main allegorical and symbolic devices used in Marlowe's classic play.
Dr. Faustus commits all seven deadly sins in his pursuit of knowledge and power. He demonstrates pride in believing himself greater than religious doctrines. His coveting of magic leads him to sell his soul to the devil. Faustus displays wrath in mistreating others and envy in desiring the accomplishments of God, the emperor, and Lucifer. He overindulges in food, drink and magic in the form of gluttony. Sloth takes hold as he signs his soul away effortlessly for demonic powers. Finally, Faustus lusts after women and glory through his conjuring of Helen of Troy. His downfall comes as he commits every deadly sin in seeking to elevate himself above God
This document provides an overview and analysis of Thomas Hobbes' social contract theory as presented in his work Leviathan. It discusses Hobbes' view of the state of nature as one of war and competition where life is "solitary, poor, nasty, brutish and short." To escape this state, individuals relinquish rights and authority to an absolute sovereign who establishes order and security through laws and punishments. The document argues that Hobbes' social contract is based primarily on fear - the fear of harm, death, and disorder in the state of nature forces individuals to consent to civil society for protection and peace. Overall, the social contract allows the sovereign to use punishments and laws to enforce order through instilling fear rather than
This document discusses two models of public administration: Max Weber's bureaucratic model and Fred Riggs' prismatic model. Weber believed a hierarchical bureaucracy with strict rules and impersonal conduct was most effective, while Riggs developed the concept of a "prismatic society" that combines elements of traditional fused societies and modern diffracted societies during periods of transition. The document also defines key terms in public administration like authority, power, effectiveness and efficiency to clarify concepts.
This document discusses Samuel Beckett and his play Waiting for Godot. It provides background on Beckett, describing him as an Irish writer who took part in the French Resistance during World War 2 and wrote in both English and French. It characterizes Waiting for Godot as an absurdist play, noting that it has a minimal plot, loosely constructed characters, and an ambiguous ending. The document also analyzes how the play uses both tragic and comic elements to portray the absurdity and meaninglessness of human existence.
Samuel Beckett's 'Waiting for Godot' belongs to the tradition of the Theatre of Absurd. It is unconventional in not depicting any dramatic conflicts. In the play, practically nothing happens, no development is to be found, there is no beginning and no end.
Vladimir and Estragon are waiting endlessly for someone named Godot to arrive. They try to pass the time by talking, but their waiting feels interminable. Though they don't know who or what Godot is, he represents their hope for meaning or purpose. Their endless waiting exposes the meaningless and absurd nature of human existence. No matter what they do to occupy themselves, time continues to pass without purpose or end.
David Herbert Lawrence was a British writer born in 1885 in Eastwood, England. Some of his notable works include the novels Sons and Lovers and Lady Chatterley's Lover. Sons and Lovers, published in 1913, is semi-autobiographical and focuses on the protagonist Paul Morel and his complex relationship with his mother. It explores themes of social class differences and Freudian psychoanalysis. The story follows Paul's love interests in Miriam and Clara and how he struggles with his mother's suffocating control over him. Lawrence drew from his own upbringing and relationships in the former mining community of Eastwood as inspiration for the novel.
Dramas staged between 1660 and 1700 are called ‘Restoration Dramas’. The dramatic literature of the period was dominated by comedies called ‘Comedy of manners’. Actually ‘Restoration Comedy’ is used as a synonym for “Comedy of Manners”. The plot of the comedy, often concerned with scandal, was traditionally less important than its witty dialogues.
The comedy of manners was first developed in the new comedy of the Ancient Greek Playwright Menander. His style, elaborate plots, and stock characters were imitated by the Roman playwrights Plautus and Terence, whose comedies were widely known and copied during the Renaissance. The best-known comedies of manners, however, may well be those of the French playwright Moliere.
Oscar Wilde and William Congreve are the most celebrated authors of ‘Comedy of Manners’.
The Duchess of Malfi Presented by MM Shariful Karim Monir Hossen
This document provides an overview and analysis of John Webster's play The Duchess of Malfi. It begins with background on Webster and an introduction to the play. It then discusses major characters, plot, themes of revenge tragedy, and excerpts of critical analysis. The play is described as a revenge tragedy centered around a Duchess who secretly marries below her class and is executed, leading others to seek revenge. The document provides historical context and analyzes characters and themes through quotes from the play.
Dejection: An Ode" was originally written as a letter to Sara Hutchinson, the woman Coleridge loved. The much longer original version contained references to Sara and William Wordsworth that were removed. Coleridge revised the poem significantly, shortening it and making it less personal. The poem describes Coleridge's inability to write poetry and living in a state of paralysis due to his unrequited love for Hutchinson.
The French Lieutenant's Woman by John Fowles is a historical fiction novel set in 1867 that follows Charles Smithson and Sarah Woodruff. Charles is engaged to Ernestina Freeman but falls in love with Sarah, a mysterious woman who lives alone after being abandoned by her lover. The novel explores their relationship amid the social constraints of Victorian England. It also features a narrator who comments on the story and writing process, highlighting the constructed nature of fiction.
George Eliot included many autobiographical elements in her novel Mill on the Floss. Several characters and events parallel aspects of Eliot's own life. Tom and Maggie drowning at the end mirrors Eliot's grandfather drowning. Maggie's love affair with the committed Stephen Guest reflects Eliot's own relationship with the married George Lewes. Tom represents Eliot's brother Isaac, while Maggie's character incorporates many details from Eliot's own childhood that portray her as a somewhat unruly and unconventional child, similar to how others saw Eliot. Overall, the novel closely mirrors Eliot's life and experiences in its portrayal of the Tulliver family and characters.
A feminist critical approach to ibsen’s a doll’swmstutts925
This document provides a feminist critical analysis of Henrik Ibsen's play A Doll's House. It summarizes that the play examines how Nora's husband treats her as his property rather than as an individual. It is not until their final confrontation that Nora realizes she can be her own person, leading her to decide to leave at the end of the play. The passage cited asserts Nora's belief that she is a human being equal to her husband, and she aims to become one. Throughout, Helmer treats Nora like a child or doll rather than recognizing her full humanity and individuality.
The document summarizes several major themes in Sophocles' play Oedipus Rex:
1) Light and darkness are central themes that represent both literal sight and metaphorical insight. While Oedipus remains blind to his origins, the blind prophet Teiresias has foresight.
2) Sight and blindness operate both literally and metaphorically, as Teiresias can see the future despite being blind, and Oedipus blinds himself upon discovering the truth.
3) The play explores origins and family relationships, as Oedipus discovers his true parents and that he committed incest with his mother and is both father and brother to his children.
4) A central inconsistency is who
This document summarizes several key themes in Thomas Hardy's novel Tess of the D'Urbervilles:
- Tess represents the split between traditional rural culture and the more "refined" educated class of the Victorian era.
- The novel explores themes of memory and the past, fate versus free will, humanity's relationship with nature, women and femininity, justice and judgment, and the contrast between rural and industrial regions in 19th century England.
- Tess is continually punished despite not being responsible for her own actions, raising questions about justice that the reader is left to consider.
Sons and Lovers: A introduction to the life of David Herbert Lawrence, Vocabu...Britnie Ten
This is for students studying Sons and Lovers by David Herbert Lawrence and may want a pre- introduction to the book before they actually begin studying the novel for analysis. It contains vocabulary used in the book you may need to know, his biography and a brief synopsis of the book. It is tailored for students writing CAPE literature exams. a thorough analysis of the book will be coming in the future.
The document discusses key elements of Elizabethan drama including characters, plot, and characterization where good is pitted against bad. It focuses on these core components that define dramas from this period.
An interesting and twisting life course of Major Barbara Under shaft that leads to the realization of true insight of the Hippocratic behavior of religious institutions and to admire Undershaft' dogma about life and humanity.
The document summarizes key themes and characters in the play. The overarching themes are greed, morality, and deception. Greed motivates all the main characters, and their downfall comes from deception for financial gain. The resolution provides a moral lesson that greed will lead to ruin. The main characters include Volpone the greedy fox, his servant Mosca the fly, and various victims like lawyers and merchants who are deceived for their riches.
This document discusses how Christopher Marlowe's play "Dr. Faustus" can be considered a morality play. It contains elements common to morality plays, such as Good and Bad Angels providing guidance to Faustus, the portrayal of the Seven Deadly Sins, the presence of the devil Mephistophilis, and a vision of Hell. These allegorical elements convey the moral lesson of the soul's struggle between good and evil and the consequences of giving in to temptation. The use of such symbols and allegories effectively positions "Dr. Faustus" as a morality play that warns against straying from righteousness.
Use of Allegory and Symbolism in Dr. Faustus.AleeenaFarooq
The document discusses the use of allegory and symbolism in Christopher Marlowe's play Doctor Faustus. It provides examples of important allegorical elements in the play, including the Good Angel and Bad Angel representing Faustus' conscience and desires, Helen representing sensual pleasures, and the appearance of the Seven Deadly Sins symbolizing Faustus' surrender to vices. Key symbolic elements are also examined, such as the roles of blood, Mephistophilis representing Faustus' evil nature, and Faustus' rejection of ancient authorities signaling his break from tradition. The summary concisely outlines the main allegorical and symbolic devices used in Marlowe's classic play.
Dr. Faustus commits all seven deadly sins in his pursuit of knowledge and power. He demonstrates pride in believing himself greater than religious doctrines. His coveting of magic leads him to sell his soul to the devil. Faustus displays wrath in mistreating others and envy in desiring the accomplishments of God, the emperor, and Lucifer. He overindulges in food, drink and magic in the form of gluttony. Sloth takes hold as he signs his soul away effortlessly for demonic powers. Finally, Faustus lusts after women and glory through his conjuring of Helen of Troy. His downfall comes as he commits every deadly sin in seeking to elevate himself above God
This document provides an overview and analysis of Thomas Hobbes' social contract theory as presented in his work Leviathan. It discusses Hobbes' view of the state of nature as one of war and competition where life is "solitary, poor, nasty, brutish and short." To escape this state, individuals relinquish rights and authority to an absolute sovereign who establishes order and security through laws and punishments. The document argues that Hobbes' social contract is based primarily on fear - the fear of harm, death, and disorder in the state of nature forces individuals to consent to civil society for protection and peace. Overall, the social contract allows the sovereign to use punishments and laws to enforce order through instilling fear rather than
This document discusses two models of public administration: Max Weber's bureaucratic model and Fred Riggs' prismatic model. Weber believed a hierarchical bureaucracy with strict rules and impersonal conduct was most effective, while Riggs developed the concept of a "prismatic society" that combines elements of traditional fused societies and modern diffracted societies during periods of transition. The document also defines key terms in public administration like authority, power, effectiveness and efficiency to clarify concepts.
1) There is a debate around whether a good manager must also be a good leader. While the terms have been used interchangeably, they have distinct meanings.
2) A manager focuses on control and maintaining stability through rules and procedures, while a leader promotes change and growth through vision and influencing others.
3) Managers have an authority-based relationship with subordinates, while leaders create a more nurturing relationship as equals with colleagues.
4) An organization needs both good management and good leadership to be successful, whether from one or multiple individuals. Simply being a good manager does not guarantee also being a good leader.
1. The document discusses several themes from Shakespeare's play Twelfth Night, including appearance versus reality, disguise, mistaken identity, madness, and love.
2. Key examples of appearance versus reality explored are Malvolio being tricked into appearing mad and Olivia disguising her true feelings behind a veil of mourning.
3. Disguise and mistaken identity, particularly through Viola's disguise as Cesario, are major plot devices that complicate the relationships between characters in unpredictable ways.
This document contains a dramatic piece entitled "A Change for a Chance at Life" that aims to educate about obesity. The piece follows Mary, an overweight teen who is bullied at school. While playing, Mary faints and is hospitalized, where the doctor tells her she must lose weight for her health. With a personal trainer, Mary loses 195 pounds. When school resumes, her classmates are shocked by her transformation. Mary gives a presentation on obesity risks, urging her peers not to jeopardize their health. The document analyzes language registers and dialectal variations used in the drama to realistically portray characters and convey the theme of promoting healthy choices.
A powerpoint presentation on Environment Degradation in Trinidad. this scored a total of 9 out of the maximum 10 at the University of the West Indies... the explanation to accompany the slides are not available.
This document provides a summary of the book "Beyond Massa Management in the British Caribbean 1770-1834" by John F. Campbell. The book examines sugar production and the experiences of enslaved peoples, including men and women, on plantations in the 18th century Caribbean. It discusses the harsh conditions of slavery, including the sexual exploitation of enslaved women. The book also analyzes human resource management strategies used by plantation owners to control slaves, such as dividing them into gangs, and the use of elite slaves to inform on planned uprisings. The document concludes that the book provides a revisionist perspective on history by giving voice to the experiences of both enslaved women and white women during this period
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
Long day's jouney into night
1. Name:…………………………………………………………………….
Themes in Long Day’s Journey into Night by Eugene O’Neill Addiction
Displacing Blame
Denial and Self-Destructiveness
Hopelessness/ Religion
Isolation/Loneliness
Reality vs Illusion
Suspicion and Doubt
The Past
Addiction:
“There's nothing like the first after-breakfast cigar, if it's a good one, and this new lot have the
right mellow flavor.”
The play to some extent is centered on addiction. This is what can be held accountable
for broken family relationships. Mary’s morphine addiction is balanced by the men’s
alcoholism. Although the morphine is perhaps a more destructive drug, alcohol does its fair
share of damage to the Tyrone men. Addiction serves as an escape from reality. “But, of course
he’ll never come home so long as he has the price of a drink left.” This was said by Mary on
page 94. Jamie does this because he cannot face reality sober, and as a result hardens himself
by drinking to face it.
“I hope to God you haven’t taken to drink on top of---“In act 3 when Mary becomes
defensive when she was asked about drinking. She changes the subject and speaks about her
“rheumatism”. Aware that Mary is both intoxicated and ‘high’ from Morphine, Tyrone tries to
escape reality, “I’ll get a fresh bottle of whiskey…”
Just as the Tyrone men, when reality becomes too much to handle Mary escapes into
another world through the use of Morphine. “I must go upstairs. I haven’t taken enough.”
Avoidance is often their strategy for dealing with problems.
Besides as an escape, addiction act as a truth serum. This is as when the characters are
pg.26. This is said by Tyrone who stops Jamie from giving his tongue liberty to say what he feels
because he isn’t drunk, which clearly show what he was about to say would only be accepted if
he was drunk.
2. In act 4 or the emotionally cathartic scene we realize that their addiction no longer have
an effect on them. They are now forced to face the truth- reality. On pg. 137 Edmund tells
Jamie don’t drink anymore because he will pass out. Jamie’s response is that he, “Can’t, that’s
[the} trouble. Had enough to sink a ship but can’t sink” he is now forced to accept reality.
All of the Tyrones depend on drugs to escape their problems. James, Jamie, and Edmund
take refuge in alcohol and Mary in morphine. But instead of alleviating their problems, the
drugs exacerbate them.
Displacing Blame:
“You’re to blame James”
The characters in Long Day's Journey are absolutely obsessed with thinking over the
past and either feeling guilty about what they've done, or blaming someone else for all the
problems they face. Early in the play we see Jamie blaming his father, James for his mother’s
morphine addiction. On page 34 he says, “… he was another cheap quack like Hardy! You
wouldn’t pay for a first rate ---“Jamie holds Tyrone stinginess for his mother’s addiction.
Mary blames the doctor for her morphine addiction. On page 75 Mary compares how
she was before Edmund’s birth and after his birth. “I was so healthy before Edmund was born.
You remember, James. There wasn’t a nerve in my body… I was sick afterwards, and that
ignorant quack of a cheap hotel doctor--- All he knew was I was in pain. It was easy for him to
stop the pain” She suggests if the doctor had tried to help her instead of make a quick buck he
wouldn’t have made her a “dope fiend”
Seven years after Jamie was born Mary has a baby named Eugene. Eugene died as a
baby. Mary blamed herself firstly for his death. “I was to blame for his death. If I hadn’t left him
with my mother to join you on the road…” She accepts the blame for the loss of Eugene but
then she gives it to Jamie. Since he had “measles” he wasn’t allowed to go in the baby’s room,
but like any other child his age he disobeyed. She hold Jamie responsible for Edmund’s death as
she says, “I’ve always believed Jamie did it on purpose. He was jealous of the baby. He hated
him…” She then reverses the blame back onto herself. “It was my fault. I should have insisted
on staying with Eugene…”
After this she hen gives James full blame foe Edmund being born. “Above all I shouldn’t
have let you insist I have another baby to take Eugene’s place…” She also blames him for the
way she, Jamie and Edmund have turned out, by attacking he disability to create the kind of
3. home she wanted. “…by then that children should have homes to be born in, if they are to be
good children, and women need homes, if they are to be good mothers.”
As usual Mary blames herself, this time for Edmund’s fragility. “I wasn’t worth to have
another baby, and God would punish me if I did. I never should have borne Edmund.” On pg. 95
she again snatches the blame for Eugene’s death, “ I let him die through neglect.” In an effort to
create sympathy for herself and judgment for the others Mary provokes a give and take blame
game.
Denial and Self-Delusion:
“Oh, I know it’s foolish to imagine dreadful things when there’s no reason for it. After all,
When the four members of the Tyrone family are sober, they generally refuse to
acknowledge their own failures and weaknesses. Instead, they deny their faults altogether,
choosing to blame another family member for them or to argue that they are victims of
uncontrollable circumstances. Their self-delusions lead to petty bickering and raging discord
and avoid facing their failures; they take refuge in liquor or, in the case of Mary, morphine.
Under the influence of drugs, they tend to probe the past and ruminate over what could have
been or should have been.
Mary remembers what she wanted in past the past, “ I had two dreams. To be a nun,
that was the more beautiful one. To become a concert pianist, that was the other.” Mary
deludes herself with her of dream of being a concert pianist. Through the stage directions its is
noted that Mary isn’t as good as she thinks and her dream was quite far-fetched, “someone
starts playing the piano in there ---- the opening of one on Chopin’s simpler waltzes, done with
a forgetful groping, as if an awkward schoolgirl were practising it for the first time.”
Oddly, when they are primed with the artificial courage of their drug of choice, they
sometimes own up to their flaws or forgive others for theirs. But such conversational
benefactions are almost always negated by renewed verbal warfare.
Unfortunately, no one seems willing to take the necessary measures to overcome
addiction, although Jamie says he might have been inclined to seek help if his mother had set
an example of sobriety. But, of course, his sincerity here is suspect, for he is refusing to take
responsibility for his behavior. In effect, he is saying that he is still a drunk because his mother is
4. still a morphine addict. And so the family self-destructs. At the end of the play, each member of
the family is an alien in a familiar world; the Tyrones live together separately.
Hopelessness/Religion:
“ I had given up hope”
Although Tyrone professes to keep his faith, his two sons have long since abandoned
the Catholic religion. Just as Tyrone attacks them for not attending Mass regular, Jamie attacks
him as well, “… I don’t remember you’ve worn any holes in the knees of your pants going to
Mass.” The lives the Tyrone children choose to live blatantly reject any knowledge of God.
Tyrone's religion spills over into his taste in art. He considers Edmund's favorite writers like
Nietzsche who said, “God is dead” to be morbid and degenerate.
A lost in faith can account for the loss of hope. When Edmund’s doctor calls about his
condition he inquires about what he said but claims not to care, “What did he say not that I give
a damn”. Edmund, who has lost his faith, has lost all hope and has sentenced himself to death
not finding something or some higher being to put his trust in. He goes through the play
awaiting his bell of quittance.
Mary's loss of faith also recurs as an issue. Although she still believes, she thinks she has
fallen so far from God that she no longer has the right to pray. “You expect the Blessed Virgin to
be fooled by a lying dope fiend reciting words!” According to Tyrone, Mary’s loss of faith is
what needs to be held accountable for her relapse on morphine. “ if your mother had prayed,
too—She hasn’t denied her faith, but she’s forgotten it, until now there’s no strength of spirit
left in her to fight against her curse.”
Jamie, Edmund and James all too some extent can blame their loss of hope on broken
promises made by Mary. “There’s no help for it… I wish she hadn’t led me to hope this time”,
James in the above quote says he wished that she didn’t give him something to hope for. She
gave him hope by trying to stay off the drug but her relapse took that faith away from him.
Most of all Jamie’s hope has disintegrated since the first time she took the drug.
5. Isolation/Loneliness:
“I know it’s useless to talk. But sometimes I feel so lonely”
Isolated from larger society, the Tyrones’ predicament is worsened by their isolation
from each other. This happens since the characters display a fundamental inability to
understand one another. Mary is arguably the most isolated character in the play. This is as she
is the only morphine addict. No one understands her motives for things when she’s doped up
and sinks further, and further away from reality. Apart from her choice of substance addiction,
Mary is also isolated as the only female in the Tyrone family.
Mary is lonely because she doesn’t have someone she could talk to or have fun with, ” if
there was only some place I could go to get away for a day, or even an afternoon, some women
friend I could talk to… gossip and forget for a while.” When Mary was wedded she lost some of
her friends. Those who didn’t “pitied” her, “cut” her off. While everyone else in the play goes
out and relax or have a drink with their friend Mary doesn’t have this pleasure. This may be due
to her own stubbornness as she refused to talk to Tyrone’s friends when they were on the road
and also she has a car which she refuses to drive, she could have gone out and made friends.
Reality VS Illusion/Appearance:
Reality and appearance are constantly mixed up in this play. This is as reality for many
characters is what they choose to see, believe or be part of. For many of them Appearance is
reality (*just like Othello). The play begins at eight, thirty a.m it appears that the day would be
filled with new beginnings and full of hope but by lunch time we see that reality doesn’t match
appearance and the theme of the prevails. This is as just like any other day, it was a new day to
ruin with old problems.
6. Suspicion/ Doubt
“Why nothing, except you’ve seemed a bit high strung the past few days”
The play opens with a typical family. A mother, a father and their sons. Early we
realize that Mary is a recovering addict. Tyrone in act one realizes that Mary is
beginning to gain weight, something that is only done when you’ve stop taking
drugs, “You’ve a fine armful now, Mary, with those twenty pounds you’ve
gained.” At first everyone in the play seems to be happy or grateful that Mary
has kicked the drug.As the play progresses the characters begun to question, if
what they believe is the truth or not. This is as Mary is getting better but when
she begins to act like her old self “turning her head away” while she they were
talking to her they suspect that something is wrong.
On page 33 Jamie suspects that Mary has begun again. “I pretended to be
asleep. She stopped in the hall to listen, as if she wanted to make sure I was.” He
makes a clear indication that Mary has begun moving around at night, unsure if
what he thinks is true, he allows doubt to enter his mind and the mind of the
other characters as well
“It was her being in the spare room that scared me. I couldn’t help remembering
that when she stars sleeping alone in there, it has always been a sign.” This
quote confirms what he has been suspicious about is true.
Mary who is guilty of being back on the drugs can’t help but notice that her
family has realized her actions. “Tell me the truth. Why are you so suspicious all
of a sudden?” When Jamie replies that he isn’t she responds, “ Oh, yes you are. I
can feel it. Your father and Jamie, too – particularly Jamie. Mary is very intuitive
about how they perceive her.
The Past:
Oh, for God’s sake, don’t drag up that ancient history!”
7. Long day’s journey into night is a story of defeat, struggle, pain, love and acceptance.
“Well you know how it is, I can’t forget the past” says Jamie in Act one in relation to his
mother’s drug addiction (indirectly). Every interaction with the Tyrone family involves their
past. As Mary puts it, “the past is the present, isn’t it? It’s the future, too”. Each day they revisit
old fights to open old wounds of hurt that cannot be forgotten.
Tyrone’s major flaw is his miserliness. He values money way way to much. Tyrone
reveals a though past. “my mother was left, a stranger in a stranger land, with four small
children… At ten years old! There was no more school for me… And what you think I got for it?
Fifty cents…. We never had clothes to wear, nor enough to eat…it was in those days I learned to
be a miser. A dollar was worth so much then. And once you’ve learned a lesson it is hard to
unlearn it.” Tyrone’s past is to be held accountable for Mary’s addiction and she never lets him
forget that.
Mary’s main flaw is her inability to face reality/truth. The past reveals that Mary’s father
died of consumption, Mary refuses to believe that, that would also be the fate of her youngest
son. ”What makes it worse is her father died of consumption”. She refuses to believe that
Edmund is quite sick “It’s just the summer cold.” She is unable to accept that the cycle of past,
present and future continuum.
Jamie’s major flaw is his cynicism. As his parents points out, “the worst he can suspect is
the only truth or him.” As a result of Jamie’s cynicismcoupled with hurts from the past can
never truly love Edmund. This is as he blames his birth for his mother’s drug addiction and as
result tried to ruin Edmund’s future. “I’ve been rotten bad influence, And worst I is, I did it on
purpose.” When things begin to look forward or in the right direction the past rare its ugly head
to destruct again. “ I’d begun to hope, if she’d beaten the game, I could too”. Unfortunately
Mary has sunk back into old habits.
Everyone in Long day’s journey into night has some major anxiety about the lost ‘good
old days’ and about old mistakes that still show scars. Both parents express real regret
over choices that they made in their youth. All conflicts and problems from the past
cannot be forgotten, and in fact they seem doomed to be relieved day after day.
It is important to note that Long day’s journey into night is not only a journey back into
the past lives of all characters, who continuously dip back into their old lifestyles. The
audience is left realizing that “the past is the present… the future too” as the family
makes no progress towards betterment, but rather continuously slides into despair as
they remain bound to the pas that they neither forget nor forgives or is ready to forgive.
The play is more tragic because it gives a little hope but then takes it back. The Tyrones
can only be seen as one long cycle of a repeated past bound by alcohol and morphine.
8. FEAR & THE PAST.
Just like everyone each member of the Tyrone family has a fear. Each character fear lies
in the past, and experience that they do not want to relive. Tyrone in act four give his
reason for his miserliness. As he said “once you learn a lesson it is hard to unlearn it” his
past experience is what made his the man he is, cheap. This is something he would always
have to live with because it lies in his memory.
Tyrone fear is the “poor house”. He was once there and tries everything he thinks he
can do to prevent that situation from returning. Hence the only thing he spends money
carelessly on is property.
The source of Mary's fear isn't much of a mystery when she says things like "I
knew I'd proved by the way I'd left Eugene that I wasn't worthy to have another
baby, and that God would punish me if I did". Mary feels extremely guilty over
the death of her second son. She thinks that, if she'd been there, she could've
stopped little Jamie from giving Eugene that lethal case of measles.
It's likely that Mary was afraid something awful would happen to Edmund as
well. This mental anguish, coupled with the physical pain of childbirth, was
probably pure torture for Mary. The cheap hotel doctor that James dug up to
help her came in with very little understanding of the complexities of her
torment. He saw only a lady in pain. So, he prescribed one of the most effective
legal painkillers of the day – morphine.
Morphine, like its cousins, opium and heroine, is almost instantly addictive. Mary
had no idea the sort of dangerous medicine she'd been given. She only felt
euphoria and, for a sweet moment, a release from her anguish. If only she'd
known how much more pain it would cause her in the future. Before she knew it,
she was trapped in addiction's vicious cycle.
Jamie’s fear is that his mother would go back on morphine--- but she is back on
the drug. “I hope she’d kick the drug this time”. He also fears that his brother’s
idea of consumption is true, “ what I’m afraid of is, with your Irish bog-trotter
idea that consumption is fatal, you’ll figure it would be a waste of money to
spend any more than you can help.
9. The past lives in the memory. This memory of the past of is what creates each character’s fear.