Arthur Millers A View From the Bridge Essay Example for Free

Arthur Millers A View From the Bridge Essay Masculinity is a prevalent theme in Arthur Millers A View From The Bridge. The four leading male characters in the play; Eddie, Rodolpho, Marco and Alfieri; each play different roles and different types of men. Miller has represented men and masculinity in an unforgiving light in the play. It appears that it is men that confuse and create problems in the characters lives. Each characters actions are effected by the conflicting forces of determinism, where every event and situation is the inevitable result of its preceding states of affairs; and freewill. It could be said that the male characters in A View From The Bridge are not acting, but being acted upon. The main character in A View From The Bridge is Eddie. He is forty years of age, slightly overweight and is described as husky. The huskiness used in the description refers to both Eddies roughness and his strong, burly build. His age suggests experience, another masculine quality. Eddies appearance reflects his attitude, strong and intimidating. In trying to prove his masculinity, Eddie is the focus of many conversations, as he feels that he must dominate the conversation. Eddies speech is very direct, with blunt wording. He constantly uses contractions and drops the last letter off words, such as in the phrase I didnt say nothin'. Eddies language is not sophisticated in any sense. This is because Eddie spent his time working instead of getting a proper education. Eddie also comes from a working class family, which would mean that his education is limited. The conglomeration of these factors conveys Eddie to be even more masculine. It is very clear that Miller has constructed Eddie to represent the epitome of masculinity; however the character has a propensity to be acted upon rather than acted. Although Eddie is portrayed as a very masculine character, the turmoil in his mind is evident to the reader. Within himself he is trying to control his feelings, or act. Instead, it appears that the happenings around him control Eddies actions. When Eddie allows Rodolpho and Marco to stay, he is acting, as he is making the decision as the patriarchal member of the Carbone family. He has the choice of whether to accept them or not. He acts out of freewill. The best example Eddie being acted upon is when he calls Immigration about Marco and Rodolpho. At this point in the play, Eddie thinks that he has no other options. He is struggling to control his  feelings for Catherine, which on its own is an example of being acted upon. Although Eddie knows that these incestuous feelings are not acceptable, he cannot help but feel this way. Catherines developing relationship with Rodolpho is clearly testing Eddies endurance. Eddie also feels that Rodolpho is a bad influence on Catherine, as Eddie can no longer control her as he used to. Realistically, this is because Catherine is growing up more than Rodolphos influence. However, Eddie feels that the only solution is to get rid of Rodolpho. By doing this, Eddie hopes that everything will return to its original state, with him being the patriarch. Consequently, Eddie calls Immigration. It can clearly be seen that Eddie is not acting, as eliminating Rodolpho is something that is inevitable if Eddie wishes for things to return to their initial state. Rodolphos appearance in A View From The Bridge is one that is far more feminine and gentle than that of the other characters. He is described as a slim platinum blond with a nice face. His gentle features are considered womanly, and so he is not considered to be masculine. Rodolphos age can be estimated to be in the mid-twenties. This denotes a lack of life experience, another indicator towards femininity rather than masculinity. Miller has constructed Rodolpho as a much less masculine character than Eddie so as to juxtapose the two characters. Unlike Eddie, Rodolpho is a more rational character. He is more cautious in what he says. Due to this discretion, Rodolphos speech is very limited in A View From The Bridge. However, his rational behaviour does not stop Rodolpho from being more acted upon than acted. Even though Rodolpho tries to refrain from causing too much of a disturbance in America, he is visibly maddening Eddie by showing affection towards Catherine. However, Rodolpho cannot control his feelings. He stands up for his right to have a relationship with Catherine and, regardless of what Eddie does or says, Rodolpho still has these feelings for Catherine. Rodolpho does not choose to be attracted to Catherine, it simply happened. The concept that Catherine and Rodolpho both care for each other is not a matter of choice or freewill, it is clearly determinism. For this reason, Rodolpho is more acted upon than acting in A View From The Bridge. Marco is described in A View From The Bridge as a thirty-two year old square built peasant. His square build implies strength and an intimidating physique, which evokes an air of masculinity. His age puts him between Eddie and Rodolpho. Throughout the play, Marco is played as quiet, yet thoughtful. His dialogue is minimal, until the final sequence where the conflict between him and Eddie erupts. Although his dialogue is entirely different to that of Eddie, the pair are both seen as masculine characters. This is because Marco is confident with himself, and does not feel it is necessary to talk or dominate the conversation. In doing so, his confidence shines through as being masculine. Again, Marco is a character that appears, in most cases, to be more acted upon than acting. Marcos strong and silent persona allows him to understand and recognise elements in the characters more so than Eddie and Rodolpho. He sees Eddies challenging nature towards Rodolpho and challenges Eddie back. In this sense, Marcos actions are acted. He understands what is happening and uses his own freewill to make a decision of what to do. However, the final sequences are clearly an indication of how Marco is more acted upon than acting. When Marco spits in Eddies face, it is the culmination of Eddies attitude and actions that cause him to do so. After trusting Eddie, Marco has been proverbially stabbed in the back. However, Marcos reaction was eminent. Eddies ongoing dislike of both Marco and Rodolpho would eventually arrive at a confrontation. Marcos reaction was clearly determinism it was the inevitable result of its preceding states of affairs. In this way, the character of Marco is more acted upon than acting. Similarly, when Marco kills Eddie, it is inevitable. If not for Eddies death, the play would be going nowhere. Eddies sanity is questionable towards the end of A View From The Bridge. If Eddie were to survive the stabbing, there would be no closure for any of the characters. When Eddie pulls the knife out and attempts to stab Marco, it is clear that he is not thinking rationally. Marco then acts in self defence when he stabs Eddie. He knows that one of them will die in the struggle, and sees that his killing of Eddie is the only way he will come out alive. For this reason, Marco acts not out of freewill, but stabs Eddie as there is no other way for the battle to end. Hence, Marco is more  acted upon than acting. However, this attribute is not shared by all of the male characters in A View From The Bridge. The final male character in A View From The Bridge is Alfieri. Alfieri is the oldest of the characters, described as being in his fifties, turning grey and portly. His age implies much life experience, as does his generously proportioned physique. His appearance is also one of a higher class than the rest of the characters. Alfieri speaks with distinction. Unlike Marco and Eddie, who feel the need to express their masculinity, Alfieri is confident in himself, and so needs not demonstrate this through his language. For this reason, Alfieri remains to be a masculine character even though his language is very poetic and eloquent. For example, when consulting Eddie and Marco, he says To promise not to kill, is not dishonourable. As well as showing Alfieris intelligence, the statement gives his words a scale of importance. Alfieris masculinity shines through in his instructing and superior manner. Unlike the rest of the male characters in A View From The Bridge, it is felt that Alfieri is not being acted upon, but is acting. As Alfieri is not directly involved in the convoluted relationships that take place in the apartment, he has the advantage of having a less emotional reaction to the occurrences. Alfieri also has the advantage of being able to think about things rationally before offering an opinion. When attempting to guide Eddie in his turmoil, Alfieri informs him that he can take no legal action. In doing so, Alfieri is acting out of freewill. Nothing is forcing him to tell Eddie this. Theoretically, Alfieri could ignore the legal aspect and tell Eddie to take his chances. Instead, Alfieri offers his own advice, to let her go. Although Alfieris instinct to seek resolution may be seen as more acted upon than acting, his pressure in guiding Eddie to do the right thing, or lack thereof, is freewill, as Alfieri made the choice in not forcing Eddie to stop acting in the manner that he was. For this reason, Alfieri is acting more than he is acted upon. Although each of the male characters in Millers play A View From The Bridge represents a different role and different type of man, each of their actions can be seen as either an act of freewill or an act of determinism. In many  instances, it appears that there is no other way for the incident to occur. At other times, the characters make choices, exercising their freewill. As Eddie, Rodolpho and Marco are all emotionally involved in the relationships in the play; their actions tend to be acts of determinism. All three are trapped in gender roles, not wanting to appear weak. As Alfieri is more of an onlooker in the play, his actions are a result of freewill. Confident with his masculinity, he is able to decide what to do, not be forced into doing something. For this reason, the male characters in A View From The Bridge can be said to be predominantly more acted upon than acting.

Formation of the Trophectoderm Lineage Essay -- Anatomy, Cell Division

‘Formation of the trophectoderm lineage. The first cell fate decision in mammalian development’. The crucial outcome of the early mammalian development is the attachment of the embryo to the uterine lining. The cell population that will support this attachment, the trophectoderm (TE), is distinguished from the inner cell mass (ICM) at the blastocyst stage and this separation represents the earliest lineage restriction. Up to the 8-cell stage, the embryo is characterized by a loose structure, but then compaction follows, a phenomenon mediated by increased cell-cell adhesion (tight junctions, increased E-cadherin expression). Acquisition of a microvillus apical membrane domain, polarization of the cytoplasm and reorganization of cytoskeleton elements establish apicobasal polarity while blastomeres become flattened. (Gilbert, Fleming et al., 2001). Still at this stage, all cells maintain communication with their environment, but after sequential divisions they either take an inner or outer position in the late morula. By 32-cell stage, the blastocoel cavity is formed surrounded by the TE that will give rise to extraembryonic tissues (extraembryonic ectoderm and the trophoblast). Attached to one side of the TE epithelium, the ICM will form the embryo proper and nontrophoblast extraembryonic tissues. The molecular mechanisms behind this first differentiation event remain elusive. Clarification of these mechanisms will contribute to our understanding of early mammalian development and will support the field of stem cell biology and induced pluripotency. Conservative versus differantiative cell divisions. After the compacted morula, the embryo undergoes two rounds of cleavage, during which the two cell populations become gr... ...(Cdx2, Eomes, Fgfr2) were re-expressed after the introduction of exogenous Sox2. Therefore, Sox2 was suggested as an early player in the introduction of the TE lineage, but interactions with the other transcriptional regulators as well as actual contribution or not of maternal Sox2 mRNA still need to be illuminated. From all the above, it is understood that the transcriptional network regulating the first cell fate decision is complicated and yet not clearly defined. Recent evidence supports a dual role of Klf5 in lineage specification (Fig 4). Upregulation of Klf5 is critical for TE development (upstream of Cdx2 and in parallel to Fgf signal), whereas low levels of Klf5 are needed to maintain the expression of Oct4 and Nanog in the ICM. Still, the exact mechanism and the interactions with other members of the network need to be examined (Lin., et al., 2010).

Throwing the Perfect Party

Brittney Liston Professor Thomas English Comp. I September 26, 2011 Throwing the Perfect Party Throwing the perfect party requires a lot of planning because the party planner’s reputation will be put in the spotlight. Rather it being a party that goes well or if it’s a total disaster. Hosting a party can be stressful if the proper amount of time is not used wisely in planning the party. Lots of people have failed and very few have succeeded in creating the perfect party depending on the time used in planning the party. The ones that failed usually were because they had poor planning skills. There are many steps that need to be followed in order to throw the perfect party. First off, take time to plan things out. Check dates out to make sure that party is not planned on top of another event that might be going on. A decision on location also needs to be made at this time. Now since they have a location and a date set a guest list can be started. Verify that all contact information for guest is good. The second step would be deciding a theme for the party. A month before the party is ideal for knowing the theme so that purchasing favors, decorations can be done and that everyone is properly dressed for the event. Wait around three weeks before the party to send out invitations. A reserve by date is good so that an accurate count can be made so that food and entertainment can be planned. The menu can be decided at this time. The menu will depend on the type of party being thrown. Finger foods and soft drinks are good for simple parties, while a full dinner maybe needed for a formal party. Activities should be decided at this time. If a band will be attending verify weekly with the band so that they are sure of their attendance. If planning to use personal media prepare what songs will be used and set those aside. Around a week before the party send out reminders to guest so that attendance will be assured. Calling the guest that has not responding is also a good idea in case they might have not received the invitation. Two days before the party get a final count of the guests attending so that the proper amount of things will be available at the party. Remember to take all food out of freezer that needs time to thaw out. Make sure that plenty of batteries and film are available so that all the special moments are captured by camera. If the party is to be held in a personal home be sure that all organizing and cleaning is done at this time so that it is ready for the party. The day before the party should be used to prepare most of the food that can be prepared early. If the party location is available use this time to do all indoor decorating so that it will be ready for the party. The day of the party is finally here. All of the early preparations have paid off to make this day a perfect day. Now is the time to put outdoor decorations out. All of the food that was not prepared prior should now get prepared and available to use. The guests are all arriving and all that is left to do is to enjoy to perfect party that you have made possible through proper planning. Now since the day of the party is finally here, do all of the last minute adjustments to the decorations. Make sure all the placements are out and ready, and that the music selection is in order.

Literary Works with Love as a Theme - 842 Words

Many literary works have love as a theme. By reading different novels, one receives a glimpse of all the different kinds of love and their purposes. In Their Eyes Were Watching God, love is represented as the sea. By reading this novel, the reader comes to the conclusion that our capability to love deviates with every person we come across. Love is in some ways an art, and it transforms as people transform. Janie Crawford, perhaps one of the greatest love philosophers and protagonist, says, â€Å"Love ain’t somethin’ lak uh grindstone dat’s de same thing everywhere and do de same thing tuh everything it touch. Love is lak de sea. It’s uh movin’ thing, but still and all, it takes its shape from de shore it meets, and it’s different with every shore† (Hurston 191). The Janie Crawford’s dream of true love is combined with understanding, and equality between lovers. This advice should be shared across nations. 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