Colin Poole Essays - Dustin Hoffman, Theatre, Dorothy, Dorsey, Film

Colin Poole ENGL 217 Paper 2 - Acting The movie Tootsie contains an interesting acting performance with a kind of duality to it. In the film, Dustin Hoffman plays a struggling character actor named Michael Dorsey. Dorsey, a talented actor, is having trouble finding work, as his reputation of being difficult to work with makes it so that no one w ants to hire him. Therefore, so he can find acting work, Dorsey dresses up as a woman, becoming Dorothy Michaels, and quickly becomes a national sensation. Hoffman's performance is quite interesting in the film, as he not only has to play role of Michael Dorsey, but the role of Dorothy Michaels, or more accurately, Dorothy Michaels as played by Michael Dorsey. More interesting are the specific ways in which Hoffman gives you a sense of both characters. Essentially, there are two different characters being portrayed here. In addition to the mannerisms Hoffman adopts to portray Michael , he adopts an entirely new set of mannerisms to portray Dorothy. The w ays in which the two characters contrast, at times very comedically, also serves to give viewers a sense of the characters that Hoffman portrays. Ultimately, Dustin Hoffman's performance gives us a sense of his character through the mannerisms he exhibits for each character, the way they both contrast, and additionally the way Hoffman's characters view themselves. Michael Dorsey is a character that, through Hoffman's performance, we learn quickly is nitpicky, arrogant, and generally challenging and tedious to be around. His body language is often defensive, and he tends to stand and address people in closed off positions, such as with his arms crossed, when speaking. He is quick to get defensive and to lash out at others, and he seems to believe that everyone is wrong except for himself, most of the time. This is highlighted during a heated argument when Michael's manager informs Michael that no one in town wants to work with him because of his reputation, and he responds with a callous wave of the hand, dismissing the charge that this predicament is his own fault. Additionally, he has a keen attention to detail, which we learn not only from his own admission in the film, but from the way we watch him fuss over outfits and wigs used by his alter ego, Dorothy Michaels, and from how he will at times verbally assault others, such as whe n he is showing his friend Sandy how to act angry, to challenge them to do more than they believe they are capable of. Additionally, while preparing to be Dorothy Michaels, Dorsey meticulously shaves his legs, applies make up, and carries out a long and high maintenance routine to make sure that she is convincing to other people. Through these actions, we get a sense of Michael Dorsey's arrogance, commitment to perfection in acting, and some of his other character flaws. This, however, is only half of his performance in the film, and the character of Dorothy Michaels functions as essentially an entirely different character in the film. Dorothy Michaels is a contrast from Michael Dorsey, and a dramatic one at that. We first see Dorothy walking down the street, self-consciously adjusting her outfit and wig to blend in and appear as an actual woman, rather than as Michael Dorsey dres sed in drag. Interestingly, Hoffman's portrayal of a female character in this way is not the stereotypical performance that a viewer would likely initially expect. Dorothy Michaels becomes a character in the movie in her own right, and this is due large in part to Hoffman's nuance in portraying her. Firstly we get a keen sense that even Michael Dorsey seems to view Dorothy Michaels as if she is a separate individual. He has created an entirely back story for her, he is very particularly about what she would wear, the way she would conduct herself, and about the values she's holds. Dorsey holds to this ideal to the point of absurdity at times, at one point kicking his roommate out of their apartment so as not to imply that Dorothy has loose morals, because, as his roommate sums up, she is " not that kind of girl". Additionally, Dorothy

Term Paper Outline

Term Paper Outline This article will help you get more knowledge on how to write a term paper outline. Writing a term paper outline is the first thing you have to do as soon as you sit down and decide to write your own term paper. The term paper outline defines the things you are about to discuss in your term paper, and how the term paper will come out in whole. When writing a term paper outline you have to seize the whole amount of information you would like to include in your term paper, and structure it the way it would make most effect on the reader. The term paper outline must be written on a clear peace of paper, and with great distinctiveness, as a messy term paper outline can only confuse you, and make you not want to use it. Before sitting down to write the term paper outline you have to complete a procedure named brainstorming. Brainstorming helps you write a good term paper outline, and cover all the points of your term paper outline. Brainstorming is a specific way of thinking, when you think of all the points you would like to mention in your paper. However, this method does not require structuring. You can think first of the ways you would like to end your term paper, and then, think of the introduction whatsoever. This method helps you add some thoughts that were hidden when you simply were thinking of the term paper without brainstorming. After you have completed the brainstorming process, you may start to structure your information. A good way to do that is a method called branching. This is a sort of a diagram, where you draw a tree with branches. Every branch is a thought, connected to a parent thought, which is connected to the trunk of the tree. If you have no idea how to outline a term paper, you may need a sample term paper outline or term paper example, which will help you see how a proper term paper outline is supposed to be done. You may also order a custom term paper outline, and see how an experienced writer sees this term paper, and afterwards use it as your own term paper outline and write a term paper according that outline. If the term paper outline sample doesnt work for you, you might want to consider a term paper outline help. You can ask a proficient writer to help you do your term paper outline, or help with the term paper outline format. The term paper outline format is also a very important part, as there are various formats, which can be used in your term paper outline. It can be either an MLA term paper outline or an APA term paper outline. These formats differ from each other, and it is best for you to be proficient in both of these term paper outline formats. When writing a term paper outline never forget that it will result your term paper in whole. Try to be maximum accurate with your term paper outline and make sure you write it with maximum details, and not forget anything.

Accessible Virtual Classroom For Visually Impaired Students Literature review

Accessible Virtual Classroom For Visually Impaired Students - Literature review Example It is easy to see why the concept of a virtual classroom appeals to a lot of people. It’s usually much cheaper than the regular schooling system and provides much more flexibility when it comes to learning and applying the knowledge. A common complaint levied against the traditional schooling system is that the students have no flexibility in following the curriculum, ie, all students are expected to follow at the same pace as that set by the teacher. However, each student has his or her own learning style and speed, which is especially marked for students who are at the either extreme of the IQ spectrum. Virtual classrooms remove this restriction by letting each student access and process the information according to their unique customized rate. Also, every pupil receives a fair amount of individual attention, which is not possible in a traditional classroom environment. The concept of a virtual classroom is also valuable to people who are in geographically or economically inaccessible parts of the world. It might not be possible to have a school for a community of a few people that are perched in a mountainous area or a desert region. Further, students who are physically disabled such as paraplegics or the mentally challenged can often still experience a conventional education as part of a virtual classroom setup. It is also seen that virtual classrooms are becoming popular for higher education purposes – where this was initially developed.... However, the purpose of this paper is to explore and study if these classrooms are also tailored to meet the demands of the visually challenged population. The visually impaired are traditionally at a disadvantage when it comes to computers and online resources such as the internet – because the mode of data transfer in these media is through sight. If this handicap can be overcome, online classes can be a great resource for the blind as they can empower themselves through the wealth of online educational resources available. Much is yet to done, but several important progresses have already been achieved to this extent. Tactile and Haptic devices have made great inroads into the education of the blind. It needs to be explored in greater detail how several of the successful virtual classrooms have addressed the specific needs of this community. Virtual classrooms are a multimodal information transfer environment. It combines the features of a web conference and video – audio conference. The device applications and multimodal sensitivity are the results of the combined benefits of several web applications such as email, chat, screen sharing, polling, web conference rooms, video – audio chats, telephone conference and so on. Before the question of the usability of virtual classrooms for the visually impaired in analyzed, it would be instrumental to analyze the specific features of a virtually information transfer environment. This is attempted in the next section where each of these features are considered in some detail. Features of a Virtual Classroom The following are the key features of a virtual classroom. 1) Real time audio and video Real time audio and

In Defense of Masks by Kenneth Gergen Essay Example | Topics and Well Written Essays - 1000 words

In Defense of Masks by Kenneth Gergen - Essay Example It is evidently clear from the discussion that  it is impossible to live through life without putting on or developing masks. Masks are a vital part of human society. Masks act as a source of fostering relationships and understandability between various groups in society.  People portray different forms of their real selves. They adorn masks to masks to achieve various objectives in their lives, but it is a fake characterization of their true beliefs and attitudes of a person. Everybody has a motivation towards hiding their identities. Whether it is to get accepted, loved, ignored, inflict fear or hide from shame. This urge to wear masks is true to human form. The urge for survival in a tough and competitive world makes people act in a manner that is not true to self. For example, it is common for an employee to appear subtle in front of his/her boss just to appease them and look well-mannered or cultured. The employee may in the actual sense not be cultured or well-mannered. He or she may be a loudmouth or someone that ridicules fellow coworkers at the workplace. But because the employee is in the presence of their boss and he or she hopes to get noticed for a promotion or favor, they hide their true identity in front of the boss. The boss would thus pick up a fake attitude or behavior from the employee. The motivation to get promoted or noticed makes the employee wear a mask that hides their real identity.  Society has also forced human beings to wear masks. Societal pressures make people act in ways that are not true to their selves. In a world that is full of standards and demands, people act to please others and not themselves (Gergen 138). Friends, enemies, and relatives may force individuals to behave in certain ways.  

Africans and Americans The Differences between Cultures Assignment

Africans and Americans The Differences between Cultures - Assignment Example Yet another notable musical aspect that has influenced the American musical forms include jazz and blues music forms- that were African instigated- that have made an entry into American music. Secondly, the language system of the African Americans has played a vast role in shaping the culture of the Americans today. Boyd argues that the Africans had to devise a new form of language that would lead to their bonding whilst in the Diaspora4. These languages involved the merging of the African, American and Caribbean vernaculars5. Today, the American language has seen the entry of these languages into the English structure. Though the same has been termed as slang, evidently, the African American language has claimed a huge percentage of the American language. Thirdly, African American art has influenced the American culture. In his work, Mbele argues that African American art has been accepted in the American culture6. Good examples include drawings, designs, architecture and carpets7. Present day American art display a huge percentage of African American artistic qualities8. This is an interpretation of the fact that Americans have slowly embraced and appreciated the African American works of art. The African American cultural expressions impact and leave an impression on American culture as a whole in many ways. In terms of politics, language and music amongst others, African American culture has continued to have a place in the American society. In the case of politics, for example, the United States now has an African American president. This is a clear suggestion of how far the African American culture has taken part a huge percentage of the American culture. The typical American culture cannot alienate itself from the Africanisation. Arguing that America has lost its ties with Africa is therefore fallacious.   With time, the cultural elements of African American culture are slowly being transmitted into the American culture.  

Techniques Of Javelin Throwing

Techniques Of Javelin Throwing Observation and analysis is imperative to coaches in order to provide the learner with detailed feedback about their performance (Hay, 1994). Javelin throwing has shown little change in technique throughout the years and elite performers virtually show identical techniques. Some athletes differ with their techniques by rotating the javelin arm forward, down and then extend it back prior to throwing. The most common technique of javelin keeps the javelin stable without any motion then extends it back before forward motion (Carr, 1999). According to Rogers (2000) the javelin is divided into a four phase pattern. These phases are; approach, transition, block and release and follow through. The approach is the run-up phase prior to withdrawal of the javelin. The run-up develops velocity and this energy created is transferred to the throw. The momentum gathered from the run-up adds 30-40% distance from a javelin that is thrown from a standing position (Rogers, 2000). Athletes prefer to use 12-15 step run up but some find using 8-10 steps comfortable. During the approach there should be a gradual acceleration eventually reaching a maximal, but controllable speed that can be maintained through the transition and release phase. The athlete should be relaxed during the run especially in the upper body and shoulders, maintaining a good posture. The javelin should be carried at a right angle with the shoulder with the javelin kept level and stable whilst in the run-up (Rogers, 2000). The transition phase is used to withdraw the javelin in preparation for the explosive motion of the release of the javelin. The withdrawal is established with a five-step pattern (for right handed thrower this goes left, right, left, right, left). The withdrawal begins when the left foot lands (after 12-15 step run-up). As the left foot lands shoulders turn 90 degrees to the right and the throwing is extended back with the palm facing upwards, so the arm is level or above the plane of the shoulders. The arm is slightly external rotated at the shoulder joint to ensure the palm is facing upwards. The tip of the javelin should be aligned at the level of the chin with shoulder kept level. During this phase the legs and hips are active. The turning of the shoulder controls hip rotation and feet placement and turning of the hips and feet cause deceleration (Rogers, 2000). Figure 1. The transition between approach and withdrawal phase with emphasis on the drawback of the javelin. The final stage of the transition is the most important to gain energy into the release of the javelin, the impulse step. The impulse stride drives the hips and trunk forward. The trunk is kept upright to maintain forwards speed. The right leg is swung infront forward with knee flexed and toe turned up. The left foot then lands forwards as the right contacts the ground (Rogers, 2000). Figure 2. Final Stage of the transition phase the impulse stride. Emphasis on the high knee drive of the right leg. The block and release phase is an explosive continuation from the preceding phase. During this phase the hips and trunk are thrust forward against a straight, left leg. The hips rotate with them finishing facing the direction of the throw. As the left leg is planted in a blocked action the right leg drive forces acceleration of the right hip, stretching the trunk. The throwing arm and all the leg action is kept relaxed and trailing. All these actions cause a stretch of the chest and trunk muscles resulting in a flail like action of the throwing arm (Rogers, 2000). Figure 3. The release phase showing the full extension of the left leg and the right leg driving through the block. During the follow-through the athlete must think of driving through the block. This forces the body high and onto the left toe after release. Another step should check the forwards momentum to prevent exceeding the foul line (Rogers, 2000). Analysis of Performance Using the four phase pattern devised by Rogers (2000) an analysis of a javelin performer comprising of their strengths and weaknesses and comparing them to a good model of practice. Strengths of the athlete shown come in the approach phase of the javelin throw. The athlete uses a 10-15 step run-up with a gradual acceleration which is controlled by the athlete. A controllable speed enables the athlete to gain momentum going into the transition and release phase where the more explosive movements take place. During the approach phase the athlete also shows a good posture with shoulders and upper body relaxed and javelin kept stable (Rogers, 2000). During the transition phase of the throw the athlete has good posture and the footwork is exemplary. The athlete keeps the hips high and upper body upright whilst doing the cross-over steps. During the cross-over steps the javelin is stable and is partly extended. The footwork of the athlete is correct and continues the gradual acceleration gained during the approach run. Prioritising the weaknesses of the athlete are essential so the correct practice drills can be selected and eventually an improvement in technique and performance. The two weaknesses concern the arm positioning and the impulse stride. The athletes arm drops below the plane of the shoulders. This impacts the whip-and flail release as the chest and torso are not kept open (Rogers, 2000; Paish, 2009). During the release phase the block of the left side causes a prestretch of the chest and trunk resulting in a the flail-like action. This cannot occur if the arm drops below the plane of the shoulders. The dropping of the arm below the plane of the shoulders also has biomechanical impacts. The dropping of the arm causes the tip of the javelin to point upwards, causing an over rotation of the javelin. Fig.4 this image clearly indicates the drop of the shoulder beyond the plane of the shoulder. The image clearly shows the impact this has on the hips, causing them to sink and the points of the javelin, which should be kept stable. The second weakness during the transition phase is the lack of an impulse stride. The impulse energy transfers energy from the transition phase to the release. The impulse stride is a final cross-over step but with the exaggeration of the right knee drive. The drive of the right knee aids pulling the hips forward (Rogers, 2000). The athlete being analysed performs the cross-over steps with ease but just has no final impulse stride, which gains explosive energy for the release phase. The lack of an impulse stride means there is no vigorous movement generating no pace and explosion. Fig 5. The image shows the lack of a knee drive. The knee should theoretically be at 90 degree angle. The lack of knee drive reduces the explosive movement of the impulse stride. Another major weakness from the athlete is during the block phase. As Rogers (2000) explains the left side of the body should be kept firm and act as a block whilst the drive comes from the right hand side, accelerating through the block. The left leg should be fully extended so the right hand side can rotate and drive through the left leg. The weakness the athlete shows is that after the impulse stride the left-leg is planted but is flexed. The implications of this are that the right hand cannot drive through the left side, generating no power for the javelin throw. The flexing of the left knee causes the hips to sink meaning body weight is forced backwards. Fig. 6 The image shows the lack of block during the release phase. The planting foot should be firm and almost in a vertical line. The flexing of the front knee causes hips to sink and a lack of drive through this block. Table 1: illustrates the athleteà ¢Ã¢â€š ¬Ã¢â€ž ¢s strengths and weaknesses. Strengths Weaknesses Good posture in run-up with the javelin kept stable. Arm drops below plane of the shoulders when drawn back Uses 10-15 step run-up. Lack of exaggeration during the impulse step Palm faces upwards and shoulder externally rotated when javelin is drawn back. Good footwork during the transition phase, with 3 well performed cross-over steps. During block phase left-leg not fully extended, causes right side not able to drive through the block. Hips drop and height lost during the block and release, caused by left-leg not fully extended. Developing Technique of the Performer As mentioned in the previous section the three key weaknesses have been prioritised. The weaknesses are; the drop of the arm below the plane of the shoulders when extended back, lack of exaggeration of the impulse stride and lack of extension of the left leg during the block and release phase. Drills now need to be created so technique of the performer is improved, so in turn the end outcome of the throw will be improved. Drills for improving these techniques can be combined together with drills for extension of the arm and lead leg culminated together. The first practice drill will be a standing javelin throw. This drill is a warm-up drill but can also focus on technical aspects of the throw (Bowerman and Freeman, 1991). The main objective of this drill is to stabilise the arm. As mentioned a weakness of the performer is the dropping of the arm below the plane of the shoulders. To simplify this drill the athlete could use a turbo javelin, this is a lighter javelin aimed at improving technical aspects or even a tennis ball. The athlete should complete about 30-60 standing javelin throws so the action is stereotyped and the athlete gets the kinaesthetic feel of the throw. During this drill the coach should be giving feedback focusing on the arm position, making sure it is above the plane of the shoulders. This drill is focusing on technical aspects so distance and effort should not be an issue the coach has to focus on. The next progression of the drill aims to perform 3 cross-over steps then perform a throw. This drill despite the introduction of the cross-over steps focuses on the arm position and extension of the lead leg during the release phase. As noticed the athlete during the transition phase lets the javelin drop below the plane of the shoulders, causing an over rotation of the javelin. During this drill the athlete should begin the throw with the arm fully extended to the rear and above the plane of the shoulders. The first stride should then be completed with the left leg and then cross-over step and throw. During the release phase the athlete needs to focus on fully extending the lead leg allowing the right side to be able to drive through the block (Rogers, 2000). The coach should prescribe the athlete to shadow perform this drill and pause as the left leg plants. This will indicate whether the athlete is fully extending the lead leg. Initially this drill should be done at a slow pace t o get used to the rhythm of the movements. Once comfortably the intensity and pace of this exercise should be increased. Again this action should be repeated so the movement is stereotyped to the performer. This means the action can be repeated without any conscious thought. To increase the difficulty of the drill the athlete should throw towards a target, making a gate to aim the javelin towards. The athlete should then challenge themselves out of 10 how many times can the athlete successfully land the javelin. The next drill will focus on the impulse stride. As explained the athlete lacked any exaggeration of the impulse stride therefore lacking explosive power into the release phase. This drill will focus on the high knee drive of the right knee. The athlete will perform cross-over steps over a line of SAQ hurdles. The athlete will only drive the right leg over the 12 inch SAQ hurdles. The will be done so the athlete feels comfortable with the feel and explosive movement of the impulse stride. The athlete should now understand the requirement s of the impulse stride so the final practice should be the athlete performing a 7-11 javelin throw. This will replicate the throw in a competition environment. The coach need to observe all components of the javelin and see if the technique has improved. Summary The javelin throw according to Rogers (2000) is split into four phases. These phases are; approach, transition, block and release and follow through. Each phase has key aspects which the coach should compare against a good model of the practice, the model of practice I compared the performer to was Steve Backley. By using video-analysis strengths and weaknesses of the performance could be drawn. For the weaknesses progressive and technical practices were drawn up so technique of the performer could improve, therefore improving performance. The key weaknesses of the performer analysed was; dropping of the arm below the plane of the shoulder when withdrawn in the transition phase, lack of extension of the lead leg during the release phase and lack of an impulse stride during the transition phase which is the most explosive movement. The progressive practices focused on one or two key points and are basic and repetitive so the technique can be embedded in the performance. Eventually the practices developed into a practice javelin throw replicating what would be done in competition, so developments can be seen.

Mericans :: World Literature Sandra Cisneros

In the short story "Mericans" by Sandra Cisneros, we appear to be reading about a small place in Mexico. The author uses many details in the story for us to visualize the cultural environment. The mix of Spanish words in the story such as, La Virgen de Guadalupe and la ofrenda give the sense of a different culture. The use of the awful grandmother kneeling at mass makes you visualize a specific heritage and cultural behavior. The word "barbarian" that the grandmother uses to describe the birthplace of the children, also points out cultural differences. It seems the author is trying to make us sense a native culture, and not to make assumptions based on physical characters. The "awful grandmother" (Cisneros p.30) is an example of a person in the story living in two cultural worlds, while she clings to her cultural heritage, she still doesn't want to accept the American culture of the children. The children, in the story, may look like Native Americans or Mexicans, but their main language is English. The children also use examples of American culture with the comic characters, "Flash Gordon" and "Ming the Merciless." The children in the story embrace more of the American culture than a native culture with the use of the comic characters. The little girl tends to struggle understanding her grandmothers cultural heritage, and it seems to take her quite a bit of effort doing it. The children seem to be content playing and carrying on without the bother of what the grandmother is doing, and they have no references to heroes of their native culture. The story tends to have a familiar setting to me, one that I am around, especially with the children running around and playing carefree. My grandmother is quite religious and she also does many of the things that the grandmother in the story does.