Preventing Cyber-Bullying And Trolling - 1547 Words

Jumping off GW bridge sorry. That was the last status update Tyler Clementi ever posted to his Facebook page before leaping to his death off the George Washington Bridge in New York City. A month before his suicide, Tyler, who was gay, started his freshman year at Rutgers University and was housed with a roommate who did not approve of homosexuals. Unbeknownst to Tyler, his roommate began to electronically spy on him and eventually recorded him kissing a man. The roommate then posted the video to YouTube and soon Tyler’s fateful and heartbreaking Facebook status would follow (Cloud). Unfortunately, stories like Tyler’s have become more common as bullying has made the leap from the playground to the massive new world of social media. With†¦show more content†¦Even individuals without the financial resources to afford a personal computer can go to their local library and access the internet for free. This constant access make cyberbullying worse than regular bull ying because as stopbullying.gov states, â€Å"Cyberbullying can happen 24 hours a day, 7 days a week, and reach a kid even when he or she is alone. It can happen any time of the day or night† and â€Å"Deleting inappropriate or harassing messages, texts, and pictures is extremely difficult after they have been posted or sent.† Consequently, authoritative response whether from parents or the social media sites themselves to cyberbullying is vital to determining how their teens react to it. As mentioned before, Megan Meier was not only bullied by fellow teens, but also by the mother of one of the teens (Billitteri â€Å"Cyberbullying†). In addition, it was previously pointed out in Billitteri’s article â€Å"Cyberbullying† that our culture’s incivility in a variety of issues is demonstrating that it is okay to bully. The idea is further reinforced if a parent is constantly putting down others. In both instances, a parent’s action can influence their child to cyberbully. It can also have the opposite effect where a child does not tell their parents they are being cyberbullied because they fear the response will be to take away the computer or cut off social media use (Nicol pg. 4). With sites like Facebook and Instagram being a vital part ofShow MoreRelatedSocial Empathy Es say957 Words   |  4 PagesSocial media has changed the way people communicate with each other and in turn, has affected our ability to empathize in both negative and positive ways. One of the most harmful consequences is the rise of cyber-bullying. Another negative issue has been the trend of trolling in comments sections of websites, chat rooms, and other online venues of communication. In spite of this, there have been constructive consequences due to social media such as the ability for family and friends to keep in touchRead MoreCyber Bullying : A Vital Concern Of Many Families And Schools Across The World1331 Words   |  6 PagesProfessor: Dawit Demissie Cyber Bullying In today’s digital age, cyberbullying has become such a vital concern of many families and schools across the world. With its increasing saliency certain states in the United States have developed laws against it and school districts are enforcing polices to combat it. Although similar in concept, cyberbullying and bullying are different. Bullying, which is also a major problem, consistent of physical and verbal abuseRead MoreInternet Related Abuses And Cyberbullying1998 Words   |  8 Pageshave higher probability of being a target of cyberbullying than boys. About 86% of girls admitted to be able to conduct online chats without the knowledge of their parents, 57% could read the e-mails of their parents, and 54% could be involved in a cyber-relationship. About 22% of teenage girls also admitted that they posted nude or semi-nude photos or videos of themselves in the internet. About 44% of tweens surveyed admitted that they watched some kind of pornography online. Of which, about 70% of

Rembrandt and the Nude Essay - 1607 Words

Rembrandt van Rijn was a Dutch artist well known for his many paintings and etchings of landscapes, figures and animals. His subjects included biblical, secular and mythological scenes. Rembrandt also dabbled in the nude even though they were not popular among his contemporaries. Rembrandt’s nudes were his interpretation of the real human body. He painted every wrinkle and every fold of the body. Rembrandt’s nudes were not considered ugly and grotesque. His nudes were unlike the Greek goddesses his colleagues would portray. There has been some debate and questions as to whether or not Rembrandt used the most important women in his life as models for his nude masterpieces. The most important women in his life were his wife Saskia, his sons†¦show more content†¦The model was probably someone who was lower class and he did not feel it was an issue if they were recognizable in his painting. There is no evidence to suggest that this was Saskia because she was use d in many other portraits of Rembrandt’s and it is clear that faces do not match. There is also no real proof of Geertje Dircks facial features and therefore we cannot say for certain that this is she but this painting was completed in 1636. This shows that Geertje Dircks and Hendrickje Stoffels were probably not the models since they did not come into Rembrandt’s life until years later. Susanna and the Elders, 1647 The painting of Susanna and the Elders is based on the biblical story of Susanna the devout and beautiful wife of rich Joachim. In the story he had a large garden that functioned as a meeting place where two Elders would conduct sessions and justice was administered. Susanna had gone to take a bath in the garden after everyone had left. Susanna had sent away her servants and the gates of the garden had been closed. In the garden the two Elders had hidden themselves and then emerged confessing their love to her. The two Elders ask Susanna to â€Å"lay with them† and blackmail her, telling her that if she does not then they will say she was with a young man in the garden. Susanna seeing that she was in a situation that she could not win she refused the Elders. The Elders carried out theirShow MoreRelatedRembrandt Van Rijn Essay1430 Words   |  6 PagesHovater World History 28 March 2013 Rembrandt van Rijn People consider the Dutch painter and etcher, Rembrandt Harmenszoon van Rijn, an important figure in Dutch history. He achieved success at a very early age but had personal tragedies and financial hardships in his later years. Many are familiar with Rembrandt’s reputation. Rembrandt’s works show his greatest accomplishments. Mainly his childhood and home life influenced his works. Steadfastly, Rembrandt van Rijn, the greatest Dutch portraitRead MoreRenaissance Art : The Renaissance Period867 Words   |  4 PagesRenaissance time period, some of which were new to art altogether. This includes the representation of the human body and the nude and the portrayal of women. From around 1300 to around 1600, European art saw many new scenes of the human body and how it was represented. As the period of Renaissance Art progressed, so did the quantity of portraits, the portrayal of the nude, and memorial statues of the human body. Themes of the human figure in art were also beginning to get a larger audience viewingRead MoreThe Metamorphoses By Ovid s Metamorphoses1844 Words   |  8 Pageslife expresses many Ovidian themes of censorship, chastity, and punishment by the divine hand. Despite superficial differences between the painting and the book, the scene remains true to the myth of Actaeon Diana both visually and thematically. Rembrandt successfully enhances certain Ovidian motifs by adapting imagery, characters, and themes from the writing onto the canvas. Rembrandt’s techniques are derived from the Baroque period, using the style as a medium to project qualities of the MetamorphosesRead MoreThe Sexuality Of Picasso And His Life1539 Words   |  7 Pagesage of 13, Picasso’s sexual persona began to be revealed with a drawing of two donkeys fornicating. When Picasso was 16, he visited several brothels in Paris and Barcelona and produced a number of drawings from these experiences. These works included nude women by themselves but also performing sexual acts with other participants. In 1903, he painted La Douleur, also known as Scene Erotique, a work depicting a young man receiving oral sex from a woman. It is believed that the man is actually a representationRead MorePablo Picasso : The Best And Most Influential Artists Of The 20th Century1583 Words   |  7 Pagesage of 13, Picasso’s sexual persona began to be revealed with a drawing of two donkeys fornicating. When Picasso was 16, he visited several brothels in Paris and Barcelona and produced a number of drawings from these experiences. These works included nude women by themselves but also performing sexual acts with other participants. In 1903, he painted La Douleur, also known as Scene Erotique, a work depicting a young man receiving oral sex from a woman. It is believed that the man is actually a representationRead MoreThe Sexuality of Pablo Picasso Essay1524 Words   |  7 Pagesof 13, Picasso’s sexual persona began to be revealed with a drawing of two donkeys fornicating. When Picasso was 16, he visited several brothels in Paris and Barcelona and produced a number of drawings from these experiences. These works included nude women by themselves but also performing sexual acts with other participants. In 1903, he painted La Douleur, also known as Scene Erotique, a work depicting a young man receiving oral sex from a woman. It is believed that the man is actually a representationRead MoreComparing Art And The Baroque Eras 989 Words   |  4 Pageswill be described by the characteristics, styles and the influences of each; Renaissance and Baroque works of art. Famous artist from the Renaissance era were Leonard da Vinci and Michelangelo Buonarroti. Famous artist from the Baroque era were Rembrandt Harmenszoon van Rijn and Michelangelo Merisi o Amerighi da Caravaggio. The Renaissance History The Renaissance era began in Italy, spread to the rest of Europe and lasted from the 14th to the 17th century. It was defined as a period of culturalRead MoreEssay about 19th Century Art1240 Words   |  5 Pagesexpression one should expect from the romantic subjectivity of the time. At the very beginning of the â€Å"modern period† stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerfulRead MoreLeonardo Da Vinci s Portrait Of Cecilia Gallerani Essay2022 Words   |  9 Pagesgood-looking but had virtue. Framed by a spiky bush of juniper, her young, coolly assertive face seems to expand to fill your mind. It is not just her refined yet adole scent features, but the power of her eyes, shining with gravity; like the eyes in any Rembrandt self-portrait, they really do seem windows to the soul. Leonardo moved to Milan near the start of the 1480s, and began working for Sforza, as an engineer, sculptor and  painter. He portrayed the ladies of  the court with the same sense of inner characterRead MoreA Grand Chain Of Rebellion First Beginning Of The Renaissance Era2674 Words   |  11 Pagesposition relative to the painting; it is the ultimate work of a genius. †¢ Anatomy Studies: As an artist, he drew many studies of muscles, tendons and other visible anatomical features. Most famous among these is his drawing of the Vitruvian man: a nude male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square whose measurements are surprisingly correct on the average. †¢ Engineering: He had a creative mind and not all his engineering

Can we talk Essay Example For Students

Can we talk? Essay A character stands at the center of the stage, talking directly to the audience, sharing a story, taking the crowd into his or her confidence. The deviceas hallowed as the soliloquy and as modern as todays soloperformance scenehas become an almost universal feature of contemporary dramaturgy. The character reaches across the footlights and bonds with the live audience: Its one of the most powerful tools playwrights can adopt to set off their work from the better-funded, better-distributed competition on movie and television screens. It also leads to a paradoxical difficulty when the successful play, having reached a wide enough audience to catch Hollywoods attention, gets translated to celluloid. Those lucky playwrights who get the chance to write their own screenplayshaving done their jobs well in the theatre and exploited the unique traits of their artmust turn around and figure out how to reinvent the same material in a new medium. According to the old conventional wisdom, the job of bringing stage plays to the screen was largely a matter of opening out the materialgetting characters off the walls-and-furniture set and out into more photogenic locations. But the quick-shifting writing and fluid, one-object-suggests-a-whole-scene stagecraft thats the norm among more accomplished playwrights today has made that process simple. Whats become devilishly difficult is working out just how to film those crucial, direct-to-the-crowd speeches. Outline1 Addressing the thin air  2 From fantasia to pathology  3 Capturing the plays spark  4 On conversational autopilot   Addressing the thin air   Voiceovers, of course, are a possibility, but they rob performers of their faces, making it even harder to glue that bond with the viewer. The speech straight into the camera is considered something near anathema in the world of mainstream movies today, and though you may frequently find the device in the work of independent and European directors, youll rarely see it in any movie that hopes to play at the mall. (Someones afraid, I suppose, of disturbing the cozy trance induced by the aroma of popcorn.) Thus, for instance, we have the sad spectacle of Kenneth Branaghs Benedick, in his overpraised recent film of Much Ado About Nothing, ruining one of Shakespeares most foolproof passages of comedythe speech in which the love-spurning soldier, having eavesdropped on his comrades contrived conversation about how madly Beatrice adores him, does a psychological about-face. The speech is a daftly lurching soliloquy (The world must be peopled!), and every Benedick Ive seen whos brought the lines to comic life has addressed them casually to the audience, in conversational rhythms that bring out the process of self-delusion underway in the characters mind. Instead, Branagh awkwardly addresses the thin airand improvises some fussy business with a folding chair to cover the resulting dead time. What might have possessed the actor-director to avoid the cameras eye, and thereby ours? Some misguided notion of cinematic realism? Or just unthinking adherence to Hollywood convention, by the very sort of artist wed expect to overturn it? Two recent adaptations offer some valuable and contrasting lessons in the art of stage-to-screen translation. With both M. Butterfly and Six Degrees of Separation, talented playwrights got the chance to write the screenplays for their successful dramas. Each play was built around direct address, and each writer sought to redesign his work to sidestep that device. Yet the David Henry Hwang piece comes stillborn to the screen, whereas John Guares play retains its vibrancy. What happened? From fantasia to pathology   On the stage, M. Butterfly unfolds as the confession of Rene Gallimard, the French diplomat who was convicted of spying with the aid of his Chinese lover, a male opera singer disguised as a woman. Hwang took a newspaper anecdote and wove it into a complex web of dramatic artifice. Western opera and Asian theatre, male fantasy and female impersonation, imperialist ideas and revolutionary dogmas met and clashed as Gallimard took center stage and tried to explain his bizarre story. .u4a293c55957547e7678cd31ca6ead52c , .u4a293c55957547e7678cd31ca6ead52c .postImageUrl , .u4a293c55957547e7678cd31ca6ead52c .centered-text-area { min-height: 80px; position: relative; } .u4a293c55957547e7678cd31ca6ead52c , .u4a293c55957547e7678cd31ca6ead52c:hover , .u4a293c55957547e7678cd31ca6ead52c:visited , .u4a293c55957547e7678cd31ca6ead52c:active { border:0!important; } .u4a293c55957547e7678cd31ca6ead52c .clearfix:after { content: ""; display: table; clear: both; } .u4a293c55957547e7678cd31ca6ead52c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u4a293c55957547e7678cd31ca6ead52c:active , .u4a293c55957547e7678cd31ca6ead52c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4a293c55957547e7678cd31ca6ead52c .centered-text-area { width: 100%; position: relative ; } .u4a293c55957547e7678cd31ca6ead52c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4a293c55957547e7678cd31ca6ead52c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4a293c55957547e7678cd31ca6ead52c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u4a293c55957547e7678cd31ca6ead52c:hover .ctaButton { background-color: #34495E!important; } .u4a293c55957547e7678cd31ca6ead52c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4a293c55957547e7678cd31ca6ead52c .u4a293c55957547e7678cd31ca6ead52c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4a293c55957547e7678cd31ca6ead52c:after { content: ""; display: block; clear: both; } READ: On partnerships: every duet is different Essay Hwang teased us with our prurient curosity: Just how was this man duped for decades about the gender of his partneror did he know all along, and repress the knowledge? But these questions eventually prove less tantalizing than those Hwang emphasizednot the hows of this seduction but the whys. If we want to believe something badly enoughand if it plays directly upon our vanities and prejudicesthen, the playwright suggests, nothing so prosaic as physical reality is likely to stop us. Unfortunately for M. Butterfly, physical reality is precisely what the medium of cinema fixes its gaze upon. The stage is neutral ground, free to metamorphose in our minds; the camera keeps bringing our attention back to particulars. Presented on that level, M. Butterfly cant help shrinking from an evocative fantasia into a kind of narrow study of psychological pathology. In the plays intricate structure, Gallimard simultaneously told us his life story and led us through a comic explication of the plot of Puccinis Madama Butterfly; the movie gives us a much more linear narrative, minus the personal history that helped make sense of Gallimards psyche and the digressions that connected his saga to wider public issues. Capturing the plays spark   In the hands of director David Cronenberga sometimes inspired filmmaker who has never shied from the disturbing or the grotesquethe story unfolds at a distance from us. Part of the trouble is that Jeremy Ironsunlike John Lithgow, who played Gallimard on Broadwaymakes no effort to reach out and seduce us into looking at his lover, Song, through his eyes. Part of the trouble is that, without the plays self-presentational speeches, the actor really has no opportunity to do so. The movie M. Butterfly returns to stage setting in its final scene: Gallimard appears to be putting on some kind of solo performance piece for his fellow prisoners. Its really the films futile, last-ditch effort to recapture some of the plays spark by borrowing its operatic finalein which Gallimard turns out to be the true Butterfly of the piece, betrayed by a faithless lover. But what was a natural consummation of the story in the theatrea kind of ritual of completion that, in John Dexters majestic production, brought the play full circlecomes off here as a rickety melodramatic contrivance. Its never clear what the man is doing on this peculiar prisonstage in the first place: Since when do inmates perform operatic scenes for one another? Thats not the sort of question that should be occupying us at the movies climax. In Six Degrees of Separation, Guare, too, was inspired by a news storythis one about a young man who fibbed his way into the homes of a number of wealthy Manhattan couples under the pretense that he was Sidney Poitiers son and attended Harvard with their children. Both play and movie use that odd newsbite as the jumping-off point for an ambitious meditation on wealth and poverty, imagination and experience, and the interconnectedness of human lives. As staged by Jerry Zaks at Lincoln Center Theater, Six Degrees played with whirlwind fluidity; actors hopped onto and off the largely bare stage from the front row of the theatre, and the two central charactersan art dealer named Flan and his wife, Ouisatold their story directly to the audience. In the movie, Guare has the couple recounting their tales to friends and cocktail-circuit acquaintances at New York museums, concert-hall lobbies and society luncheons. Its a film in which, on the surface, the action seems to be all gab. Under director Fred Schepisi, Six Degrees performs the usual opening-out-the-action stunts: The movie is full of Manhattan locations, from the Strand Bookstore to the Rainbow Room to the Waverly moviehouse, that serve as signposts to the particulars of Flans and Ouisas lives. But the high-contrast metropolis isnt just used as an eye-catching backdrop; Six Degrees looks deep into the nature of a city thats built on hustles up and down the social ladderand that plants dreams in people with no intention of ever delivering the goods. It helps, too, that the movie has Stockard Channing repeatingand extendingthe brittle, observant performance as Ouisa that carried Six Degrees on stage. .ue9938d9c9097119cfd3f50ee1a4febf6 , .ue9938d9c9097119cfd3f50ee1a4febf6 .postImageUrl , .ue9938d9c9097119cfd3f50ee1a4febf6 .centered-text-area { min-height: 80px; position: relative; } .ue9938d9c9097119cfd3f50ee1a4febf6 , .ue9938d9c9097119cfd3f50ee1a4febf6:hover , .ue9938d9c9097119cfd3f50ee1a4febf6:visited , .ue9938d9c9097119cfd3f50ee1a4febf6:active { border:0!important; } .ue9938d9c9097119cfd3f50ee1a4febf6 .clearfix:after { content: ""; display: table; clear: both; } .ue9938d9c9097119cfd3f50ee1a4febf6 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue9938d9c9097119cfd3f50ee1a4febf6:active , .ue9938d9c9097119cfd3f50ee1a4febf6:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue9938d9c9097119cfd3f50ee1a4febf6 .centered-text-area { width: 100%; position: relative ; } .ue9938d9c9097119cfd3f50ee1a4febf6 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue9938d9c9097119cfd3f50ee1a4febf6 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue9938d9c9097119cfd3f50ee1a4febf6 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue9938d9c9097119cfd3f50ee1a4febf6:hover .ctaButton { background-color: #34495E!important; } .ue9938d9c9097119cfd3f50ee1a4febf6 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue9938d9c9097119cfd3f50ee1a4febf6 .ue9938d9c9097119cfd3f50ee1a4febf6-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue9938d9c9097119cfd3f50ee1a4febf6:after { content: ""; display: block; clear: both; } READ: Women on men (and vice versa) Essay On conversational autopilot   None of that, though, would matter if the movie left you wondering why you were hopping from one cocktail party to another to hear the story related in retrospect, rather than simply watching it unfold in a manner more natural to the film medium. Guare doesnt simply finesse his way around this problem; he turns it to the scripts advantage. In one of the plays climactic speeches, Ouisa objects to taking the whole story of Paul Poitierfor whom she has developed a frustrated, quasi-parental affectionand turning it into an anecdote to dine out on. The thought was powerful enough on the stage, but in the moviewhere weve been watching the couple dine out on anecdotes all alongit carries an extra, transformative insight. As they tell their friends their story throughout the film, Flan and Ouisa seem to be on a kind of conversational autopilot. When, late in the film, Ouisa declares her resistance to becoming a human jukebox spilling out anecdotes, we look back at the earlier scenes and realize that this is the exact image for how she and her husband have been behaving. There was no way for the film version of Six Degrees to duplicate the in-your-face dynamics of the stage production. But that doesnt rule out the possibility of a satisfying movie. Unlike Hwang and Cronenbergwho were unable to find a new language to replace the confessional dynamics of M. Butterfly, the playGuare and Schepisi found something else for their film to do that the play couldnt, and thus secured its independent value.