Authenticity For Investigating The Theory Of Musical Cultures Media Essay

Authenticity For Investigating The Theory Of Musical Cultures Media Essay For years authenticity has been an intriguing issue for journalists and academics investigating the theory of musical cultures. The early investigations concerned the comparison between the integral, honest and authentic folk music deriving from traditional culture against artificial, manufactured and inauthentic products of mass mediated and marketed business (Gardner, 2005). Alongside the popularisation of mass culture and the industries behind it, music fans developed the perception on traditional music, reflecting lives, practices and folklore of people by means that pop music was not. In order to differentiate themselves from the masses, people started to look for authenticity in music as identification with their culture, experiences, feelings and views (Moore, 2002). Also the ways in which the textual content has been delivered, as well as the means of instrumental expression were significantly related to the culture of music listeners (Wiseman-Trowse, 2008). With the technological progress new instruments (for example synthesisers) were introduced by the increasing number of music performers, who at first were rejected as inauthentic, not associated with traditional artists craft. However, technology soon started to form new musical cultures, effectively mixing with the existing, long-established ones (Moore, 2002). Not only the instruments were subject to technical changes; the ways of documentation of artists performances also transformed over the years, supporting better quality recordings as well as more advanced and precise techniques of producing and editing recorded music (Persson, 2006). The use of digital music production has become more popular in recent years, allowing fixes and changes to the recorded performance. This study shall examine the relationship between authenticity of an artists craft and digital music production techniques. Background of the problem Many artists, even those who derive from the cultures they claim to represent, tend to work on improving their studio recordings to the point of even mechanical perfection. This can be the pitch excellence of every note played or sung, as well as beats and bars precision. Also the musical arrangements offer broader opportunities that can be acquired much easier than by traditional means, for example with digital synthesiser imitating the sound of violin or brass (Wiseman-Trowse, 2008). Such an attitude stands in opposition to the traditional meaning of craft as a profession based on particular set of skills. Thus, by denying the conventions of honesty, truth and genuineness, being authentic as an artist can be rejected by some of the fans. By identifying the correlation between such operations and perception on the artists craft in terms of its authenticity, another field in the music culture theory shall be acknowledged. In other words, understanding how the creation of recordings influence authenticity will update the subject data by one of the most recent issues. Statement of the problem By increasing ease of access to digital sound recording and editing tools, a number of music fans become more aware of how music is being made. This has influence on perceiving artists authenticity, especially referring to their craft, which can lead to interpreting them as well as producers as inauthentic manufacturers of music, whose main factor is no longer self-expression, but commercial success only. Statement of purpose The value terms of authenticity, honesty, integrity and realness are probably the most loaded (Moore, 2002). In an effort to identify possible correlations between those related to an artists craft and digital studio production techniques, the study will examine the perception on recorded music and how contemporary technologies can change it. In doing so, the study will uncover the key determinants of such changes. Rationale Digital recording and editing of music is relatively new subject. Therefore, the availability of academic articles on its impact on authenticity of an artists skills is very limited. Most of the bibliographic sources pertinent to the concept of authenticity, dating back to the late 1960s, investigate the subject area from different angles (Wiseman-Trowse, 2008). Although the majority of research has been conducted since the early 1990s, which is the time when Digital Audio Workstations were gaining popularity, very little of the studies focused on the relationship between authenticity and digital studio production techniques. A number of studies investigated authenticity as an ideological notion motivated culturally and industrially, included mostly in lyrics, interviews and artists image itself (Wiseman-Trowse, 2008). Drawing from the fields of history and music cultures evolvement, several studies looked at areas such as development of folk music, which primarily celebrated provincial culture, as well as rock genre, originally belonging to the entertainment music domain (Moore, 2002). Even more recent research does not cover the music production angle of the problem, only mentioning it occasionally in different sources. This study is guided by the rationale of exploring these determinants. Aims and objectives of the study The aim of the study is to identify the relationship between modern music production techniques and the craft of an artist. As influenced by the aim of the study, the primary objective of this dissertation is to examine and analyse the impact that digital retuning, elastic audio and general fixing of recorded sound and the impact of these changes on authenticity of an artists profession. In this context the main objectives of the research study could be stated as: To identify the correlation between contemporary music production techniques and the craft of an artist To evaluate the influence that digital changes, made to the recorded sound, have on authenticity of the artists profession Research question Is applying any digital changes or fixes to recorded sound influence authenticity of an artists craft? Definitions of terms The following definitions are supplied to guarantee a common understanding of the primary terms used in this study. Mass culture is the whole of the culture shared by all, except for infrequent individuals who still appreciate the traditional high culture, which stands to the opposite to the term. It is argued that the mass, meaning the people, enthusiastically accepts whatever manipulative elites provide it with (DiMaggio, 2004). Craft is any object or output that is the development of practical and aesthetic skills and of the vision through the formation and creation of personal work, sold for profit (Houghton, 2005). Although it must have high degree of hand-made input, it does not have to consist of traditional materials or ways of production. The design of craft may be culturally set in the geographical place of creation (McAuley and Fillis, 2005). Digital Audio Workstation (DAW) is a digitally based platform that is designed mainly for recording and editing sound. It replaces the traditional tape-based recording techniques, which were complex and time consuming, with fast, precise and convenient digital ones, providing wider choice of tools to process recorded sound (Dye, 2008). Research method The study was both desk-based and ethnographic. Books and articles on authenticity and different angles of defining the concept, as well as on modern audio production techniques were reviewed. In addition, primary data on perceiving authenticity by artists, producers and fans of music was conducted using both quantitative and qualitative research methods. The study also examined transformations in interpreting authenticity of an artists skill in relation to changes applied to the sound. Assumptions and limitations This study was affected by several assumptions and limitations. First, it used a multiple choice survey, which means that the respondents were not entirely free to specify their views on the questions. This could imply some of the answers not to be accurately representative in terms of the respondents point of view, but only closely related to it. The second limitation of this study is the sample size, which was small and limited to the High Wycombe based population and online respondents only. In fact, there is no indication that the sample in this study is representative of the broader population. The third limitation of this research is the fact that the collection of data took place at particular period of time. Thus, there is no guarantee that the received responses would be indicative of responses requested and given at other time. There is also a possibility that other issues, remaining outside of the researchers control (time of day, recent conflicts, setting, or tiredness of the respondents) might influence the answers (Laurel, 2003). Description of thesis organisation The research consists of five chapters. The first one shapes the area of interest and delineates the examined problem. The research questions are introduced, the studys limitations are characterised and the selected methodology is generally and briefly discussed. The second chapter reviews literature on authenticity and modern music production techniques, particularly relating to those basing on digital sound changing. The third chapter discusses the studys methodology, the strategies used for collection of primary and secondary data, as well as concludes with a rationalization of the defined selections, recognising some inherent boundaries. The fourth chapter presents the studys discoveries as updated by the primary and secondary data collection and answers the research questions described in the first chapter. Responses to the research questions evaluated in the first chapter and an investigation on the accuracy of the research assumptions are presented in the findings. The fifth chapter concluded the research and defines the studys recommendations. Conclusion As described in this chapter, the studys subject shall be the relationship between digitally based music production techniques and authenticity of an artists craft. The next chapter presents the literature reviewed for this study. CHAPTER II: REVIEW OF THE LITERATURE 2.1 Introduction This chapter reviews the literature on authenticity and contemporary music production techniques. Although there is a wealth of literature on the subject of authenticity, very few focuses on the process of the formation of recorded music, while none exploits the correlation between an artists craft authenticity and modern audio production. Instead, and as will be seen throughout this review, the majority of studies consider the socio-cultural aspect of perceiving artists authenticity by fans and theorists of music, as well as the historical one. 2.2 Authenticity in the history of popular music The early theorists of popular music warned against the expanding mass consuming culture that offered artificial art, considered to be inauthentic. For example, Walter Benjamin stated his predictions concerning the world of art and music as uniformed by mass production and with no perspectives for any heterogeneity (1935). Before the growth of the culture oriented industry, musical styles and practices were less influenced by what is considered entertaining and instead they were developing independently, aiming for pure expression of the art. Then, the rise of the business, led to the standardisation of popular culture, which was influenced by its modernisation and industrialisation (Adorno, 1991). In other words, the industry started to apply fixed formulas to the music, considering them to make it more entertaining and therefore more likely to be consumed by more people. Such an approach from the industrys side, led the fans to start missing more honest and integral cultural expressions, and thus, to seek for more genuine, traditional alternative. This was often found in folk music, as by the specifications of it, folk has been developed traditionally as an expression of peoples lives and experiences in different manner than popular culture (Gardner, 2005). Because people were searching for identity and integrity, that would distinguish themselves from the masses, the industry started to adopt different genres, marketing them as more soulful and real options (Sloop and Herman, 1998). It was not only the industry standards that influenced perceiving music as inauthentic. Together with the technological development, people started using amplified electric guitars or electronic instruments, such as synthesisers, which led to a division of music listeners (Moore, 2002). This was quickly adopted by the industry, which appeared to separate music clubs between traditional and contemporary ones. The situation was as serious as the traditionally oriented venues tended to refuse to accept a performer who used modern technology as part of the performance (Boyes, 1993). 2.3 What is authenticity Although the concept of authenticity is explained differently in variety of sources, most of them present similar view that the definition if very subjective. Allan Moore for example, presents a set of value terms that are identified with authenticity: real, honest, truthful, with integrity, actual, genuine, essential and sincere (2002). Also Gilbert and Pearson specify the requirements of authentic rock of the 1980s, wherein the fundamental role of artists was to represent the culture from which they come, speaking the truth of their situations and using particular type of instrumentation (1999). In other words, these theorists claim that authenticity is not any fixed combination of musical sounds or set of lyrical content, but it refers to the artist or the whole of their performance as a matter of interpretation, which should be made from cultural and therefore historical position (Rubidge, 1996). Thus, it is not the integral part of a performance, but something that can be assign ed to one, meaning that the choice whether it is authentic or not, depends on who the one is. Moore considers the rock discourse to be the one frequently referring to authenticity in the textual and musical spheres. He argued that it is the style of writing and performing that made the audience decide of its authenticity, and that it particularly referred to the singer (2002). What also should be noted is the attributes of an artists intimacy and immediacy, that indicate authenticity, meaning that one should uncover their feelings and experiences in unmediated shape and with the purity of sound production (Moore, 2002). Grossberg goes further by stating that the difference between the authentic and the inauthentic lies within the purpose that an artist has in the musical expression. Whether it is the art itself, the public or the income driven by this, defines the authentic as the opposite of commercial (1992). Thus, in order to classify the integrate, the performers realism and lack of pretence have to be examined (Moore, 2002). 2.3.1 First person authenticity The fundamental form of authenticity that was introduced by Charles Taylor (1997) as an expression that can be outlined in an initiatory instance, which Moore later describes as immediacy of expression (2002). This concept has also been reviewed by Bohlman, who identifies the authentic as the constant demonstration of the stylistic genesis, which means the purity of practice (1988). In other words, he presents his idea of an authentic artist as the one whose musical style remains loyal to the origins of the genre. On the other hand, Grossberg (1992) indicates the honesty of experience as the main determinant of authenticity, meaning the lyrical content of the song expressing real experiences of an artist. Both Bohlmans and Grossbergs views are supported by Redhead, who claims that real instruments (referring to the purity of practice) should go along real feelings; the artistic transparency and loyalty to the roots of music in conjunction with a genuine message (1990). Walser argues that even technological mediation, for example use of signal modifiers or amplification, is synonymous to pretence, pointing at artificiality and thus inauthenticity of an act (1993). Such an approach is related to Taylors authenticity of positionality, which describes the authenticity of musicians who reject to get influenced by the commercial music, for example by implementing the style of Western musicians by non-Western ones (1997). Wiseman-Trowse underlines another aspect of the immediate performance, which is the stage one, where an artist has actual opportunity to engage the audience, as opposed to the recorded performance (2008). On stage it is possible for a listener to compare both recorded and live ones, as well as for an artist to convert the listeners perception on authenticity of the performance. On this basis one can decide whether it is the genuine artistic skill that is present on a recording, or rather a result of the work of a skilful producer (Auslander, 1999). As Moore underlines the concept of the first person authenticity, all of the above understandings of the term are connected by the direction towards they lead. This entails the perception on authenticity that is implemented by the personal interpretation made by an entity being a part of the audience (2002). In other words, the first person authenticity occurs when a performer is received by an individual as an integral one who expresses their art in an unmediated way. 2.3.2 Third person authenticity Fornà ¤s distinguishes three types of authenticity: social, subjective and meta ones. They differ with regard to the act of judgement: first is made by a particular community, second depends on the individual, while the last one is evidenced by the consideration of the performer or the author of lyrics (1995). Although meta-authenticity is described as an act of validation made by the author, this side of the subject is also present in the other two types. According to Grossberg, the authentic performer needs to express their own feelings, which are simultaneously shared with the public (1992). This type of authenticity is pictured by adopting the original blues music style, deriving from the economically poor Mississippi delta, to the 1960s movement represented by artists like Cream. The band used to play a cover song of Robert Johnson, Crossroads. Even though Cream did not grow neither over the Mississippi area, nor in the 1930s, they found themselves identifying with the song (Coleman, 1994). This allowed them to express themselves through reproducing Johnsons art and remaining authentic (at least in their own opinion). The third person authenticity is supported by Vaughan Williams, who claims that the artist can never create from the state of entire independence, without any influence of earlier musical acts. Thus, the musician needs predecessors in order to base the artistic experience on them (1987). Thus, the third person authenticity occurs if a performing artist successfully represents the ideas, experiences and feelings of another. 2.3.3 Second person authenticity Grossberg specifies another type of authenticity that, as opposed to the first and third person ones, is being justified by the artists capability to successfully express the experiences of the listeners (1992). Thus, it is the audience that recognises the authentic by basing on their own feelings and thoughts that are presented by an artist. Moore exemplifies this approach by mentioning the 1980s rock scene, which was dominated by synthesisers. The dedication to traditional rock was therefore exposed by the focus on the guitar based instrumentation used by the bands like U2, Big Country, Simple Minds, The Alarm or Bruce Springsteen, who derive from socially disadvantaged areas. By using the guitar, that was easily reachable, they tried to metaphorically escape from their reality (2002). This means, that it is culturally constructed process of artists authentication made by the audience that seeks for the validation of their own experiences in art. 2.3.4 Authenticity as a renewable resource Richard Peterson (1997) introduced the concept of authenticity as a renewable resource, claiming that it is renovated with every era and expansion of popular music with its production. He states that the shifting conditions are reflected by the meaning of authenticity, which is defined by a collective argumentation of fans, performers and producers. It is argued that authenticity is not inseparable in the recording, or a performance, which intend to be authentic by design. In popular culture, the particulars of the words meaning are not controlled by specialists and authorities; it aims to be credible qualified to a explicit model and simultaneously remain original. In other words, it has to fit within fixed framework, not being an imitation of it at the same time. Thus, what is authentic, varies continuously renewing all the time and never remaining static. However, Robert Gardner (2005) disagrees with the generalisation of authenticity as renewable resource. He points out that even the genre on which Peterson has based his research, should not be considered authentic in the contemporary state of it, having been deprived of its integral roots, which displays for example on ABCs Monday Night Football, which uses Hank Williams Jrs theme song. 2.4 Digital audio Todays recording systems, like Pro Tools, Cuebase or Logic, are using the digital way of sound capturing. It is then saved as samples, which are small bits that recorded sound consists of. Frank D. Cook describes sound samples as analogical to pixels in digitally saved images (2009). In order to understand digital audio, it is important to present what sound essentially is. When a human ear hears a sound, it in fact experiences variations of the air pressure around it. These are result of vibrations of objects, that are moving in cycles. If the object is vibrating at a frequency that falls within the range of human hearing, we perceive it as a sound (Cook, 2009, p 21). The actual character of the sound depends on the waveform, frequency and the vibrations amplitude. 2.4.1 Waveform The waveform is the very thing that creates the humans perception on the shape of the sound. This means that one can find out what is the source of the sound, as every object vibrates differently, giving the waveform the distinctive nature and tone (Cook, 2009). 2.4.2 Frequency Human hearing has the range of approximately 20 and 20000 cycles (the whole back-and-forth vibrations) per second, measured in Hertz (Hz). This determines the pitch of the sound, where lower frequencies generate lower sounds; while higher frequencies produce higher pitches (Cook, 2009). For example, the frequency of 130 Hz is assigned to the musical note C3, whereas the semitone lower B2 names the frequency of 123 Hz. 2.4.3 Amplitude The loudness perceived by the human ear depends on the pressure or intensity of the sound variations and is measured in decibels (dB). Thus, the sound becomes louder as the amplitude of vibrations increases. For example, the loudness of a regular conversation is 60 dB. In order to double the loudness, the amplitude would have to be increased to 70 dB (Cook, 2009). 2.5 Modern studio production techniques Dan Daley suggests that listening to the recorded vocals on the radio nowadays brings to mind the increasing popularity of guitar effects in the 1970s, when fuzz, distortion, flanging and wah-wah processors overwhelmed traditional sounding guitars (2003). As it was argued then, whether the non-purist approach is inauthentic or rather an artistic expression of modernity, it is arguable if changing recorded vocals or instruments digitally can be perceived as genuine representation of art (Daley, 2003). The turning point of pitch correction technique came along Chers single Believe in 1998, on which digital vocal processing has been not only used, but made very noticeable. Since then, the number of artists using these features is continuously increasing, as well as there are more and more ways of using them, even to the point of intentional distortion of recorded sound (Daley, 2003). 2.5.1 Pitch correction The pitch correction feature, available by both DAW plug-ins as well as standalone programs allows automatic or manual change of recorded sounds pitch. The most common use of pitch correction is fixing a vocal performance; if a singer sings a false note, the digital technology allows the producer to fix it quickly, without another take. There are two ways of correcting pitch. Automatic mode usually lets the user to choose a musical scale according to which both flat and sharp notes should be corrected. Manual mode provides a graph of the notes that allows the producer to change the pitch of separate sounds manually, by moving the graphical representation of them up and down (Bartlett and Bartlett, 2009). 2.5.2 Elastic audio Huber and Runstein point out another feature that provided by digital technology. Elastic audio allows the change of the timing of recorded sound (2009), for example fixing a guitarists performance, who might have recorded a solo slower than the actual song and then speed it up. This tool does not only generate a change of a tracks speed, but also each sound can be stretched or shrunk separately and manually by the producer (Huber and Runstein, 2009). Such a tool can repair a poor performance that is out of time and make it sound technically perfect. 2.6 Contemporary production techniques and authenticity An American singer and songwriter, Neko Case, expressed her views on auto-tune in the interview for Pitchfork. She claims that singing is not important anymore, as instead bad singing is fixed by the producer (2006). Case also argues that an artist who uses shift correction on vocals cannot be taken seriously, losing all the integrity. Moreover, the singer clearly points out that an artists craft needs more work and thus, those who do not spend this extra hour in the studio trying to hit the note are not valid (Case, 2006). Allison Moore, a singer from Nashville, goes one step further in her proclaiming about using modern production tools on records. She put a sticker on the front cover of her LP release, Miss Fortune, which states Absolutely no vocal tuning or pitch-correction was used in the making of this record (2002). She is a keen supporter of the view that albums should be recorded and mixed in the old way, that is becoming progressively rare (Daley, 2003). On the other hand, the guitarist of The White Stripes, The Raconteurs and The Dead Weather, Jack White argues that pop artists, like Britney Spears can be more authentic than Tom Waits or Bob Dylan (2009). His rationale for such a controversial opinion was that he finds more authentic an artist whose musical expression is made the way they best know and feel. In other words, White points out that in the modern music world somebody who has grown listening mainly to pop (thus commercial, manufactured and by definition inauthentic) music, knows it as their primary way of articulating feelings and experiences and therefore is not pretentious, which leads to perceiving them as authentic (2009). Some genres can be more focused on the authentic side of studio recording. An example of such an approach is Pearl Jam, representing grunge music. The bands drummer, Matt Cameron called their album Riot Act is an anti-Pro Tools record: Its more interesting hearing musicians in a room playing hard, with the tempo fluctuating slightly as the band heats up. Perfection is boring (2009). He pointed out a significant thing about the modern technology by recalling one of the most popular DAWs as a synonym of commercial and unreal music. Josh Binder argues that the features of pitch/timing of a recorded track does not have to be used only as a tool for fixing a bad performance. This young producer, who has been learning his profession in the world that has already accepted the existence of digital retuning, claims that he uses Auto-Tune (one of the leading digital tools used for pitch correction) to enrich the vocal sound of even a perfectly sung track (2009). An engineer, Michael Brauer, applies no limitations in terms of using available technologies to make a good-sounding record. He states that he is employed for the purpose of helping to make songs that can be sold, regardless of the artists abilities (2009). Nevertheless, he still believes that one needs talent to be an artist and if they cannot sing or play at all, no technology can help them (2009). 2.7 Conclusion The subject of authenticity alone has generated vast amount of theoretical angles of consideration. This has been motivated by the very nature of it, assuming that perception of what is honest, genuine or integral depends on the actual perceiver. Moreover, three basic ways of interpreting the authentic have been specified, which determined further research direction. Furthermore, the digital music production techniques have been described, clarifying how recorded sound can be changed or fixed by contemporary recording and mixing tools. The chapter also presented different perceptions on the relationship between digital production techniques and authenticity of an artists craft. Chapter III describes the methodology used for this study. A review of the studys purpose and investigated questions was presented. This is followed by an outline of the research design and the survey instrument used for it, along with the procedures for data collection and analysis. CHAPTER III: METHODOLOGY 3.0 Introduction This chapter reflects the studys selected research methodology. As will be seen, the methodology is the subject of the purpose of this study and is supported by the evaluation of the most beneficial approach responding to the research questions. As such, this chapter presents the purpose of the study, the research questions and hypothesis, as well as discusses the data collection and data analysis procedures and the limitations of the research. 3.1 Purpose of the study The purpose of this study is to examine the concept of authenticity with specific focus on its perception as influenced by applying digital studio production techniques. The reason for doing so is determining what impact changing the recorded sound has on authenticity of an artists craft. To fulfil this purpose, it was significant to review literature on authenticity, as well as on contemporary music production techniques. This necessitated an exploration of the nature of perceiving authenticity by music fans, producers (record manufacturers), as well as artists themselves. At the same time it was important to explore the ways in which recorded sound, being the performance can be edited, fixed and generally changed. All of this was done in order to fulfil the primary purpose of the study, which was the identification of the influence modern production practices can have on authenticity of an artists skill. As it can be presumed from the above, the current research has an explanatory purpose. According to Silverman, the aim for explanatory research is needed to define an occurrence or make a complex subject comprehensible (2006). This can be done by clarifying the correlations between variables. The purpose of the study aims to explain th

Comparsion and Contrast Essay the Welcome Story and What Its Like to Be a Black Girl Essay

Trying to Fit What do you do when you feel like you just don’t fit in with the society you live in? Since the beginning of time blacks women, have been recognized as women who don’t fit the traditional ideal of beauty. A woman of color comes in all different shades of skin tones Caramel, Golden bronze, Cocoa brown and Dark brown. Their hair comes in a quite few different textures, from tight as a thick rubber band, to curls about thick as your pinky finger. Most people describe black women natural afro textured hair as kinky, spiraled, fizzy or nappy. During the slavery-era to the early 1900’s black women in America, went from cornrows, braids and other natural styles. Some reasons for this as I grow up getting perms known as straight hair was a sign of class and Nappy hair was a sign that you were poor. With segregation no longer being an issue, blacks were now free to work their way up in American society, but they still faced white racism. Whites’ people saw black pe ople skin features as a sign that one is given to being sexual active, violence and lacking in intelligence. Many blacks lightened their skin and straightened their hair to appear more acceptable to whites in order to get ahead. When it comes to black women television shows, show how society should be in the eyes of T.V. and its monkey see monkey do from there. Black women have been villianized on television. They are portrayed as home wreakers and baby momma with several different dads or the lowest standard. If you ever see a successful man on television he is not allowed to be portrayed with a black woman. If you watch a music video, the star of the video will not be shown with a black woman with clothes covering her body. The media would not like to high light the qualities of black women because the executives behind the scenes aren’t black men. The goal is to make white women appear to be the best and highest quality of woman that Barbie. For this reason you will see interracial relationships between every celebrity athlete and the not a black woman of their choice. At this point a white woman on your arm represents she is super smart and very successful. Some people won’t fall absolutely for the trap and be with a white woman, but they still won’t marry a black woman. Black woman is demanding a new set of female definitions and a recognition of herself of a citizen, companion and confidant, not a matriarchal villian or a step stool baby-maker. Role integration advocates the complementary recognition of man and woman, not the competitive recognition of same.(duke.edu) The strangest thing about this stereotype situation is that many white women go to tanning booths often to get a caramel complexion of an African descent skin. Who created the monster of discrimination and Why? A question we will never know. Discrimination based on skin color, or colorism, is a form of prejudice or discrimination in which human beings are treated differently based on the social meanings attached to skin color. (Wikipedia.com) The â€Å"Welcome Table† is a story that is filled with religious symbolism. Religion is the theme of this story. This story is enduring in the sense that it shows the strength and belief an old black woman had to face during her trials and tribulations. â€Å"What it’s like to Be a Black Girl† is a poem that gives the reader an inside view into a young black girl’s transition into black woman-hood at a time where being a black girl and being a black woman was not as welcomed. In these two literary works, although the similarities aren’t quite the same they still have the same concept. In the short story The Welcome table you have a narrator’s point of view and ‘What It’s Like To Be A Black Girl’, you have the actual author of the poem giving her point of view from experiencing how things where . Although there is a cultural difference it still involves race and how it affects a one individual’s way of feeling and the outlook from someone else’s appearance. â€Å"The Welcome Table† was a short story whom was written by Alice Walker. She was born on February 9, 1944, in Eatonton, Georgia . Alice Walker is one of the most admired African American writers working today. She studied at Spelman College, Atlanta, and Sarah Lawrence College, New York, then worked as a social worker, teacher, and lecturer. She has taught gender studies courses at Wellesley College and  began one of the first gender Studies programs in the United States. Her publications include poems, short stories, and novels. She continues to write, exploring life situations through the eyes of African American women and advocating ways to approach challenges of sexism, racism, and poverty in American life. She took a brief break from her writing in the 1960s to live in Mississippi and work in the civil rights movement, returning to New York to write for Ms. Magazine. Alice Walker won the 1983 Pulitzer Prize for Fiction for her 1982 novel, The Color Purple, and is also an acclaimed poet and essayist. This short story had a very compelling plot which is described in our text book as â€Å" A dynamic element in fiction, sequence of interrelated conflicting actions and event typically build to a climax and bring a resolution.† (Clugston, 2010) The first part The Welcome Table is told in the third person and shifts the point of view from which the story is told. The beginning of the story is told from the white people’s perspectives as they see an old black woman. The author goes on to describe the look of the old spiritual woman who eyes were blue –brown in color and where nearly blind. The old woman’s Sunday clothes high polished shoes, rusty mildew dress, and an elegant silk scarf stained with grease from her pig-tails. (Clugston, 2010) She walked many miles, alone in freezing cold until she came upon a church all sweaty and clammy. It was a church only for white people. She stopped on the steps of the church to rest before going inside. When she went into the chu rch, the reverend stopped her by saying â€Å"Auntie, you know this is not your church?† The white people are at a loss when they see her near the entrance of the church and do not know what to do. Some would have taken her in from the cold. But other judge her appearance makes some of the white people think of black workers, maids, cooks; others think of black mistresses or jungle orgies. Still others think that she is a foreshadow of what is to come – black people invading the one place that it still considered the white person’s sanctuary, their private church. As the old lady sat down on the church prewe chairs the old lady was sing in her head. The white women inside the church, who take it as a personal insult and feel the most threatened about the old black lady being at their church, they rouse their husbands to throw the old lady out. Still sing in her head now a sad song,  the old lady looked down the road and seen Jesus and died on the side of the road. (Clugston, 2010) Visualize anything other than that of an old poor lady being mistreated by racism. After reading and experience feelings of compassion when the author describes the unnamed old woman’s appearance and hygiene as she tried to enter the church. From the depiction expressed throughout the narration of this story, one could sense that this short story was created from the personal experiences or from seeing others who went through. The strangest part of the story is when the pastor call her auntie, either she was the nanny child who grow up with the pastorâ€℠¢s mother or father? Who they must had consider her as family without people knowing. â€Å"What it like to be a black girl† is a poem that was written by Patricia Smith. She was born in Chicago in 1955 currently lives in Howell, NJ. She is a four-time individual National Poetry Slam champion and appeared in the 1996 documentary SlamNation. an American poet, former journalist , playwright, author, writing teacher, and spoken-word performer. She has published poems in literary magazines and journals including TriQuarterly, Poetry, The Paris Review, Tin House, and in anthologies including American Voices and The Oxford Anthology of African-American Poetry. She is on the faculties of the Stonecoast MFA Program in Creative Writing and the Low-Residency MFA Program in Creative Writing at Sierra Nevada College.(Wikipedia.com) In this poem the author is telling this story in third person omniscient the poem tells the story of a young black girl exploring and experiencing the changes to of her body. Now starting to develop in many areas to become a black woman she feels like something is wrong with the way she looks. The author uses jagged sentence structure and strong language to also show the reader the importance of this poem. The writer gives the audience an insider’s view into a young black girl world who is feeling like she is one of the most ugliest person on earth. â€Å"It’s dropping food coloring in your eyes to make them blue and suffering their burn in silence. (Clugston, 2010) This poem speaks of the young girl changing her image by placing blue contacts in her eyes. It’s popping a  bleached white mophead over the kinks of your hair. The writer is speaking of the young girl putting a perm on her hair to straight out her hair. I respect the author’s reflection of the nine years old girl feeling and trying to fix everything about herself that the world tells her is wrong. The straightening out her hair because being black left you with kinky, curly, frizzy hair., the contacts you wear, the things you do to make yourself look more like the beautiful, blonde-haired, blue-eyed â€Å"white girl.† the television have protrude as beauty. When you’re nine, you shouldn’t feel these things are necessary because you haven’t fully developed yet. â€Å"Primping in front of the mirrors that deny your reflection† (Clugston, 2010) Is something many poor women did, but for the black woman in the 1950s it was about using press combs and making outfits to fit in and not being some â€Å"negro woman,† drawing attention to herself. I feel for the author wrote this poem in seeking acceptance from others. In my conclusion, the main character in each of the stories is a protagonist black female who both struggle with trying to be accepted in society due to the color of their skin. Being different is all about how you handle the situation. When one thinks their better than one race that’s when being different is a problem. Comparing these two stories there is racism and discrimination they had to face. Both stories express the determination of one woman and one young girl who survive through all adversity. The authors speak of the hardship one woman and one young girl had to face and suffer. Understanding the fear, struggle and those women of color went through during this time and now. Being different is what god made us. No one person is exactly the same even if the world was one color. Reference 1. Clugston, 2010 2. Wikipedia.com 3. duke.edu 4. poet.org 5. wordwoman. Ws 6. ehow.com 7. Literary Cavalcade;Feb2003, Vol. 55 Issue 5, p32

Short Story - 1255 Words

Ive waited a hundred years But Id wait a million more for you so basically youre online friends with my friend who you happened to have a not date with tonight when he was just over at my house before you came over to do a project? basically. IU yawns as she steps out of yugyeoms car. after about an hour of explaining her current situation with jungkook in the front seat of yugyeoms porsh iu starts to feel her eyes drooping. she planned to go home from yugyeoms house at about 10 and its already 12:30 and she still hasnt had her date with jungkook. disapointed and tired, iu weakly waves her hand at yugyeom as he does the same and she watches his headlights fade away down the street. after she steps into her small yet cozy house and†¦show more content†¦Are you blushing? He teases Damnit. She thinks. This is a skype call, he can actually see you this time. No of course not. I dont do that. She jokes around, acting all tough. Mhmm of course not. He nods his head and agrees Yeah, im a real man dont you know? She says, showing off her non exsistant guns. Dang, i think yours is almost bigger than mine. He chuckles What can i say? She giggles. I dont know, but can you explain to me what exactly happened earlier. Jungkook says, straightening up in his chair. Oh about that. She starts to say, Long story. i have time. Well, basically i was over at a friends house working on a project and i forgot about our skype date, im really sorry. She says bowing her head. Its okay, but you could have just told me. He says I know, sorry i didnt i was being stupid. Yeah, it was really funny though. Ugh, lets not talk about it. IU says, remiscing on hwo she tripped and fell and dropped her phone in the toilet. Okay fine, but can we talk abot who you were with? He asks His voice sounded really familiar. He says, tapping his index finger on his chin trying to remeber. Kim Yugyeom? OH! Jungkook yells, his chair almost tipping over along with his body and his eyes enlargening. Omo what? IU asks, sitting up on her bed after watching Jungkook almost fall out of his chair. Kim Yugyeom is one of my closest friends. He explains. No way. IU says in awe. There must be millionsShow MoreRelatedshort story1018 Words   |  5 Pagesï » ¿Short Stories:  Ã‚  Characteristics †¢Short  - Can usually be read in one sitting. †¢Concise:  Ã‚  Information offered in the story is relevant to the tale being told.  Ã‚  This is unlike a novel, where the story can diverge from the main plot †¢Usually tries to leave behind a  single impression  or effect.  Ã‚  Usually, though not always built around one character, place, idea, or act. †¢Because they are concise, writers depend on the reader bringing  personal experiences  and  prior knowledge  to the story. Four MajorRead MoreThe Short Stories Ideas For Writing A Short Story Essay1097 Words   |  5 Pageswriting a short story. Many a time, writers run out of these short story ideas upon exhausting their sources of short story ideas. If you are one of these writers, who have run out of short story ideas, and the deadline you have for coming up with a short story is running out, the short story writing prompts below will surely help you. Additionally, if you are being tormented by the blank Microsoft Word document staring at you because you are not able to come up with the best short story idea, youRead MoreShort Story1804 Words   |  8 PagesShort story: Definition and History. A  short story  like any other term does not have only one definition, it has many definitions, but all of them are similar in a general idea. According to The World Book Encyclopedia (1994, Vol. 12, L-354), â€Å"the short story is a short work of fiction that usually centers around a single incident. Because of its shorter length, the characters and situations are fewer and less complicated than those of a novel.† In the Cambridge Advanced Learner’s DictionaryRead MoreShort Stories648 Words   |  3 Pageswhat the title to the short story is. The short story theme I am going conduct on is â€Å"The Secret Life of Walter Mitty’ by James Thurber (1973). In this short story the literary elements being used is plot and symbols and the theme being full of distractions and disruption. The narrator is giving a third person point of view in sharing the thoughts of the characters. Walter Mitty the daydreamer is very humorous in the different plots of his dr ifting off. In the start of the story the plot, symbols,Read MoreShort Stories1125 Words   |  5 PagesThe themes of short stories are often relevant to real life? To what extent do you agree with this view? In the short stories â€Å"Miss Brill† and â€Å"Frau Brechenmacher attends a wedding† written by Katherine Mansfield, the themes which are relevant to real life in Miss Brill are isolation and appearance versus reality. Likewise Frau Brechenmacher suffers through isolation throughout the story and also male dominance is one of the major themes that are highlighted in the story. These themes areRead MoreShort Story and People1473 Words   |  6 Pagesï » ¿Title: Story Of An Hour Author: Kate Chopin I. On The Elements / Literary Concepts The short story Story Of An Hour is all about the series of emotions that the protagonist, Mrs. Mallard showed to the readers. With the kind of plot of this short story, it actually refers to the moments that Mrs. Mallard knew that all this time, her husband was alive. For the symbol, I like the title of this short story because it actually symbolizes the time where Mrs. Mallard died with joy. And with thatRead MoreShort Story Essay1294 Words   |  6 PagesA short story concentrates on creating a single dynamic effect and is limited in character and situation. It is a language of maximum yet economical effect. Every word must do a job, sometimes several jobs. Short stories are filled with numerous language and sound devices. These language and sound devices create a stronger image of the scenario or the characters within the text, which contribute to the overall pre-designed effect.As it is shown in the metaphor lipstick bleeding gently in CinnamonRead MoreRacism in the Short Stor ies1837 Words   |  7 PagesOften we read stories that tell stories of mixing the grouping may not always be what is legal or what people consider moral at the time. The things that you can learn from someone who is not like you is amazing if people took the time to consider this before judging someone the world as we know it would be a completely different place. The notion to overlook someone because they are not the same race, gender, creed, religion seems to be the way of the world for a long time. Racism is so prevalentRead MoreThe Idol Short Story1728 Words   |  7 PagesThe short stories â€Å"The Idol† by Adolfo Bioy Casares and â€Å"Axolotl† by Julio Cortà ¡zar address the notion of obsession, and the resulting harm that can come from it. Like all addictions, obsession makes one feel overwhelmed, as a single thought comes to continuously intruding our mind, causing the individual to not be able to ignore these thoughts. In â€Å"Axolotl†, the narr ator is drawn upon the axolotls at the Jardin des Plantes aquarium and his fascination towards the axolotls becomes an obsession. InRead MoreGothic Short Story1447 Words   |  6 Pages The End. In the short story, â€Å"Emma Barrett,† the reader follows a search party group searching for a missing girl named Emma deep in a forest in Oregon. The story follows through first person narration by a group member named Holden. This story would be considered a gothic short story because of its use of setting, theme, symbolism, and literary devices used to portray the horror of a missing six-year-old girl. Plot is the literal chronological development of the story, the sequence of events

The Lottery, by Shirley Jackson - 792 Words

Dramatic point of view contributes to tone and idea in the â€Å"The Lottery† In Shirley Jackson’s short story, â€Å"The Lottery† the use of the third-person dramatic point of view allow the readers to visualize themselves in a typical village spying on an annual lottery. However, in actuality they are about to realize that the subdued and ordinary townspeople have traditions that are much more sacred than a human life. Throughout the story, the third-person dramatic point of view contributes to the tone and idea as a result of Jackson’s effective use of language control, indifferent attitude and characters’ dialogue. Jackson’s choice of point of view enables her to shape the tone with language control. She uses linguistic such as, adjectives†¦show more content†¦Next, the objective attitude of the narrator allows the tone to fully stand on its own without interference by a subjective point of view. Thus, the readers cannot be distr acted by outside noises, since reporting is limited to what is actually said and happens. The matter-of-fact tone of the narrator sets the atmosphere for this story, in that it parallels the attitude that the townspeople have toward the lottery. In other words, the narrator goes around taking notes and unfolding the details of the lottery, whereas the townspeople are going about their regular business nonchalantly. Meanwhile, the narrator does not interject moral judgment when reporting, so the tone is undisturbed. This is demonstrated by the following, â€Å". . . , the whole lottery took less than two hours, so it could begin at ten o’ clock in the morning and still be through in time to allow the villagers to get home for noon dinner† (137). The narrator does not stop to interpret or draw assumptions about the lottery. If told from any other perceptive, the tone would have been altered because the thoughts and feeling about the horrific event would have been reveale d much too quickly; thereby revealing the ending. Another contribution that the third-person dramatic point of view brings to the story is through characters’ dialogue, which supports the idea of the â€Å"The Lottery†. The point of view has the readers rely on the reporting of theShow MoreRelatedThe Lottery, By Shirley Jackson1195 Words   |  5 PagesOn the surface, Shirley Jackson’s short story, â€Å"The Lottery,† reads as a work of horror. There is a village that holds an annual lottery where the winner is stoned to death so the village and its people could prosper. Some underlying themes include: the idea that faith and tradition are often followed blindly, and those who veer away from tradition are met with punishment, as well as the idea of a herd mentality and bystander apathy. What the author manages to do successfully is that she actuallyRead MoreThe Lottery by Shirley Jackson757 Words   |  4 Pagessucceed but many fail just like the main c haracter Tessie Hutchinson in Shirley Jackson’s short story â€Å"The Lottery†. When someone hears the word â€Å"lottery†, he or she may think that someone will be rewarded with prize. But â€Å"The Lottery† By Shirley Jackson is different than what one thinks. In the story, a lottery is going to be conducted not like Mega Million or Powerball one play here. In the story, the person who wins the lottery is stoned to death instead of being rewarded with the prize. TessieRead MoreThe Lottery By Shirley Jackson931 Words   |  4 PagesIn 1948 Shirley Jackson composed the controversial short story â€Å"The Lottery.† Generally speaking, a title such as â€Å"The Lottery† is usually affiliated with an optimistic outlook. However, Jackson’s approach is quite unorthodox and will surely leave readers contemplating the intent of her content. The story exposes a crude, senseless lottery system in which random villagers are murdered amongst t heir peers. Essentially, the lottery system counteracts as a form of population control, but negatives easilyRead MoreThe Lottery By Shirley Jackson1504 Words   |  7 Pagesâ€Å"The Lottery† by Shirley Jackson In The Lottery Shirley Jackson fills her story with many literary elements to mask the evil. The story demonstrates how it is in human nature to blindly follow traditions. Even though some people have no idea why they follow these traditions. The title of the story plays a role in how Shirley Jackson used some literary elements to help mask the evils and develop the story. The title â€Å"The Lottery† serves as an allegory. When people think of the lottery majorityRead More`` The Lottery `` By Shirley Jackson894 Words   |  4 Pagesshort story â€Å"The Lottery†, author Shirley Jackson demonstrates Zimbardo’s concepts in three different areas: Authority figures, Tradition and Superstition, and Loyalty. The first concept Jackson portrays in â€Å"The Lottery† is the authority figures. Jackson indicates that the lottery is being held in the town center by one authority figure, Mr. Summers, annually on June 27th. Every June 27th, without fail, townspeople gather in the town square to participate in the annually lottery even though mostRead MoreThe Lottery, By Shirley Jackson1510 Words   |  7 PagesShirley Jackson’s â€Å"The Lottery† illustrates several aspects of the darker side of human nature. The townspeople in Jackson’s â€Å"The Lottery† unquestioningly adhere to a tradition which seems to have lost its relevance in their lives. The ritual that is the lottery shows how easily and willingly people will give up their free will and suspend their consciences to conform to tradition and people in authority. The same mindless complacency and obedience shown by the villagers in Jackson’s story are seenRead MoreThe Lottery By Shirley Jackson8 11 Words   |  4 Pagesâ€Å"The Lottery† was published by Shirley Jackson. The story was true expression of Jackson’s genuine thoughts about human beings and their heinous competence in an annual village event for corn harvest . First, her used to word symbolized main point of the story. Second, Jackson was inspired by few historical events happened in the past and a life incident in her life. Lastly, She was able to accomplish the connection between historical and biographical with the story. Therefore, Shirley Jackson’sRead MoreThe Lottery By Shirley Jackson934 Words   |  4 Pagesâ€Å"The Lottery† by Shirley Jackson signifies the physical connection between the villagers and their unwillingness to give up their tradition. â€Å"The Lottery† is very unpredictable and quite misleading. The black box has no functionality, except every June 27th. Shirley Jackson depicts the black box as an important and traditional tool. Although the villagers in â€Å"The Lottery† are terrified of the goal of the lottery and the black box, they are unwilling to let go of the tradition. Shirley Jackson portraysRead MoreThe Lottery by Shirley Jackson799 Words   |  4 Pagesthe mood and to foreshadow of things to come. The Lottery by Shirley Jackson is a story in which the setting sets up the reader to think of positive outcomes. However, this description of the setting foreshadows exactly the opposite of what is to come. In addition, the theme that we learn of at the end leads us to think of where the sanity of some human beings lies. The story begins with the establishment of the setting. To begin, Shirley Jackson tells the reader what time of day and what time ofRead MoreThe Lottery by Shirley Jackson1764 Words   |  7 Pagesfilled with excitement and eeriness, leaving the reader speechless. The Lottery , a short story written by famous writer Shirley Jackson, created an uproar on June 26, 1948, when it was published in the magazine The New Yorker (Ball). The gothic thriller, set in an unknown time and place, shares the tradition of a small town, a little larger than three hundred people, in which a drawing is held once a year. In this â€Å"Lottery,† each family’s husband draws a slip of paper from a black box. The husband