May 7 2015

Song Analysis 3

Personally, between the two choices for this song analysis, I found Michael Jackson’s Beat It to be a much better representation of Act III of Romeo and Juliet compared to The Banishment by Prong.
All of the lyrics in The Punishment suggest that the person telling the story is voluntarily leaving, but is very distraught about it. The singer does appear to feel banished, but the choice is of their own will, which does not represent Romeo’s situation at all; he was banished from the city because he killed Tybalt, of the Capulet household. The lyric, “No reason for me to hang around this place,” proves that the singer is making this decision for themself. The video is just footage from a rock show, so that is not really relevant and it does not correlate with Romeo and Juliet. Beat It represents Romeo’s situation a lot better.  This song is basically the singer warning someone to stay away from the area, because they will get killed if they stick around. One specific lyric is, “They told him, ‘Don’t you ever come around here…’,” but the whole song is based around that same theme. The video also featured a knife fight between the two main gangs in the video, which parallels the fights between Mercutio and Tybalt, and Romeo and Tybalt (Montague vs. Capulet). Overall, The Banishment  has no real correlation to Act III of Romeo and Juliet, or really at all, but Beat It by Michael Jackson does have some obvious parallels.

(Beat It knife fight)


May 5 2015

Song Analysis 2

For this song analysis, the two songs in question, to see which one better represents the second act of Shakespeare’s Romeo and Juliet, are Love Story by Taylor Swift and Closer by Ne-yo.
In my opinion, Love Story better represents this act by far. The first lyric of the song is, “We were both young when I first saw you,” which already relates to Romeo and Juliet because they were supposedly both about 13 years of age when they met.

(Love Story lyrics)
“See the lights, see the party, the ballgowns, see you making your way through the crowd,”, another lyric from the song, also relates to the first meeting of Romeo and Juliet at the party at the House of Capulet; they met on the dancefloor and they proceeded to fall in love. In specific comparison to act two, the lyric, “We keep quiet ’cause we’re dead if they knew,” is similar to the line, “The orchard walls are high and hard to climb, and the place death, considering who thou art, if any of my kinsmen find thee here,” (II.ii.68-70) said by Juliet, suggesting that Romeo is at risk of death by showing up to her house, if he is discovered. In relation to the video, it also seemed to fit the overall theme rather well. There are modern clips at the beginning and the end, but mainly, the video takes on an Elizabethan feel, which, does not technically represent the setting of 1300s Verona, Italy, it does represent the time in which the play was written, so it does have a connection, whether that was intended or not.

(Love Story video screenshot)
The first interaction between the “Romeo and Juliet-esque” characters is fairly similar to the one in the original play; they are both at a party, they met, they fall in love, etc. The end of the video seems a lot happier than the end of the play, but does seem to parallel the end of act two rather well. The two promise their love to each other and agree to get married the following day. In either sense, it might be difficult to predict the horrible end, assuming that that’s what happens in the aftermath of the Taylor Swift story as well. Overall, this song fits the general theme of the play, and of, specifically, act two, very well.

Closer by Ne-yo, however, didn’t seem to fit the overall theme of this point story. Lyrics like, “Oh I just can’t pull myself away. Under her spell I can’t break,” and, “I just can’t stop,” suggest more of a feeling of lust, rather than the love that Romeo and Juliet clam they have for each other. Romeo argues to Mercutio in the play that he knows what love is and that he is not being overtaken by his hormones (in terms of loving Rosaline; one and the same). An example of this is, “I cannot bound a pitch above dull woe. Under love’s heavy burden do I sink.” (I.iv.21-22); Romeo claims to understand his emotions. The video for Closer is very flashy and modern, with lots of creative editing and lighting to compliment it. It did look rather artistic and impressive, but did not appear, at least to me, to have any specific links or ties to the original story.

(Closer video screenshot compilation)


May 4 2015

Journal Entry: Juliet

*Revised on May 4, 2015
July 18th, 1303

I know I only met him yesterday, but Romeo and I are getting married tomorrow.
I could tell from the moment that we met last night that these feelings were very real.
Why oh why does he have to be a Montague?
I know we’re going to get married regardless, but, it just makes everything so much harder.
No matter, I love him all the same.
9 o’clock tomorrow, 9 o’clock.
I will send my nurse for him, and the final arrangements will be made.
It just seems to far away, I can’t wait any longer.
However, I will.
My darling, Romeo, is definitely worth the wait.
I’d wait forever if I had to.
9 o’clock tomorrow, 9 o’clock.

~Juliet


May 3 2015

Romeo and Juliet Act II Scene II- Compare and Contrast

*Revised on May 29, 2015
*Revised on June 13, 2015
*Revised on June 16, 2015
INTRODUCTION
Act II Scene II is seen as one of the most crucial parts of the entire Romeo and Juliet story, and since there have been many different adaptations of this story since it was originally written, this scene has been portrayed in many different ways. The three renditions mentioned here are the graphic novel, and the film adaptations from 1968 and 1996.
Romeo and Juliet Graphic Novel cover Romeo and Juliet 1968 cover Romeo and Juliet 1996 cover
First Image by: goodreads.com
<http://www.goodreads.com/book/show/6577804-romeo-and-juliet-the-graphic-novel>
Second Image by: rogerebert.com
<http://www.rogerebert.com/reviews/romeo-and-juliet-1968>
Third Image by: impawards.com
<http://www.impawards.com/1996/william_shakespeares_romeo_and_juliet.html>

DIALOGUE
Between all three adaptations of the story in question, all three stay very true to the original dialogue of the play. The best representation of the lines was the comic book version, since it was just the play written out in a visual form. However, I did notice that the line, “He jests at scars that never felt a wound.” (II.ii.1), said by Romeo, was missing in all three versions of the story. Both film versions of Romeo and Juliet stayed fairly true to the original text, leaving specific lines out, but not too many that the idea of the scene is lost to the viewers; no new dialogue was added, the scene purely depended on the manipulation of the preexisting lines from the play. For example, in the film from 1968, some lines such as, “It is the East, and Juliet is the sun. Arise, fair sun, and kill the envious moon, who is already sick and pale with grief that thou, her maid, art far more fair than she. Be not her maid since she is envious. Her vestal livery is but sick and green, and none but fools do wear it. Cast it off.” (II.ii.4-9) and, “What if her eyes were there, they in her head? The brightness of her cheek would shame those stars as daylight doth a lamp; her eye in heaven would through the airy region stream so bright that birds would sing and think it were not night.” (II.ii.18-23) were not included.
Romeo and Juliet Quote 1
Image by: pinterest.com
<https://www.pinterest.com/macykater/being-an-actor/>
Some lines left out of the 1996 movie adaptation were, “Alack, there lies more peril in thine eye than twenty of their swords. Look thou but sweet. And I am proof against the enmity.” (II.ii.76-78) and, “Or, if thou thinkest I am too quickly won, I’ll frown and be perverse and say thee nay, so thou wilt woo, but else not for the world. In truth, fair Montague, I am too fond, and therefore thou mayst think my havior light. But trust me, gentleman, I’ll prove more true than those that have more coying to be strange. I should have been more strange, I must confess, but that thou overhears’st ere I was were my true-love passion. Therefore pardon me, and not impute this yielding light to love, which the dark night hath so discovered.” (II.ii.100-111). Although, in many cases, the lines taken out of one movie adaptation were present the the other; it just depends what the director found relevant and the most important to the plot itself.
Romeo and Juliet Quote 3
Image by: meetville.com1
<http://meetville.com/quotes/tag/proof/page>

STORY PROGRESSION
As far as the actual scene itself, the graphic novel version and the 1968 film were incredibly similar, to the point where I question if the drawings in the novel were based off of the film. How the characters moved and interacted with each other were uncanningly similar. In both versions, Romeo sneaks into the Capulet’s back garden outside Juliet’s balcony, and he whispers to himself as he watches her stand there and talk to herself. He makes his presence known to her and then she panics, but is relieved after she realises it’s him. After discussing their situation, Romeo climbs a tree and meets Juliet on her balcony and they kiss and pledge their love to each other, and Juliet purposes that they get married the next day. After being called back by the nurse several times, Juliet eventually goes to leave, but then she calls Romeo back up to the balcony and they kiss again before they both exit.
Romeo and Juliet Graphic Novel photo 1 Romeo and Juliet 1968 photo 1 Romeo and Juliet Graphic Novel photo 2 Romeo and Juliet 1968 photo 3 Romeo and Juliet Graphic Novel photo 4 Romeo and Juliet 1968 photo 2
(Screenshots from Romeo and Juliet – Balcony Scene – Compare and Contrast)
The film from 1996 was, in some ways, very different from the other two adaptations. In the beginning of the scene, Romeo enters over the fence and into the area near the pool behind Juliet’s house. Startled by a noise, Romeo then panics and, in attempt to hide, crashes into things knocking them over. Romeo then hides by the wall outside Juliet’s window in effort to remain unseen by the nurse; Juliet enters via elevator, and walks around the pool talking to herself as Romeo, unnoticed, listens. As Juliet is talking, Romeo sneaks up behind her, and then replies to her thought. Juliet is spooked by Romeo’s sudden appearance which causes her to scream and grab onto him as she falls into the pool, bringing him with her. Romeo then hides under the water as a guard comes in to check on things, and, upon only seeing Juliet in the pool, leaves shortly after. Romeo and Juliet, still in the pool, discuss their situation and feelings towards one another. After much discussion, Juliet starts to leave the pool, but, in a response to Romeo, runs back and falls back into the pool, again, bringing him with her. The scene ends similarly to the other renditions, as the nurse calls Juliet back to the house, and she eventually says her goodbyes to Romeo; after planning their wedding for the next day, and giving him a necklace before she leaves.
Romeo and Juliet 1996 photo 1
Image by: glogster.com
<http://www.glogster.com/kathy928/romeo-juliet/g-6n2fnbpsg3191a3n4s7tc27>

ATMOSPHERE
In any story, the atmosphere is very important to setting the overall mood of the story; many factors can contribute to a story’s atmosphere such as setting, music, pace, character behaviour, colours/lighting, etc. In the graphic novel, the pace was a lot slower than that of the movies, because it’s a novel, but it wasn’t too slow as to bore the reader. The House of Capulet seemed very large, as if belonging to a wealthy family, which the Capulet’s were. The colours used, around the setting and on the characters, seemed very fitting of the characters themselves and of the surroundings. Overall, the general atmosphere of the novel very well represents the intended feel of a theatre production of the same story.
Romeo and Juliet Graphic Novel photo 5
Image by:
<http://www.forbiddenplanet.co.uk/blog/2009/classical-comics-romeo-and-juliet/>
The 1968 film version was also successful in building a suitable atmosphere. The house very much suited the family it belonged to and the style of the time period, as did the clothes both characters were wearing. Of course, there was little lighting, as the scene took place at night, so the moodiness of the nature light from the moon and from the house lights set the scene very well. The music was well suited for the time period, and for what was happening during the scene. The pace was a little bit quick, but, considering the emotion happening at the time, it did not seem unnatural and, since the scene is rather long, it did not feel too rushed.
Romeo and Juliet 1968 photo 4
Image by: nhersi4167.commons.hwdsb.on.ca
<http://nhersi4167.commons.hwdsb.on.ca/>
Since the 1996 film was set in a different time period, the overall atmosphere was a bit different. The whole scene was a lot more modernized than the other versions, so the set had a lot more modern things like elevators; the house was also a lot more obviously fancy from the outside. The music very well complimented the scene itself and the emotions happening in the scene, changing when something different was experienced. The only issues I personally had with the mood of this rendition was that the dialogue did not really fit with the modernized feel of the movie. Everything was modernized apart from the dialogue, so it seemed very unnatural. Overall, the atmosphere got the general idea across.
Romeo and Juliet 1996 photo 2
Image by: piximggif.com
<http://piximggif.com/romeo-and-juliet-balcony-scene-1996>

CONCLUSION
All of the differing portrayals of this scene work wonders for different aspects of it, and whichever you prefer depends on what you’re looking to get out of it. If you’re looking for a more authentic rendition to the original play, then the graphic novel would suit that well, whereas if you were looking for a more engaging, creative way of telling the same story, the 1968 version may be better suited for you. If you wanted to see a different take on the original story that has already been told in many different ways, then I would suggest the 1996. Most importantly, all forms capture the general feel of what Shakespeare was originally trying to portray, and set up the upcoming scenes perfectly.


Apr 19 2015

Gender, Pronouns, Orientations, etc.

*Revised on May 2, 2015
*Revised on May 16, 2015
*Revised on May 30, 2015
*Revised on May 31, 2015
*Revised on June 3, 2015
*Revised on June 13, 2015
*Revised on June 16, 2015
I wanted to make a guide to some LGBTQA+ related topics that a lot of people don’t know too much about. Note that these are not complete lists; there are infinitely many types of genders and orientations, and ways to express them, because there are infinitely many ways a person can feel about these things. If I find more/better definitions, I will make sure to add or change them.

GENDER
Gender identity is how a person sees themself or how they present themselves in their mind; gender is not the same as assigned sex. Assigned sex is what you are biologically assigned as at birth, and, even though often correlates with gender, it does not always. Gender expression is the physically appearance of how one presents one’s gender. This can sometimes line up with stereotypes or assumptions based on that gender, but doesn’t have to. Here is a list of only some specific gender identities and related terms:

afab– a person who was assigned female at birth (also sometimes referred to as dfab [designated female at birth])
agender– a person who feels disconnected from any certain gender, or lacks gender
amab– a person who was assigned male at birth (also sometimes referred to as dmab [designated male at birth])
androgyne– a person who presents as both feminine and masculine, but not female or male
androgynous– a person whose gender expression is not strictly feminine or masculine
bigender– a person who feels that they are two or more genders
cisgender– a person whose gender directly correlates with their assigned sex
demiboy– a person who identifies as partially or mostly male, but not entirely OR someone who usually identifies as male, but not always
demigirl– a person who identifies as partially or mostly female, but not entirely OR someone who usually identifies as female, but not always
female to male (ftm/f2m)– a person who was assigned female at birth and transitioned to male
female to non-binary (ftnb or ftx/f2nb or f2x)– a person who was assigned female at birth a transitioned to non-binary
gender nonconforming– a person who does not conform to any specific gender stereotypes or expectations
genderfluid– a person who feels as if their gender switches between two or more genders (this can sometimes a switch in name or pronouns as well)
genderflux– a person who experiences changes in their gender intensity (or can be thought of as genderfluidity between agender and another gender identity) OR it can be used as a noun (e.g. “I experienced very intense genderflux today.”) or a verb (e.g. “I genderflux, meaning that the intensity in my gender identity changes.”) [1]
genderqueer– a person who feels that they are not (just/always) the gender that correlates with their assigned sex OR an umbrella term meaning someone who is not cisgendered
intersex– a person who was born neither entirely female nor entirely male (does not directly correlate with gender)
male to female (mtf/m2f)– a person who was assigned male at birth and transitioned to female
male to non-binary (mtnb or mtx/m2nb or m2x)– a person who was assigned male at birth and transitioned to non-binary
non-binary– a person who feels that they are not (just/always) the gender that correlates with their assigned sex OR an umbrella term meaning someone who is not cisgendered or transgendered (similar to genderqueer)
pangender– a person who feels a connection to every/all genders
polygender– a person who feels as if they are two or more genders, but not all genders
third gender– a person who sees themself as not being female or male
trans*– a person who identifies as transgender or non-binary (not cisgender)
transgender– a person who feels that their gender is opposite to their assigned sex
transsexual– a person who has hormonally (hormone replacement treatment) or physically (surgery) transitioned to the gender opposite from their assigned sex [2]
trigender– a person who identifies as three separate genders
two spirit– a term used Aboriginal or Native American people who have both feminine and masculine characteristics and are seen as a third gender [3]

Agender/Androgyne/Androgynous/Genderqueet/Non-Binary Pride Flag
Image by: genderqueerid.com
<http://genderqueerid.com/about-flag>

Bingender/Intersex Pride Flag
Image by: commons.wikimedia.org
<http://commons.wikimedia.org/wiki/File:Bigender_pride.png>

Genderfluid Pride Flag
Image by: commons.wikimedia.org
<http://commons.wikimedia.org/wiki/File:Genderfluidity_Pride_Flag.png>

Transgender/Transsexual Pride Flag
Image by: rainbowdepot.com
<http://www.rainbowdepot.com/Transgender-Flag_p_13442.html>

Trigender Pride Flag
Image by: pride-flags-for-us.tumblr.com
<http://pride-flags-for-us.tumblr.com/genderspffu>
If you are unsure of which gender a person identifies as, there is no shame in asking. That person will most likely appreciate that you asked, and would rather tell you than have you misgender them (call them/treat them like the wrong gender). However, if you learn that someone is non-binary or trans* in any way, be respectful of their privacy. It is totally okay to want to learn more, but there are certain questions that will make many trans* people uncomfortable, and they will most likely not want to answer you unless you are really close friends, and sometimes not even then. Some disrespectful questions that you should probably avoid are, “When are you getting surgery/where have you gotten surgery?” “Are you sure you’re not just gay?” “Am I still *insert sexuality here* if I am attracted to you?” and any questions about the person’s genitals, or any information about them/photos of them before they transitioned [4]. All of these questions are very disrespectful and will make most people uncomfortable, so please do not ask these types of questions.
Here is a video that further explains gender identity, gender expression, and gender roles.

PRONOUNS
Pronouns are generally gendered language that people use in second-person to speak about another person, and can change depending on someone’s gender. Pronouns do not have a specific gender that they correlate with; anyone of any gender can use any pronoun if it makes them feel comfortable. If you are unsure of which pronoun a person goes by, it’s completely okay to ask them.Here is a list of pronouns and a helpful chart on how to use some of them:

ae/aer/aers/aeself
ce/cir/cirs/cirself
e/em/eir/eirs/emself
ey/em/eir/eirs/emself
em/ems/emself

hi/hir/hirs/hirself
ip/ips/ipself
le/lem/lems/lemself
ne/nem/nir/nirs/nemself
ou/ous/ouself
se/hir/hirs/hirself
sie/hir/hirs/hirself
tey/tem/ter/ters/temself
ve/ver/vis/verself
xe/hir/hirs/hirself

xe/xir/xirs/xirself
ze/zem/zir/zirs/zirself [5]
co/cos/coself
fae/faer/faers/faerself
he/him/his/himself
it/it’s/its/itself
kit/kits/kitself
she/her/hers/herself
they/them/their/theirs/themself
xe/xem/xyr/xyrs/xemself

ze/hir/hirs/hirself
zie/zir/zirs/zirself


Image by: thenonbinary.tumblr.com
<http://thenonbinary.tumblr.com/post/67759687533/saltysojourn-gender-pronouns-respecting>

SEXUAL ORIENTATIONS
A sexual orientation, or sexuality, is a person’s sexual identity in relation to what genders (or lack thereof) they are sexually attracted to. Here is a list of sexual orientations and related terms:
ace spectrum– an umbrella for anyone who lacks sexual attraction in any way
allosexual– a person who experiences sexual attraction (not an asexual person)
androsexual/androphilic– a person who is only sexually attracted to males or masculinity
antisexual– a person who experiences a general dislike of sex or sexual activity (not to be confused with asexual)
asexual/ace– a person who does not experience sexual attraction
autochorissexual– a person who experiences sexual attraction, but has no desire to be a participant in any sexual activities [6]
bisexual– a person who experiences sexual attraction to two or more genders, including the gender that they identify as
cishet– a person who is cisgender, heterosexual, and heteroromantic
cupiosexual– a person who desires a sexual relationship despite not feeling sexual attraction
demisexual– a person who only experiences sexual attraction after a strong emotional bond is formed
graysexual/gray-asexual/grace– a person who very rarely experiences sexual attraction
gynesexual/gynephilic– a person who is only sexually attracted to females or femininity
heterosexual– a person who is sexually attracted to the opposite gender
homosexual– a person who is sexually attracted to the same gender as themselves
kalossexual– a person who desires a sexual relationship, but does not feel sexual attraction towards anyone in particular [7]
LGBTQA+– lesbian, gay/genderqueer, bisexual/bigender, trans*/transgender/transsexual, queer/questioning, agender/asexual/aromantic plus all of the other non-cishet identities
lithsexual– a person who experiences sexual attraction but does not want it to be reciprocated and has no desire to act upon this attraction [8]
pansexual– a person who is sexually attracted to people regardless of their gender/is attracted to every/all genders
polysexual-a person who is sexually attracted to (at least two/more than two) genders, but not all genders
queer– an unspecific way to label one’s non-heterosexual orientation OR an umbrella term for non-heterosexual orientations [9]
quoisexual– a person who finds it difficult to distinguish their sexual feelings
sapiosexual– a person who is sexually or spiritually attracted to intelligence
skoliosexual– a person who is only sexually attracted to non-binary and transgender people (not cisgender people) [10]

*Note: Gender and sexuality have no correlation (they are not related in any way).


Asexuality/Graysexuality Pride Flag
Image by: mrflag.com
<http://www.mrflag.com/shop/asexual-flag-economy/>

Autochorissexuality Pride Flag
Image by: hunterinabrowncoat.tumblr.com
<http://hunterinabrowncoat.tumblr.com/post/101210488243/in-aid-of-asexual-awareness-week-ive-decided-to>


Bisexuality Pride Flag
Image by: amazon.com
<http//www.amazon.com/NEOPlex-Bi-Pride-Flag/dp/B0062PWN66>

Demisexuality Pride Flag
Image by: commons wikimedia.org
<http://commons.wikimedia.org/wiki/File:Demisexual_Flag.jpg>

Homosexuality/LGBTQA+/Queer Pride Flag
Image by: crwflags.com
<http://www.crwflags.com/fotw/flags/qq-rb.html>

Pansexuality Pride Flag
Image by: equity.ubc.ca
<http://equity.ubc.ca/2014/07/29/happy-pride-do-you-know-your-pride-flags/>

Polysexuality Pride Flag
Image by: pinterest.com
<http://www.pinterest.com/helloworld1121/stuff/>

ROMANTIC ATTRACTION
Romantic attraction is a person’s romantic identity in relation to what genders (or lack thereof) they are romantically attracted to. Romantic attraction is different from sexual attraction. Even though romantic and sexual attractions are almost always the same; they do not have a specific correlation. This goes for romantic attraction and gender as well, there is no direct correlation. *Note: Many of these upcoming definitions will be similar to their sexual orientation equivalent, but I wanted to make it very clear that they are separate things. Here is a list of romantic orientations and related terms:
alloromantic– a person who experiences romantic attraction (not an aromantic person)
androromantic– a person who is only romantically attracted to males
antiromantic– a person who experiences a general dislike of romance and romantic activity (not to be confused with aromantic)
aro spectrum– an umbrella for anyone who lacks romantic attraction in any way
aromantic/aro– a person who does not experience romantic attraction
autochorisromantic– a person who feels romantic attraction, but has no desire to participate in any romantic acts
biromantic– a person who experiences romantic attraction to two more genders, including the gender that they identify as
cupioromantic– a person who desires a romantic relationship despite not feeling romantic attraction
demiromantic– a person who only experiences romantic attraction after a strong emotional bond is formed
grayromantic/gray-aromantic– a person who very rarely experiences romantic attraction
gyneromantic– a person who is only romantically attracted to females
heteroromantic– a person who is romantically attracted to the opposite gender
homoromantic– a person who is romantically attracted to the same gender as themselves
kalosromantic– a person who desires a romantic relationship, but does not feel romantic attraction to anyone in particular
lithromantic– a person who experiences romantic attraction but does not want it to be reciprocated and has no desire to act upon this attraction
panromantic– a person who is romantically attracted to people regardless of their gender/is romantically attracted to every/all genders
polyamory– a person who sometimes has consensual romantic or sexual relationships with multiple people at a time
polyromantic– a person who is romantically attracted to (at least two/more than two) genders, but not all genders
quoiromantic– a person who finds it difficult to distinguish romantic feelings from friendship
sapioromantic– a person who is romantically or spiritually attracted to intelligence
skolioromantic–  a person who is only romantically attracted to non-binary and transgender people (not cisgender people)

Aromantic Pride Flag
Image by: toqhbeifong.tumblr.com
<http://toqhbeifong.tumblr.com/>

Biromantic Pride Flag
Image by: devianart.com
http://www.deviantart.com/tag/biromantic

Polyamory Pride Flag
Image by: commons.wikimedia.org
http://commons.wikimedia.org/wiki/File:Polyamory-flag.svg

Finally, here is a video that summarizes all of the above and more.

If there are any questions regarding any of the above, or you have a gender, orientation, or pronoun you want me to add to the list, please let me know! Thank you.

Sources:
[1] Casper. “Genderflux Information and Resources.” Hella Rad. N.p., n.d. Web. 13 June 2015. <http://crushingthebinary.tumblr.com/genderflux>.
[2] “Bear without a Care.” Bear without a Care. Web. 18 Apr. 2015. <http://kanayapapayas.tumblr.com/post/74436233946/heres-the-gender-section-of-the-posters-my-gsa>.
[3] Herbenick, Debby, and Aleta Baldwin. “What Each of Facebook’s 51 New Gender Options Mean.” The Daily Beast. Newsweek/Daily Beast, 15 Feb. 2014. Web. 18 Apr. 2015. <http://www.thedailybeast.com/articles/2014/02/15/the-complete-glossary-of-facebook-s-51-gender-options.html>.
[4] Ugwu, Reggie. “10 Questions It’s Never OK To Ask A Transgender Person.” BuzzFeed. Buzzfeed, Inc, 19 Sept. 2014. Web. 18 Apr. 2015. <http://www.buzzfeed.com/reggieugwu/which-bathroom-do-you-use#.fxAjj8Bx9>.
[5] “Comprehensive List of Pronouns.” I Am Thirsty, Mortals. N.p., 23 Apr. 2015. Web. 31 May 2015. <http://synasthesiac.tumblr.com/post/117161601867/comprehensive-list-of-pronouns>.
[6] “A Glossary of Asexual and Aromantic-Related Terms.” Asexuals Anonymous,. Web. 18 Apr. 2015. <http://asexualsanonymous.tumblr.com/glossary>.
[7] “Dear Non-Ace People…” – Acelyssie: Kalossexual: Desiring a Sexual… 5 June 2014. Web. 18 Apr. 2015. <http://dearnonacepeople.tumblr.com/post/87966101136/acelyssie-kalossexual-desiring-a-sexual>.
[8] “Glossary.” Asexuality Archive. WordPress, 22 Apr. 2012. Web. 18 Apr. 2015. <http://www.asexualityarchive.com/glossary/>.
[9]  “Saut Dans Le Vide.” Saut Dans Le Vide. Web. 18 Apr. 2015. <http://wirrows.co.vu/post/100285847121/hyourinmaruice-kanayapapayas-heres-the>.
[10] “Comprehensive List of LGBTQ+ Term Definitions.” Its Pronounced Metrosexual. Sam Killerman, n.d. Web. 31 May 2015. <http://itspronouncedmetrosexual.com/2013/01/a-comprehensive-list-of-lgbtq-term-definitions/>.

 


Mar 30 2015

Man Warned After Thumb Biting Incident

*Revised on April 15, 2015
Katherine
Bryant

Verona, Italy

A group of men were walking down the streets of Verona yesterday when a fight broke out from an alleged thumb-biting took place. A man, Abram, was simply walking through the streets with a servingman of his, when he was confronted by Gregory and Sampson, of the House of Capulet, to which then Sampson was then seen biting his thumb.

“As Sampson said before the fight, “No, sir, I do not bite my thumb at you, sir, but I do bite my thumb, sir.”,”(I:I:51-52) Gregory denied, “It was not meant as an offensive gesture.

Abram’s disbelief in Sampson truthfulness then led to a fight between all the men present, to which then a man, Benvolio, tried to step in and break up the quarrel, but to no avail.

“Part fools,” Benvolio quoted himself, “Put up your swords. You Know not what you do.” (I:I:65-66)

“Then Tybalt entered the scene,” described Benvolio. He admitted to being threatened by Tybalt for trying to keep the peace amongst the group.

Tybalt’s threats towards Benvolio only added to the fight at hand. The conditions of the fight also increased when the Capulets and the Montagues walked into the scene, and stirred up the event even more.

The fight only eventually came to a halt when the Prince shut it down, threatening the partakers with death if such a fight were to arise again.

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Mar 28 2015

Journal Entry: 1595 vs. 1968 vs 2013

*Revised on May 28, 2015
*Revised on May 30, 2015
*Revised on June 3, 2015
*Revised on June 13, 2015
*Revised on June 16, 2015
There have been many adaptations of the story of Romeo and Juliet since the original story, and they are all told and presented creatively in different ways. This story has been created and recreated and reimagined so many times and in so many ways, but do all recreations honour the story like it deserves?

1595

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<https://www.pinterest.com/soniarumzi/shakespeare-everywhere/>
The original telling of the story, written by Shakespeare, starts out with a scene between Gregory and Sampson, two men of the House of Capulet, discussing the quarrel between their masters and the Montagues. Then, the men meet a man called Abram, and a dispute begins to fall out. This cues Benvolio to enter and try to break up the fight before it got any worse. Benvolio’s efforts were shortly after stopped by Tybalt, and stirring up the fight even more. Soon after, the Capulets and the Montagues themselves entered and took part in the ruckus, which was quickly cut off by the Prince, letting all those involved know that they needed to stop causing fights in the streets, and if he caught them fighting again, it would be punishable by death. All departed apart from Mr. and Mrs. Montague and Benvolio, to which then the Montagues confessed their worries about the current state of their son, Romeo. Benvolio later approaches Romeo about his troubles, which reveals that Romeo is in love with Rosaline Capulet, niece of Capulet himself. Benvolio insists that Romeo try to forget about this girl, but it is of no avail to Romeo.
In parallel time, in the House of Capulet, a man by the name of Paris approaches Capulet and asks permission to marry his daughter; Capulet is hesitant to the idea, because Juliet, his daughter, is so young, but he is not opposed to the concept of Juliet and Paris together. Juliet, however, does not dream to be married yet, but she agrees to meet Paris and get along with him.
In disguise, Romeo, Benvolio, and some other friends tag along to a party and the Capulet residence, which, not too long after, is where Romeo first spots Juliet, and immediately falls in love. Romeo then takes it upon himself to pursue Juliet, taking her by the hand and then kissing her, forming reciprocating feelings in her. Only later do both kids realise that they have both fallen for the child of their family’s greatest foes. 

1968
The movie adaptation of Romeo and Juliet in 1968 generally followed the path of the play rather well. The story in this version did seem to move slower than the original pace. The costume choices for this movie seemed a little cheap for the high status of the main families, but suited the time period. They also used the costumes to differentiate between the two families, the Capulets wearing red, and the Montagues wearing blue. The background music is similar to the choice of dress in which it suits the time period, but the instruments seemed very out of tune at times, which seems unprofessional for the settings of the film.

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The casting of the main characters, Romeo and Juliet, did not seem to really fit the roles. Although their acting fit the personalities of those they were portraying, their physical appearances did not seem to fit their characters, specifically their ages. There was also an inserted dance scene in this adaptation, which took a very long time. The lighting in the House of Capulet during the party seemed very dark and moody, although that could just be because of the time it was filmed and the equipment it was filmed with.

The immediate relationship between Romeo and Juliet seemed very forced and unnatural, contrary to how it is supposed to come across as; Romeo seems very assertive and Juliet seems uncomfortable in the beginning.
Overall, this version of the story does follow the original play very closely, using most of the scenes and dialogue and doesn’t stray from the general idea of the play. There are a few additional scenes and some creative decisions made by the director that did take place outside of the authentic story, but they do not take away from the story being true to it’s roots.

2013

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<http://www.imdb.com/title/tt1645131/>
One of the more current versions of this tale was released only two years ago in 2013. This rendition was much faster paced than either of the two versions mentioned before it. The overall story was respected, but much was changed. These two families had scheduled tournaments every year in which they could compete, and the origins of the initial fight were changed. The overall acting in this film seemed unnecessarily over dramatic. The actors in this movie seemed to fit their roles even worse than those in the 1968 film, especially Romeo, who is supposed to be 13, but looks about 18. The choice of costume seemed to better fit the suggested financial status of both the families in this movie, but the colours were switched compared to the other film; the Capulets were in blue and the Montagues in red, which, personally, seemed to fit the families better. This adaptation of Romeo and Juliet seemed to be a lot more influenced by creative justice, specifically in the sense of the dialogue. There were direct quotes from the original, but there were also a lot more additional lines added. In the scene of Romeo and Juliet’s first meeting, Romeo seems to get creepier a lot faster, and Juliet seems a lot more confident, and shows more immediate attraction to Romeo, contrary to the play. These characters did not seem to capture the same aura of the ones they were based off of. The kiss scene seemed a lot more aggressive, adding creepiness because this was their first interaction.
Although this version had obvious influences from the original play, a lot was changed, especially compared to the earlier film, which was very close in parallel to the play. The concept was modernized; subtracting ideas that might confuse viewers that do not have prior knowledge of the story, and replacing them. Modernization is not a bad thing, but it did not seem to help get the message of the story across in this instance.

Final Comparison
All three versions have their similarities and differences between them. Of course, the storyline was the same in all renditions, but they did have some unique aspects to them individually as well. The 1968 version seemed to be truer to the original Shakespeare play, but the 2013 adaptation was more experimental with the original concepts and produced something new out of a tale that had been told a thousand times before, so one’s opinion of which film is better would come out of what one were looking to get out of the film. Of course, this story is very famous, so if one is planning to retell the story, it is probable that more changes would be made as the story grows older, and as more renditions are born. This age-old love story will continue to be told and remembered in many different ways, because the impact of the play in it’s originality has already stayed relevant for so many years. This story is so easy to recreate and manipulate, so it will continue to be so.


Mar 4 2015

Journal Entry: Love (Song Analysis 1)

*Revised on April 29, 2015
*Revised on May 5, 2015
True love can be whatever the individual experiencing it feels it is. It can be a feeling of intense happiness, comfort, security, or it can be, in some circumstances, sorrow, pain, and longing. As for love at first sight, I believe you can feel lust or aesthetic attraction at first sight, but not love. Love suggests a deep, emotional connection with a person, which doesn’t seem like it can be established the first time you interact said person.

Honestly, I feel as if the two songs we were given, “The Power of Love” by Celine Dion and “The Power of Love” by Huey Lewis and the News, didn’t accurately represent the idea of true love, but rather what love can be and/or feel like. A song that I feel better represents the feeling of love is, “She’s the Prettiest Girl at the Party and She Can Prove It With a Solid Right Hook” by frnkiero andthe cellabration. A specific lyric from the song that I think represents love very well is, “Just know that the best that I’ll ever be is whatever you make me and wherever you are…”, because a very prominent feature in most love is feeling like you’re a better person since they’ve been a part of your life; you feel as if being with them improves you as a person. Also, a main element in love is usually feeling very emotional towards them. Sometimes the feeling is happiness because of who they are, or sadness because of something they’re dealing with that you want to help them with. Their emotions can be very easily rubbed off on you, because you sympathize with them and you want to make them happy. This is very well represented by the lyric, “…the things that you say hurt me most of the time, but I’m on your side,”.  The general feel of the song is that love can be hurtful, but it’s worth it if you care about the person enough to stick it through with them, which I feel basically sums up the feeling of love.

She’s the Prettiest Girl at the Party and She Can Prove It With a Solid Right Hook by frnkiero andthe cellabration


Mar 2 2015

Journal Entry: Romeo

July 17th, 1303
I tried to turn to Benvolio to cure my sorrows, but to no avail.
Now he only shares my sorrow, which was not my intention.
A working man approached myself and Benvolio as well today, asking me to read for him.
The list I read was of a party, that of which Benvolio insisted I go.
To examine others, to try and forget…
Her.
I do appreciate his efforts, but alas, I doubt any change will take place.
~
The days grow longer as my heart grows fonder.
I don’t feel like I am myself lately. Only a man made to stand in my place.
I feel imprisoned, in this body, in this town. I feel no escape from my love for her.

Romeo


Feb 17 2015

Are Humans Inherently Evil?

*Revised on February 27, 2015
If you were to ask someone the question, “Do you think the human race is inherently evil?”, you might be surprised by their answer. An average tenth grade civics class was asked this only a couple weeks ago, and over half of the class agreed, one person said they thought humans were good, and one person, myself, thought that people were neutral.

INTERPRETING EVIL
This question raises more questions, one being, “What makes a person good or evil?” Of course, people can have good or evil traits, and they can do good or evil things, but does that specifically make a good or evil person.  I think the choice to be a hero or a villain depends mostly on the situation and/or the circumstances, and not particularly on the person themselves. In a prison in Abu Ghraib, Iraq, 2003, American soldiers working the night shift in the basement of the prison were caught physically and sexually abusing the inmates. These are some of the people who are considered by many to be some of the most pure and heroic people you can find because they have devoted their lives to helping the people of their country. So, what made them do such morally wrong things to these prisoners? They had power, and they didn’t think they would get caught; authority and consequence play a large role in this idea, and this occurrence, in my opinion, is almost certainly because of that kind of mindset of feeling in control.

THE STANFORD PRISON EXPERIMENT
This instance raises more points, like that since they were soldiers, they were trained to be forceful and in control. This does not excuse the rest of us though. I believe nearly anyone who is given power will probably end up taking it too far in some ways. The Stanford Prison Experiment, a perfect example of this. In 1971, twenty-four healthy and mentally able male college students were chosen to participate in the experiment, some as prisoners, some as guards. The experiment had to be cut off after only six days because of how the prisoners were being treated. The “guards” had the inmates doing physical labour like forcing them to clean toilets with their bare hands, they were stripped, and many of them were sexually humiliated as well. Many of these kids, who had been chosen because they were psychologically healthy, had mental and emotional breakdowns within thirty-six hours. So the experiment was put to a stop. Were these guards bad people? Were they evil? That is debatable, but there is one obvious parallel element between this experiment and the night guards in Iraq: power. They had both been given positions of control over other people, which made them feel untouchable and like they had the right to control, not the responsibility of control.

DISCUSSION
People aren’t always naturally good is a pretty safe thing to say at this point. Personal devils like envy, jealousy, and temptation are things that can bring people astray and make them behave poorly, but I believe that above all, the sense of authority is the worst devil of all. As I have mentioned in examples previously, the feeling of dominance and power can be brainwashing, so much so that it can also make the people “underneath” the power very obedient and blind in a way. There are so many people who just mindlessly obey whatever the authority above them tells them to without question, whether that authority be in a school or work environment, or even on a municipal or federal level. Also, the fallout of one’s actions can have a large effect on one’s decision to act a certain way. Circumstances are crucial. If someone knows that there will be no repercussions to their behaviour, their actions will probably differ quite a bit from if there were limitations on their actions. This is why I don’t think people are unconditionally evil. People can make choices, good or bad, but I don’t think that should label them overall as a whole person. Does it make a person evil if they don’t do a noble or heroic thing? Does it make a person good if they don’t make a bad decision? A lot of evil deeds can also come out of mistakes and misinterpretations. Is a person bad if they do something evil unintentionally?

There are so many conditions and so many more questions to ask about the topic, but I think it can be summed up quite simply. So many human things can be classified with our definition of good or evil; actions, decisions, words, but people are not solely based on their choices, they have more substance to them than their perfections or inaccuracies. And decisions are set in time, they cannot be altered once they happen. But humans can change. They can rehabilitate, they can grow, they can develop, or they can retreat, compress and repress themselves and their doings, and turn down roads they initially had no intention of exploring. So many humans things can be classified as evil, but humans themselves should not be one of them.

Feel free to ask questions to or get engaged in the topic for yourself

TED Talk- The Psychology of Evil
where I got most of my ideas and information (note: some images used in this video are slightly graphic so view at own risk)

The Stanford Prison Experiment 
more information about The Stanford Prison Experiment