Anger can be partly physiological, cognitive, and psychological, and it is also pointedly ideological. Factors such as race, class, gender, sexuality, ethnicity, nation, and religion arouse anger (Kim1). Goldhor-lerner stated that: Anger is a signal …. It may be a message that we are being hurt, that our rights are being violated; that our needs or wants are not being adequately met or simply that something is not right ( 1). According to Seneca, anger is a bad thing that can destroy the universe, and he argued that one had to be reasonable and get rid of anger in order to achieve a state of mind not subject to emotions (Kim 2). To Rene Descartes anger is the most dangerous emotion, and it is more violent than other emotions(55). Anger …show more content…
The plots were different. The dramatists believed that the human existence is absurd and they used comedy in their plays such as ,Beckett's Waiting for Godot,(1953) (Drabble3). Beckett has tackled political themes in his plays such as, Catastrophe (1982), and What Where (1983) which deals with torture and totalitarian. Beckett's plays are not intellectually understood. Besides, irony was used in his works and his plays are closed compositions. The characters from the beginning until the end remain the same without development. In the Absurd Theatre the writers selected strange names for their works in order to reflect their rejection of the norms and the conventional values (Innes428-31). As for the Naturalistic Theatre, it rejects the natural laws. The naturalists and the realists share the same idea that the issues of the middle and lower classes should be tackled in the literary works. The writers at that time focused on the influence of the economic and material environment (drabble …show more content…
In the modernism there was no focus on the plot events, instead the writers focused on characters' consciousness. Ambiguity and complexity were valued at that time. Modernists often work towards open endings and used the narrative gaps. In the early modernism the technique of Stream of Consciousness was widely used to know more about the human sense. Modernism was influenced by naturalism and realism. Its social content is characteristically avant-grade (Drabble 682). Moreover, the 20th century is one of the most important periods in English drama. New ideas, terms and styles have been introduced as a result of the atmosphere. Writers on that time expressed their anger and scorn as a result of the wars and the revolutions. There were many social changes at that time and the playwrights started to tackle that in their plays (Innes
This paper will examine Robert C. Solomon's Emotions and Choices article, to best identify what anger is, and to what extent a rational human being is responsible for their anger. Firstly, Solomon's argument must be described. A quick summation of Solomon's argument can be found in the following four points: Emotions are judgements, emotions are chosen, emotions serve a purpose, and emotions are rational.1 To quote Solomon, he explains that “Emotions are not occurrences, and do not happen to us. They ... may be chosen like an action.”2
We are socialized from the earliest impressionable age that anger is just not a grace we are gifted with as a member of the ‘gentler sex’. It is considered the most negative, the crassest, of emotions, one often realized through an all-too-easy grasp at violence, leaving its users painted red in tooth and claw. Anger is far too uncivilized for women to embrace, let alone wield (unless, like serving in the military, it is state-sanctioned and therefore carefully controlled by
...e person feel better at a certain point. The amount of anger a person feels at this stage is inexorable. Doctors, nurses, closed ones and every other person; are victimized by the person’s anger whether or not they are at fault. Even the law of nature is faulty of completing its course. Kubler-Ross and Kessler defined anger as being an anchor and “giving temporary structure to the nothingness of loss.” Anger is meaningful in the light of darkness. Anger encompasses feelings such as love, regret, guilt and hope.
and pleasure, the body changes into a relaxed state. When an individual is angry different
In ‘Of Mice and Men,’ anger and violence is of common recurrence. Anger, as shown by many characters, is always around because of fear, jealousy and anxiety.
The ‘Modern’ era began, approximately, in the mid-1800s (Worthen), following its predecessor the Romantic period, which was an era that was emotionally charged ad focused on the physical relationships between characters and being one-with-nature, rather than the focus of the modernist period which was to bring social and political issues or statements into the storyline of a script whilst still keeping the stage, characters and overall performance aesthetically pleasing for the audience of the particular period. Modernism in the theatre is the act of bringing the stage and the forms of modern life, at one time, to a critical relationship. As stated by Worthen, the modernist period or the modern world we live in today began in the mid-1800s
In response to the bloody battles of World War I, the Theatre of the Absurd was born. Soldiers surrounded by death and destruction often found no other relief but to laugh at the absurdity of noble, but increasingly meaningless traditional rhetoric and patriotism. This laughter was a response to not only the absurdity of their situation, but also to the absurd responses of others to their situation. Out of this response grew what we know today as the Theatre of the Absurd. A classic example of a work from the Absurdist Theatre is a piece known as Rosencrantz and Guildenstern Are Dead. In this work, John Stoppard uses allusion to T.S. Eliot's poem, "The Love Song of J. Alfred Prufrock", and Shakespeare's Hamlet to help the audience understand the play.
The absurdist plays Waiting for Godot written by Samuel Beckett and Rosencrantz and Guildenstern Are Dead written by Tom Stoppard both incorporate human needs and concerns within their context through its whimsical and comedic dialogues. Both plays belong in the category of the theatre of the absurd, where the existentialist philosophy underlies all aspects of the plays. The central characters Rosencrantz and Guildenstern from Rosencrantz and Guildenstern Are Dead share a deep friendship, this same friendship can also be seen within the relationship between Vladimir and Estragon who are the protagonists in Waiting for Godot. Beckett and Stoppard playfully express friendship and camaraderie throughout their plays, while both sets of characters delve deeper into human needs as it illustrates the dependency for one another that each character relies on .
Theater of the Absurd applies to a group of plays with a certain set of characteristics. These characteristics convey a sense of bewilderment, anxiety, and wonder in the face of an unexplainable feeling. These plays all have unusual actions and are missing a key element that would clearly define other pieces of literature. Language and actions differ from the usual and sometimes cannot be explained in the Theater of the Absurd. In the works of Albee and Ionesco language, behavior, and structure are abnormal if compared to other plays. Language is a key factor that is presented as a weak form of communication throughout “The Future is in Eggs,” “The Zoo Story,” “The American Dream,” and “The Leader.”
Anger changes the behavior pattern of the person as a result of changes in his emotional status. it is accompanied by physiological and biological changes. Actions resulting from anger often lead to undesirable physiological and health consequences, because the neuro-transmitters/hormones (eg. adrenaline) released during anger intensify impulsive action and obscure rational
Stoppard's absurd comedy, Rosencrantz and Guildenstern Are Dead is a transformation of the Shakespeare's revenge tragedy Hamlet. They both contain common characters and events but are separated by their historical, social and literary contexts. The plays are also different in language, theatrical style, values, character and themes.
The ‘Modern’ era began, approximately, in the mid-1800s (Worthen), following its predecessor the Romantic period, which was an era that was emotionally charged ad focused on the physical relationships between characters and being one-with-nature, rather than the focus of the modernist period, which was to bring social and political issues or statements into the storyline of a script whilst still keeping the stage, characters and overall performance aesthetically pleasing for the audience of the particular period. Modernism in the theatre is the act of bringing the stage and the forms of modern life, at one time, to a critical relationship. As stated by Worthen, the modernist period or the modern world we live in today began in the mid-1800s
This can either be a positive or negative thing and how you act on it, or do not act, can show how in control and effective you are with your feelings. According to the text, “just because you feel a certain way does not mean you have to act on it” and that “people who act out angry feelings actually feel worse than those who experience anger without lashing out” (Adler, Rosenfeld, Proctor II, year?). Even though acting on your feelings may seem uncontrollable, it is important to deal with them in a different and more productive way. Recognizing how you feel and using the right approach during a constructive conversation is always better than quickly lashing out without completely understanding the situation or how you feel besides angry. Furthermore, “recognizing the difference between feeling and acting can liberate you from the fear that getting in touch with certain emotions will commit you to a course of action” (Adler, Rosenfeld, Proctor II, year?). Understanding your emotions is important so that you will be able to experience feelings that may upset you and still be able to deal with them from a positive standpoint. Once you can separate your feelings from actions you will be able to make more rational
Samuel Beckett is one of those writers who emerged into the world of absurd drama after the World War II. The current movement of absurdism emerged in France as a rebellion against the traditional values and beliefs of the western culture and literature. The drama started off with the existentialist writers such as Jean-Paul Sartre and Albert Camus and eventually other writers such as Eugene Ionesco, James Joyce, and Samuel Beckett. started to get into the theatre world of adsurdism. Samuel Beckett’s most popular absurdist drama, Waiting for Godot, is one of those dramas which critics point to while discussing the theatre of absurdity.
Although Samuel Beckett's tragicomedy, Waiting for Godot, has no definite meaning or interpretation, the play acts as a statement of hopelessness regarding human existence. Debate surrounds the play because, due to its simplicity, almost any interpretation is valid. The main characters, Vladimir and Estragon, are aging men who must wait for a person, being, or object named Godot, but this entity never appears to grace the men with this presence. Both characters essentially demonstrate how one must go through life when hope is nonexistent as they pointlessly attempt to entertain themselves with glum conversation in front of a solitary tree. The Theater of the Absurd, a prevalent movement associated with Waiting for Godot, serves as the basis for the message of hopelessness in his main characters. Samuel Beckett's iconic Waiting for Godot and his perception of the characteristics and influence of the Theater of the Absurd illustrate the pointlessness and hopelessness regarding existence. In the play, boredom is mistaken for hopelessness because the men have nothing to do, as they attempt to occupy themselves as, for some reason, they need to wait for Godot. No hope is present throughout the two-act play with little for Estragon and Vladimir to occupy their time while they, as the title indicates, wait for Godot.