Analysis Of The Prologue Of The Canterbury Tales

Bhakta, Karan English IV, Sixth Hour Mr. Adcock 8 December 2015 The Religious Vows In The Prologue of The Canterbury Tales, Geoffrey Chaucer has some religious characters who break the vows they pledge for, to get a place in the Church. Many characters in the story seem to have an awkward characteristic that the writer did not notice. Why do the religious characters break the vow? How do they break it? For example, the monk was a primary part of the church, but as you keep reading, the characters start to change in ways you could never imagine. Some character do not interact with each other depending upon their social class level. The vows that the religious characters break are the Vow of Poverty, the Vow of Chastity, the Vow of Obedience, and the Vow of Stability. The vow that is probably the most frequently broken is the Vow of Poverty. According to the â€Å"Prologue† of The Canterbury Tales, Chaucer says; â€Å"I saw his sleeves were garnished at the hand/ With fine grey fur, the finest in the land. / And on his hood, to fasten it at his chin/ He had a wrought-gold cunningly fashioned pin† (197-200). As a religious figure, the monk probably should not be expensively dressed in fine fur or gold jewelry. He is also showing others that he is rich with all this jewelry. Later Chaucer says, â€Å"He did not rate that text at a plucked hen/ Which says that hunters are not holy men†(181-182). He ignored the rules of the monk and acted on his. Also he isShow MoreRelatedAnalysis Of The General Prologue To The Canterbury Tales Essays1044 Words   |  5 Pagesthe lowest order was involved in this practice. Geoffrey Chaucer, one of the most important writers in English literature, was the author of The Canterbury Tales, an elaborate poem about the religious pilgrimage of twenty nine people to Canterbury. In the General Prologue Chaucer introduces each individual along for the journey. Through The Canterbury Tales, we discover the hypocrisy and virtues Chaucer narrates in his characters and can appreciate th e nuances in this superior piece of literatureRead MoreAnalysis on the Prologue of the Canterbury Tales by Geoffery Chaucer805 Words   |  4 PagesIn his General Prologue, Geoffrey Chaucer introduces all of his characters to the reader. He writes that there was a group of people who met, and were all, coincidentally going to Canterbury. In the General Prologue, it is written, â€Å"Some nine and twenty in a company Of sundry folk happening then to fall In fellowship, and they were pilgrims all That towards Canterbury meant to ride.† The Canterbury Tales is a collection of the stories that each of these characters tells on the journey. ThereRead More Character Analysis of The Wife of Bath of Chaucers Canterbury Tales1623 Words   |  7 Pages Character Analysis of The Wife of Bath of Chaucers Canterbury Tales The Canterbury Tales is Geoffrey Chaucers greatest and most memorable work. In The Canterbury Tales, Chaucer uses a fictitious pilgrimage [to Canterbury] as a framing device for a number of stories (Norton 79). In The General Prologue of The Canterbury Tales, Chaucer describes in detail the pilgrims he meets in the inn on their way to Canterbury. Chaucer is the author, but also a character and the narrator, and acts likeRead MoreUse Of Satire In Canterbury Tales1301 Words   |  6 PagesChaucer’s Satyric Attack (An analysis of Chaucer’s use of satire to reach his intended audience in his Canterbury Tales) Satire is defined as â€Å"the use of humor, irony, exaggeration, or ridicule to expose and criticize peoples stupidity or vices, particularly in the context of contemporary politics and other topical issues† (Oxford). Another term that people would be more familiar with to describe this would be sarcasm. Language can be utilized in a nasty way, especially when wanting to demoralizeRead MoreThe Canterbury Tales : An Analysis Of Medieval Life By Geoffrey Chaucer939 Words   |  4 PagesCanterbury Tales: An Analysis of Medieval Life by Geoffrey Chaucer The Canterbury Tales is strongly considered one of the greatest works in medieval literature. An admirer of Chaucer, and the author of Chaucer and the Fifteenth Century, H.S. Bennett describes Chaucer’s unique style as, â€Å"No detail was too small for him to observe, and from it he could frequently draw, or suggest, conclusions which would have escaped many.† While The Canterbury Tales was originally intended to be an epic poemRead More The Monk Essay778 Words   |  4 PagesCHARACTER ANALYSIS The Monk When one thinks of a monk, he may imagine someone who studies, prays, and performs manual labor. The Monk, one of the thirty pilgrims travelling on a pilgrimage to Canterbury in The Canterbury Tales, is nothing like the usual monk many people imagine. He is rebellious, ignores rules, and lives and controls his own life. Chaucer, the narrator and author of The Canterbury Tales, shows these characteristics in the way the Monk looks, the things he says and does, andRead MoreEssay about The Canterbury Tales by Geoffrey Chaucer947 Words   |  4 PagesThe Canterbury Tales by Geoffrey Chaucer Chaucers Pardoner is unique within the group travelling to Canterbury. While the Parson, the Wife of Bath, the Clerk, and others would love to sway the group toward their respective opinions and views, the Pardoner intends to swindle the group out of its money. His sermons are based on sound theology, but they are rendered hollow by his complete lack of integrity in applying them to his own life. He is a hypocrite - his root intention is toRead MoreThe Wife of Bath Essay947 Words   |  4 PagesBath The Wife of Bath, one of the many characters in Chaucers The Canterbury Tales, is a feminist of the fourteenth century. Chaucer, in the General Prologue, describes her as promiscuous. The Wyf confirms this claim in the prologue to her tale, the longest in the book. An analysis of the General Prologue and the Wyfs Prologue reveals a direct relationship between the Wyf of Bathe and the characters in her tale, such as the knight, queen, and ugly woman. There is a direct correlationRead MoreSignificance Of The Second Nun Essay1222 Words   |  5 Pageswould immediately stop what they are doing to inorder   attend. Due to the lack of description in the general prologue and fact that the second nun accompanies the prioress and three priests many scholars speculate that she may have similar characteristics to the prioress such as being concerned with spiritualistic items and not being fully devoted to the three vows. Evidence in numerous tales such as the pardoner, the Monk and The Friar indicate that Chaucer viewed religious figures of the church asRead MoreThe Wife Of Bath s Prologue1134 Words   |  5 PagesThe Wife of Bath uses bible verses in â€Å"The Wife of Bath’s Prologue.† Further, she employs the verses as an outline of her life to find reason in God to justify her actions. Nevertheless, the purpose of the verses differs within each stanza of the poem. The Wife of Bath is a sexually promiscuous, lustful, an d manipulative woman. She marries men one after the other as they get older and die. In order to combat and overthrow the speculation and criticism being thrust upon her by societal norms because

Animal Fear And Aggression Is Important For Our Safety And...

Genetics of Domesticated Behavior in Foxes Genetic Mapping of Canine Fear and Aggression Looking into animal fear/anxiety and anger/aggression is a big outlook into why animals act the way they do and how it takes a toll on their lives. Understanding canine fear and aggression is important for our safety and the dogs. Also by being able to look into canine breed behaviors explains the traits that were studied within foxes. Seeing that canine fear, aggression, and tameness have been traced back to their domestication it easy to see why the study was taken place. The following study also allows the information to be used to explain why fox behavior may vary from tame to aggressive based on the information received within canine DNA and the use of domestication. However, canine genetic mapping has taken place to solve the mystery as to why certain canines experience more aggressive behavior. In addition, researchers were required to look at and map genetic variation among many different breeds (approximately 400 breeds). Seeing that canines are more similar within breeds and more different across breeds this can indeed make it more difficult to research their genetic make-up. Along with the fact that dogs have more phenotypic variation than most other land mammals, which is due to â€Å"evolutionary† selection under domestication. Furthermore, researchers within this study will determine whether breed stereotypes of fear and aggression can be mapped out by crossbred GWA. ToShow MoreRelatedThe Pit Bull Is The Most Misunderstood Breed Essay1717 Words   |  7 PagesIf you owned an animal, would you love and take care of it or would you deliberately and maliciously inflict pain upon it? Dog fighting is one of the most heinous forms of animal cruelty, and it continues to occur in every part of the country and in every type of community. The pit bull is the most misunderstood breed that has such a bad reputation today due to the percentage of people that idolize the breed and common misconceptions again st them. Dog fighting is an insidious underground organizedRead MoreStop Animal Cruelty1702 Words   |  7 Pages Animals are living, breathing creatures that are able to feel, think and have souls. For people to make excuses and to say that they can use animals as a means of testing, hunting, etc because they are just animals is cruel and uneducated. We as humans are animals as well. Just because we are more intelligent and advanced, it doesn’t give us the right to harm them. Just because we can, doesn’t mean we should, Dr. Ian Dunbar, a veterinarian, an author, a trainer and a behaviorist, argues that ToRead MorePersuasive Essay About Small Animals1646 Words   |  7 Pageslittle beings that make messes and are too stupid to escape the trap of a life of fear. In every child’s tale or movie rats are usually portrayed as antagonists or vile creatures. Up until my sophomore year I would have had to agree. However, they also are the reason that I do not judge anything before I’ve looked at it with unclouded eyes. Ever since I was young I have always had several animals that included cats, dogs, horses, rabbits, ferrets, hamsters, gerbils, and a hedgehog. The Christmas ofRead MoreEssay about Psychology: Classical Conditioning1146 Words   |  5 PagesPavlov. His discoveries were accidental. Initially Pavlov was always conducting experiments that were related to the psychology of digestion. While doing this he noticed that saliva was collecting in dogs mouths when they heard their food trays making noise. When this would happen, he noticed that the dogs had unconditioned reflexes which were their responses to the sounds of their food coming. It was in anticipation that they knew what they were getting that they salivated. 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Festival at the Village Free Essays

[pic] FESTIVAL AT THE VILLAGE T/A â€Å"F@V – 2013† A Proposal Document By Lentswe Arts Projects [LEAP] About Us Lentswe Arts Projects [LEAP] is a non-profit organization established in March 2011, in terms of Act No 71 0f 1997 under the Department of Social Development, South Africa. LEAP, is the brainchild of cultural activists, artists and art managers in the North West Province who have for decades combined, been running different organizations, but fundamentally pursuing the same goals. It was against this understanding that Lentswe was formed. We will write a custom essay sample on Festival at the Village or any similar topic only for you Order Now Lentswe† has many connotations in Setswana, one being a large rock and the other a voice. In this context, â€Å"Lentswe† is built from the root of the verb â€Å"go tswa†, which means to stem out in Setswana. â€Å"Lentswe le tswelele go tswela mosola† meaning â€Å"as you learn or benefit from Lentswe; continue to be good use unto others. † LEAP has been involved in artistic and social development projects since its inception. In 2010, even before being registered. , through the Maitiso le Kea’ cultural and artistic rendition, LEAP managed to buy school uniforms for the needy school children at Magokgwane Primary School in the outskirts f Mafikeng as well as stationary and uniform for another desperate learner at Redibone Middle School with the proceedings generated from ticket sales. The fundraising event drew a lot of support from national and international musical artists such as Mo Molemi, and Setswana folklore genius Ntirelang Berman f rom Botswana. October 2011, saw LEAP co-producing an exclusively cultural night of â€Å"Ntirelang Berman live† at Mmabana Mmabatho theatre. The show was hailed as â€Å"ground-breaking and conscious† by the local media and attracted a mixture of both the young and old. Executive Summary â€Å"The children who sleep in the streets, reduced to begging to make a living, are testimony to an unfinished job. † Nelson Rolihlahla Mandela It is with the above quote from the former South African president and Noble Prize winner, Dr. N. R. Mandela, which LEAP conceptualized and aims to stage FESTIVAL AT THE VILLAGE, also to be known as â€Å"F@V†. The festival aims to be the first of its kind arts festival to cater for the underprivileged youths who are also known as â€Å"homeless children† but currently reside at different places of safety in the North West Province. F@V seeks to be a therapeutic platform where these youths are skilled and integrated back into society. It is a vehicle to be used to identify, train and nourish hidden and/or undiscovered talent while creating possible artistic careers for the targeted market. F@V will also be the first ever arts festival to be staged within a rural community, with the aim of bolstering its local economy as well as making it a tourist destination. Buxton Village, in the Greater Taung Municipality is the ideal identified place with its strategic resources, zoning and accessibility for the staging of F@V. Concept A three months training period starting in April 2013 will culminate into a weekend [3 days] long artistic therapeutic experience, therefore making up the core of F@V – skill and emotional development. Different places of safety in four different regions of the North West Province will be identified and roped in for participation at F@V as part of their rehabilitation programmes. Each home will have three [3] teams covering disciplines of drama, music and dance. LEAP would then assign dramaturges/ facilitators to train and develop these groups in their respective discipline, with different themes attached to each group/home. The different groups based on different themes would then create performance pieces of between 20-30 minutes long with the guidance of their respective facilitators. The facilitators would be accompanied by unemployed social workers [either recent graduates or retired ones] to help with handling potential sensitive material that might be borne out of the workshoping process. It is a well known fact that every child has a secret aspiration of climbing on stage to unleash his/her potential performance dream. Lentswe Arts Projects aims to give voice to the oppressed by staging such a revolutionary concept for expression. Interesting and therapeutic theatre forms like â€Å"Forum theatre† will be used to harness participation at F@V in June 2013. What is Forum Theatre? â€Å"It is a theatrical game in which a problem is shown in an unsolved form, to which the audience (as spect-actors), is invited to suggest and enact solutions. The problem is always the symptom of oppression, and generally involves visible oppressors and a protagonist who is oppressed. In its purest form, both the actors and spect-actors will be people who are victims of the oppression under consideration; that is why they are able to offer alternative solutions, because they themselves are personally acquainted with the oppression. † – Augusto Boal It goes without saying how this type of theatre model would go a long way in helping our targeted children as participants and society at large as audiences to comprehend the type of either emotional or at times physical oppression that perpetuates the ever increasing number of homeless children on our streets. F@Vison: ? To be an annual therapeutic and edutaining artistic platform. F@V – Objectives: ? Endorse the Department of Social Development’s mandate of developing and implementing an array of programmes that do not only protect South Africans against poverty, but also promote investment in building and strengthening communities and households. ? To be a meaningful vehicle of intergrading our lost children back into society. ? To create jobs for our social workers and artists. ? To use the arts to address the socio-economic challenges and cultural restoration in our communities. To identify and address social ills that result in having children homeless. ? To create possible careers in the arts. ? To have an attracting socially-conscious arts calendar event. ? To align with the Department of Arts and Culture’s Mzansi’s Golden Economy policy of creating a â€Å"more than you can imagine† experience. ? Actualize the Department of Social Development†™s value of partnership in working together with civil society, business, academia and the international community. F@V – Implementation Once the financial and physical resources are available, LEAP will develop a detailed implementation plan and set up a strong team to take the project to its realization. The said project team will preferably be consisting of representatives from different stakeholders to have a successful and translucent process. The implementation stages shall mainly begin with the identification of willing participatory children’s homes around the province, followed by assigning of different facilitators to the respective teams/homes. Action Plan PERIOD: 07 January – 02 August 2013 ACTIVITY |DATE |PLACE |OUTCOME | |Pre-production begin |07 January – 29 March 2013 |Mafikeng and Taung |Festival Logistics Plan | |Fieldwork/workshops begin |01 April 2013 |Around NW |Unroll the development process | |Fieldwork/workshops begin |30 June 20 13 |Around NW |Have groups ready to | | | | |showcase/compete. |Marketing initiatives commence |10 June 2013 |Around NW |Create project awareness around | | | | |the province. | |Travelling day [Groups] |04 July 2013 |To Buxton |Different homes travel to get to | | | | |the designated area of | | | | |showcasing. |Technical set-up |04 July 2013 |Venues TBC |Have the venues accommodating the| | | | |productions. | |F@V Launch |05 July 2013 |Venue TBC |Launch the project to the media | | | | |and public. | |F@V First Day |06 July 2013 |Social Centre |Start showcasing the productions. |Last Day/ Prize Giving |07 July 2013 |Social Centre |End short festival of | | | | |performances and give prizes. | |Travelling day |08 July 2013 |From Buxton |Groups and technicians get back | | | | |home. | |Reporting |02 August 2013 |Mahikeng |Narrative and financial reports | | | | |submitted to the funders. | Project Budget Please see attached[pic] How to cite Festival at the Village, Papers Festival at the Village Free Essays [pic] FESTIVAL AT THE VILLAGE T/A â€Å"F@V – 2013† A Proposal Document By Lentswe Arts Projects [LEAP] About Us Lentswe Arts Projects [LEAP] is a non-profit organization established in March 2011, in terms of Act No 71 0f 1997 under the Department of Social Development, South Africa. LEAP, is the brainchild of cultural activists, artists and art managers in the North West Province who have for decades combined, been running different organizations, but fundamentally pursuing the same goals. It was against this understanding that Lentswe was formed. We will write a custom essay sample on Festival at the Village or any similar topic only for you Order Now Lentswe† has many connotations in Setswana, one being a large rock and the other a voice. In this context, â€Å"Lentswe† is built from the root of the verb â€Å"go tswa†, which means to stem out in Setswana. â€Å"Lentswe le tswelele go tswela mosola† meaning â€Å"as you learn or benefit from Lentswe; continue to be good use unto others. † LEAP has been involved in artistic and social development projects since its inception. In 2010, even before being registered. , through the Maitiso le Kea’ cultural and artistic rendition, LEAP managed to buy school uniforms for the needy school children at Magokgwane Primary School in the outskirts f Mafikeng as well as stationary and uniform for another desperate learner at Redibone Middle School with the proceedings generated from ticket sales. The fundraising event drew a lot of support from national and international musical artists such as Mo Molemi, and Setswana folklore genius Ntirelang Berman f rom Botswana. October 2011, saw LEAP co-producing an exclusively cultural night of â€Å"Ntirelang Berman live† at Mmabana Mmabatho theatre. The show was hailed as â€Å"ground-breaking and conscious† by the local media and attracted a mixture of both the young and old. Executive Summary â€Å"The children who sleep in the streets, reduced to begging to make a living, are testimony to an unfinished job. † Nelson Rolihlahla Mandela It is with the above quote from the former South African president and Noble Prize winner, Dr. N. R. Mandela, which LEAP conceptualized and aims to stage FESTIVAL AT THE VILLAGE, also to be known as â€Å"F@V†. The festival aims to be the first of its kind arts festival to cater for the underprivileged youths who are also known as â€Å"homeless children† but currently reside at different places of safety in the North West Province. F@V seeks to be a therapeutic platform where these youths are skilled and integrated back into society. It is a vehicle to be used to identify, train and nourish hidden and/or undiscovered talent while creating possible artistic careers for the targeted market. F@V will also be the first ever arts festival to be staged within a rural community, with the aim of bolstering its local economy as well as making it a tourist destination. Buxton Village, in the Greater Taung Municipality is the ideal identified place with its strategic resources, zoning and accessibility for the staging of F@V. Concept A three months training period starting in April 2013 will culminate into a weekend [3 days] long artistic therapeutic experience, therefore making up the core of F@V – skill and emotional development. Different places of safety in four different regions of the North West Province will be identified and roped in for participation at F@V as part of their rehabilitation programmes. Each home will have three [3] teams covering disciplines of drama, music and dance. LEAP would then assign dramaturges/ facilitators to train and develop these groups in their respective discipline, with different themes attached to each group/home. The different groups based on different themes would then create performance pieces of between 20-30 minutes long with the guidance of their respective facilitators. The facilitators would be accompanied by unemployed social workers [either recent graduates or retired ones] to help with handling potential sensitive material that might be borne out of the workshoping process. It is a well known fact that every child has a secret aspiration of climbing on stage to unleash his/her potential performance dream. Lentswe Arts Projects aims to give voice to the oppressed by staging such a revolutionary concept for expression. Interesting and therapeutic theatre forms like â€Å"Forum theatre† will be used to harness participation at F@V in June 2013. What is Forum Theatre? â€Å"It is a theatrical game in which a problem is shown in an unsolved form, to which the audience (as spect-actors), is invited to suggest and enact solutions. The problem is always the symptom of oppression, and generally involves visible oppressors and a protagonist who is oppressed. In its purest form, both the actors and spect-actors will be people who are victims of the oppression under consideration; that is why they are able to offer alternative solutions, because they themselves are personally acquainted with the oppression. † – Augusto Boal It goes without saying how this type of theatre model would go a long way in helping our targeted children as participants and society at large as audiences to comprehend the type of either emotional or at times physical oppression that perpetuates the ever increasing number of homeless children on our streets. F@Vison: ? To be an annual therapeutic and edutaining artistic platform. F@V – Objectives: ? Endorse the Department of Social Development’s mandate of developing and implementing an array of programmes that do not only protect South Africans against poverty, but also promote investment in building and strengthening communities and households. ? To be a meaningful vehicle of intergrading our lost children back into society. ? To create jobs for our social workers and artists. ? To use the arts to address the socio-economic challenges and cultural restoration in our communities. To identify and address social ills that result in having children homeless. ? To create possible careers in the arts. ? To have an attracting socially-conscious arts calendar event. ? To align with the Department of Arts and Culture’s Mzansi’s Golden Economy policy of creating a â€Å"more than you can imagine† experience. ? Actualize the Department of Social Development†™s value of partnership in working together with civil society, business, academia and the international community. F@V – Implementation Once the financial and physical resources are available, LEAP will develop a detailed implementation plan and set up a strong team to take the project to its realization. The said project team will preferably be consisting of representatives from different stakeholders to have a successful and translucent process. The implementation stages shall mainly begin with the identification of willing participatory children’s homes around the province, followed by assigning of different facilitators to the respective teams/homes. Action Plan PERIOD: 07 January – 02 August 2013 ACTIVITY |DATE |PLACE |OUTCOME | |Pre-production begin |07 January – 29 March 2013 |Mafikeng and Taung |Festival Logistics Plan | |Fieldwork/workshops begin |01 April 2013 |Around NW |Unroll the development process | |Fieldwork/workshops begin |30 June 20 13 |Around NW |Have groups ready to | | | | |showcase/compete. |Marketing initiatives commence |10 June 2013 |Around NW |Create project awareness around | | | | |the province. | |Travelling day [Groups] |04 July 2013 |To Buxton |Different homes travel to get to | | | | |the designated area of | | | | |showcasing. |Technical set-up |04 July 2013 |Venues TBC |Have the venues accommodating the| | | | |productions. | |F@V Launch |05 July 2013 |Venue TBC |Launch the project to the media | | | | |and public. | |F@V First Day |06 July 2013 |Social Centre |Start showcasing the productions. |Last Day/ Prize Giving |07 July 2013 |Social Centre |End short festival of | | | | |performances and give prizes. | |Travelling day |08 July 2013 |From Buxton |Groups and technicians get back | | | | |home. | |Reporting |02 August 2013 |Mahikeng |Narrative and financial reports | | | | |submitted to the funders. | Project Budget Please see attached[pic] How to cite Festival at the Village, Essay examples