The Holocaust Of The Concentration Camp - 2097 Words

What is genocide? Is what some people want to know. Genocide is the deliberate killing of a large group of people, especially those of a particular ethnic group or nation. It happens everywhere all around the world. In my opinion, I don t agree with the acts of genocide. They were too harsh on those people who didn t even deserve to be treated that way. The holocaust started in January 30, 1933. The president during the time was Adolf Hitler Chancellor of Germany. In march 20, 1933 an officers opened the Dachau concentration camp outside of Munich. The camp was help for people like jews to be tortured and it wasn t any good thing about the concentration camp. The Dachau concentration camp was the first regular concentration camp established by the National Socialist government. This camp was located on the grounds of an abandoned munitions factory near the northeastern part of the town of Dachau. During the first year the camp held about 4,800 prisoners. In the early 1937 the SS was using prisoner labor and began construction of a large complex of buildings on the grounds of the original camp. The prisoners were forced to do the work starting with the destruction of the old munitions factory. It was under terrible conditions. The construction was completed in mid August 1938 and camp wasn t changed until 1945. The number of Jewish prisoners at Dachau rose with the increased persecution of jews and on November 10 to 11, 1938 in the aftermath of Kristallnacht. There wasShow MoreRelatedThe Effects Of Concentration Camps On The Holocaust931 Words   |  4 PagesSam Gaglias English I Mrs. Novik 14 October 2014 Summer camps are fun, but Concentration Camps aren’t History is like a huge puzzle. People can keep find missing pieces to the story as they learn more about it. The Holocaust was one of those moments in history that has lead our minds to curiosity about why such a thing would occur at some point in time. For example, concentration camps. Concentration camps are one of those moments in history that make people’s jaws drop because of how flabbergastedRead MoreEssay on The Holocaust: The Concentration Camps1484 Words   |  6 PagesHolocaust is the most terrible human action in the history. It absolutely marks the ending of the previous mentality of human-beings. Therefore, a new round of discovery of evilness of human nature has been established. Best uncovering the truth of Holocaust will help prevent the furthur destuction of humanism, which is the most important mission of the society after World War II. There are many sources of Holocaust trying to best uncover the truth, such as the inhabitant’s experience of the immediateRead MoreEssay on Concentration Camps and The Holocaust647 Words   |  3 PagesThe Holocaust was a horrifing event where many innocent humans were hopelesslt slaughtered in concentration camps or just shot. Thats why we study about the Holocaust, so it doesnt happen again. It started with Hitler. Hitler was a solider in the first World War and was injuredmultiple times in combat. When Germany lost the war, Hitler was enraged because he put himself in the face of danger and was injured for his country and they lost. This event combined with some childhood events was the startRead More Holocaust-concentration Camps Essay610 Words   |  3 Pages Concentration Camps nbsp;nbsp;nbsp;nbsp;nbsp;Concentration Camps were a big part of the Holocaust. My first topic is the concentration camp Dachau. Then I will talk about another concentration camp called Bergen-Belsen. After that, I will tell you about the concentration camp Treblinka. Finally, the last concentration I will talk about is Auschwitz-Birkenau. Describing these camps will inform you that concentration camps were a huge part of the Holocaust. nbsp;nbsp;nbsp;nbsp;nbsp;DachauRead MoreThe Concentration Camps During The Holocaust1516 Words   |  7 PagesEleven million people died during the Holocaust of these eleven million people 2.4 million died from medical experiments conducted by German forces. These experiments were conducted mainly for three reasons. The first of which was to help the Germans gain knowledge that would help them better understand things that would have been viewed as threats or weaknesses to their military (Holocaust Museum). For example the Germans knew little of hypothermia and the weather located on the eastern front,Read MoreConcentration Camps During The Holocaust1675 Words   |  7 PagesImagine being pried away from your family. Not only that, but being left at the concentration camps, knowing that you are about to face the dreaded word â€Å"death†. Concentration camps broke people’s hearts and changed them forever. They had to encounter many terrifying and petrifying medical e xperiments. Alongside that, the so called â€Å"concentration camps† were basically almost becoming, or were, actual death camps. The things that they had to endure were heartbreaking and agonizing. They were starvedRead MoreThe Concentration Camps During The Holocaust1508 Words   |  7 PagesThe concept of conducting camps used to incarcerate, degrade and essentially murder millions of innocent people who were deemed ‘unsuitable’ would be barbaric, nonsensical and deranged to nearly any person. But what was truly intriguing was the fact that these camps were at a point in time supported and encouraged by many. The formation of these camps known as â€Å"Concentration Camps† were notorious for being one of the most unnerving events in not only WWII, but even world history. The treatment thatRead MoreThe Holocaust Of The Nazi Concentration And Death Camps939 Words   |  4 Pages Holocaust survivors give great insight to the realities of what the life w as like within the gates of the Nazi concentration and death camps. Not to say that the research of historians, writers, and professors does not provide pivotal information to the study of the Holocaust; but their research provides secondary sources and accounts. Primary sources for historic moments allows a reader to get into the mind and psyche of the writer who is sharing his or hers experiences. The ability to becomeRead MoreConditions of the Concentration Camps During the Holocaust Essay1077 Words   |  5 Pagesand forcing them into concentration camps all across Europe, Hitler and his Nazi advocates began one of the most destructive and horrifying genocides in history, known today as the Holocaust. Only after being introduced to the conditions of these concentration camps, the hatred and abuse put towards the Jewish, and the gruesome lifestyle they were trapped into living can one understand why the Holocaust affected so many as it did. What exactly were the conditions of th ese camps, and how did a few luckyRead MoreThe Holocaust The holocaust was the genocide of Jews and disabled humans in concentration camps600 Words   |  3 PagesThe Holocaust The holocaust was the genocide of Jews and disabled humans in concentration camps during World War 2. The Nazi’s were a political party that started with a few men who wanted to see the rise of Germany. 1933, Adolf Hitler became the Chancellor of Germany when the party was elected. Hitler and his party and the philosophy that Germans were a superior race and all other ethnic groups were not. They blamed the Jews and the disabled for the trouble that Germany had after World War 1. Therefore

A Good Man Is Hard To Find And Al Roosten Analysis

Would you consider yourself good or evil? â€Å"A Good Man Is Hard To Find,† written by Flannery O’Connor, is a short story written about a grandmother and her son’s family traveling on vacation, coming into contact with some trouble. The grandmother and her family are killed by fugitives, the Misfit and his accomplices, while waiting for help after a car crash. â€Å"Al Roosten,† written by George Saunders, is a short story written about a man, Al Roosten, who is a businessman that is at a charity event participating in an auction, precipitating awareness for drug use and abuse. While participating in the charity auction, Roosten rambles his thoughts and gives his views on each man being auctioned. Throughout, â€Å"A Good Man Is Hard To Find† â€Å"Al†¦show more content†¦One can witness the following allegations due to Roosten thought process. Roosten is thinking before walking out for the charity auction, â€Å"Whoops? Cheers? Would he get cheers? Whoops? He doubt it. Who whooped/cheered for the round bald guy in the gondolier costume?†(93). In the quote, one can observe Roosten questioning himself and his confidence on his appearance. Roosten having a sense of insecurity and having to question himself, demonstrates his lack of confidence. In the short story â€Å"A Good Man Is Hard To Find,† O’Connor brings in the focus of the the Misfit, and how he displayed a perception of good vs. evil, when he and the grandmother had a conversation. During the conversation with the grandmother, the grandmother convinced the Misfit that he may be one of her own bringing out an emotional side in him. O’Connor states, â€Å"His voice seemed about to crack and the grandmother’s head cleared for an instant. She saw the man’s face twisted close to her own as if he were going to cry and she murmured,’Why you’re one of my babies. You’re one of my own children!’ She reached out and touched him on the shoulder. The Misfit sprang back as if a snake had bitten him and shot her three times through the chest†(132). The one on one conversation between the grandma and The Misfit resulted in an effect to The Misfit’s feelings, proving he still had feelings due to his evil, dark background. The sensitive statement the grandmother said shocked the Misfit,

Philosophy of Music Education in the Indian Context Essay Example For Students

Philosophy of Music Education in the Indian Context Essay Transformed to Transform: An Outlook on the Philosophy of Music that Serves the Indian Community. The object of education is to prepare the young to educate themselves throughout their lives. * Robert M. Hutchins * The goal of education should be to widen ones view of life, to deepen insight into relationships, and to counteract the provincialism of customary existence * Philip Phoenix These goals must be the first and foremost reason why we teach music. To instill an even greater understanding and love of the domain thus enabling our students evolve a genuine interest and continue a life long Journey thats undertaken in varying degrees and through diverse roles. Phoenix (1986) stress on the fact that knowledge of methods makes it possible for a person to continue learning and undertake inquiries on his own (p. 1 1). Estelle Jorgensen in her book Transforming Music Education eloquently describes the need for music education to be transformed for the very reason that children be able to continue developing their knowledge beyond the classroom. Effective music education is built of a foundation that encompasses discussions, goals, materials and strategies, based on a teachers knowledge and experience of music and child development, educational guidelines and overarching, and developing philosophy of music education (Fiske, 2012). Before I elucidate my philosophy about music, I recognize the need to clarify my stand as a music educator who is passionate and determined to elevate the status of music education within classrooms around India. My Musical Experiences Music has always been a part of me for as long as I can remember. My earliest memories of music, especially the performance aspect, goes back to when I was three years old and sang a solo for a Christmas Concert that was organized by the radio taxation that my father worked at. I have memories of him kneeling on one knee and playing the guitar for me while I sang after which I was delighted to receive a big present from Santa. Ever since, I have enjoyed performing, and have so felt so comfortable on stage. All along I grew up listening to Christian gospel music and many contemporary arrangements of hymns. Supplementary to that my father offered me a rich experience of Indian Hindustan devotional music. I learned songs by ear and didnt realize what I was missing at this point, imagining what I learned in Philosophy of Music Education in the Indian Context By sandblasters I enjoyed doing and it came naturally to me, partly because of my early initiation into leading worship at church. My true test of endurance came about when I was introduced to Western Classical Music at the age of 14, through the study of two years of piano. My teacher, like many others around, displayed an extremely formalistic approach and didnt do much to expand my understanding of music beyond what was on the page and how I was supposed to read it. In response to this method I didnt enjoy learning from the pages of notated music books, as much as I id learning by ear, and I continued to develop as a musician who played by ear and improvised at will. Studying opera during undergrad was a trying phase for me because of my inability to connect the dots as easily as I should have been able to. My aural skills remained excellent and I sometimes relied on that to carry me through certain phases. Hard work and determination became my motto, and I spent hours to understand and perfect music that was assigned to me, as I wanted to do my very best. Although I had composed songs earlier, without notating them, the study of music theory opened up a whole new world for me. I could now add variety and richness to my music through the concepts I was learning. Music became a new language for me; I was captivated by the way it lent itself to diverse experiences through different musical roles (something that I wasnt aware of or didnt pay attention to earlier). As a Music Teacher Although I initially Joined a conservatory to study vocal performance, I found myself deeply drawn towards music education, and during my second semester decided to learn more about devising meaningful and persuasive strategies to improve the standard of music education in India. This thought emerged from an understanding that I had felt almost cheated for having lost out on so many years of studying music formally, yet effectively. I didnt have a choice because structured music instruction simply wasnt available at all the schools that I studied in, or the quality of instruction didnt serve the purpose of educating or informing students like me. What gave the impression of a music class/lesson at school was in reality an enthusiastic way of keeping students occupied for forty minutes in simple singing, with a concert for parents every once a year. We learned songs by rote to perform them, year after year. During those years though, I didnt realize the limitations that this system came with and continued to enjoy the fact that I was in choir and able to sing. This vacuum remains largely visible and unattended to in schools today, although some music educators in the recent past have taken huge steps towards improving the quality and effectiveness of their instruction in classrooms around India. Their efforts however remain predominantly an enthusiastic endeavor. What is urgently required is certainly something much more than sincere teaching. It calls for a transformation of the present system, giving room for every child to receive superior music education that fits into the whole. The need of every student being met in a transformed educational framework that constantly reshapes itself to accommodate new ideas and strategies. After all, as Restless (2003) rightly points out that music (music education) is for everyone and not Just for an elite few. The turning point in old daughter, Tiara, for after-school piano lessons. I hoped to give her a head start, with the understanding that she neednt have to face the same challenges in learning music, like I had to. However, after a few classes, I realized to my complete dissatisfaction that there was no structure, no thought and imagination, and no clarity in what was being thought to her. Her fingering on the piano was all over the place for the two songs that her teacher worked on Twinkle, Twinkle Little Star. And Baa Baa Black Sheep Her teacher (l later learned wasnt introduced to classical notation), taught her these songs by writing letters in a book and instructing her to commit it to heart. Lesson after lesson they would follow the same outline with no emphasis on any other musical aspects whatsoever. I decided I wasnt going to take his lying down! I had to do all within my capacity to change the face of music education, as the vast majority of people understand it. I began studying about music education as well, to inform and equip myself for the task at hand. Around this period, my voice teacher encouraged me to coach students in voice, and I began shying away from it believing I was under qualified and needed many years of study to begin teaching. However, with a newfound passion and vigor, I accepted to coaching some of his voice students and also began to teach small groups of students on the history of music (because I loved learning about it). Meanwhile, I started training both my young daughters at home constantly developing new ideas and strategies to introduce musical concepts to them. A friend noticed my teaching style and asked if I would teach her daughter too, and thus began my professional journey as a music educator. Four years since then, I find myself accountable for the music instruction I offer to over 250 children across various age groups, who are part of my school. The need is so great within schools, and only a few educators are willing to take the extra effort of educating themselves and being channels of period music instruction-catalysts of sorts. I am blessed to have a team often teachers who share in my vision and work alongside me in imparting music to the children who are part of our music school, Harmony. My long-term vision is to enhance the music programs in India for the betterment of as many children as possible. Individuals dont realize what theyre missing until theyve been given a taste of it, a glimpse of the bigger picture (much like my case). Through our school performances I aim on providing a window for the change to take place. A transformation that not only affects my students, but others around them as ell through their personal interactions with each other and the community as a whole. My Personal Philosophy A field or discipline without philosophical guidance, without critically examined ideals and commitment to their revision in light of the diverse and changing needs of those it seeks to serve, is more akin to an occupation than a profession (Bowman ; Freer, 2012, p. 23). For my vision to bear fruit and show evidence of becoming something concrete, I realize the need to develop my philosophy of music to an seek after. In the words of Jorgensen (2008), l want to excavate beneath the Percival and demonstrable skills to think about the ideas and principles of music teaching, the things that drive and shape. According to Kiwi (2002), A practice or discipline or body of knowledge, then, seems to become eligible (If that is the right word) for philosophy, properly so-called, when it becomes for us a way of life: when it cuts so deeply into our natures as human beings that we are impelled to explore and reveal its innermost workings (p. 7). It is necessary for me to clarify the major dimensions of musical experience so I can effectively offer them to, and nurture them within, my students (Reamer, 2003, p. ), this despite the passion and conviction with which I teach and advocate the need for arts in schools. I have begun to develop a synergistic mindset in my philosophy of music education after my reading and researching the literature, coupled with practical experiences over the last few years. Reamer (2003) points out A synergistic mind-set is one open to cooperation as an alternative to contention, to searching for points of agreement or confluence as an alternative to fixating on disc ord, to recognizing nuances in which seemingly opposed views are capable of some level of contention (p. 30). Music in My Life Persuasive EssayJorgensen (2008) identifies about eight ways of being a listener-intellectually, sensually, experientially, formatively, contextually, scenically, peripherally, and repetitively (p. 114). It is then evident that individuals have different capacities/levels of intelligence and varied areas of interest, that is genetically determined, based on the cultural milieu and available opportunities to name a few. Gardner (2006) discusses the possibility of identifying an individuals intellectual profile (or proclivities) at an early age and then draw upon this knowledge to enhance that persons educational opportunities and options. Introducing students to different roles in music and identifying areas that they may be interested s certainly beneficial and yields promising results with the passage of time. In my school, I have group lessons where I focus on introducing children to as many musical roles as possible. We call this the Core Music Program, and work with the group on composing, performing, improvising and listening. Although lessons are structured with the Western Classical system in mind, I have begun to think of ways to introduce an informal adaptation of these musical roles as well. Over time, my teachers and I identify certain areas that some children show a keen interest in, and monomaniac with their parents to schedule private lessons so that these areas may be nurtured with an understanding that each role requires its own way to educate for the developing of the intelligence upon which it calls (Reamer, 2003, p. 220). I realize the need to feed into each of these areas, guiding students to make connections and discriminations so that the students can show a steady growth in new knowledge; its a creative reorganization of thought (Keith Sawyer, 2012). I am conscious that each of these roles can be approached with an emphasis on creativity and have explained them below in that context. Music and Creativity Young children are constantly creating songs in their games, even unknowing focusing on the so, m, la relationships in their singing. As they gradually develop physically, mentally and emotionally, they respond to the world around them in many interesting ways. There comes a time when they live in a world of make believe and enjoy taking on different roles, pretending they are fairies, princesses, super heroes etc. Very often they create songs that they feel fit into their new roles thus revealing a creative ability within themselves. Children create songs in their bedrooms and on the playground. Some are quiet songs lulling dolls and teddy bears to sleep. Others are declaratively triumphant works underpinning flying machines and wizard duels (Chubb Smith, 2009, p. 3). Although children have always created music, music education has placed a greater emphasis on the quality of performances than on opportunities for children to develop their creative abilities (Chubb Smith, 2009). My most vivid and treasured music experiences during childhood involved opportunities to be creative within the home environment and performances outside. Although the schools that I was enrolled in didnt offer a impressive view of music, I believe that students in India must receive consistent music education during their developing years, along with plentiful opportunities to develop creative decision-making skills. Classrooms today can provide opportunities for students to think in sound, and students can be led to realize how meaningful and pleasurable music creating can be. Webster (2002) defines creativity in music as the engagement of the mind in the active, structured process of thinking in sound for the purpose of producing some product that is new for the creator (p. 26). He lives creative thinking can be identified in all individuals and can occur at various levels, from the spontaneous songs of the very young child to the products of the greatest minds in music (p. 27). Reamer (2003) echoes this sentiment, declaring all humans are capable of being creative to some degree and are capable of improving that degree if they are helped to do so (p. 09). When I witness my youngest students explore the sounds of new or different classroom instruments, experimenting with rhythmic and melodic patterns, I am reminded of the truth in these statements. I believe creativity can be experienced through improvising, performing, composing, and listening at any age. Performing and Improvising. Performers are artists-are creative in imagining and producing musically expressive sounds-precisely because they must make creative decisions with the materials (compositions) with which they are engaged (Reamer, 2003, p. 113). Since I encourage children in the act of performing, it is my duty to engage the them in making creative decisions about the music as they perform. Reamer discusses the reality that creativity of musical performance is often a shared act (p. 14). Even in student individually and contributing that individuality to the conjoint musical expression emerging, can be experienced genuinely (p. 115). Although students must follow the demands of the conductor and music and blend with sections, Reamer believes creativity in the performance ensemble/chorus/band is achievable. When conducting my chorus in the past, I tended to make most of the decisions for my students. I plan to engage the students more in class discussion on the individual creative decisions that must be made when performing a piece, emphasizing each students unique opportunity to contribute and giving them a voice within the choir. Improvisation, or creating in the moment, is also an important activity. In prior teaching, I have engaged students who are part of contemporary band, in simple Jazz improvisation that included various scales and chord changes. I wish to incorporate more improvising into their performance setting, and to include all students. There is a certain thrill and beauty in knowing that each improvised performance will be unique. Composing. The act of composing is a process that allows the child to grow, discover, and create IM- or herself through artistic and meaningful engagement with sounds (Chubb ; Smith, 2009, p. 7). I consider the work of Michele Chubb and Janice Smith fundamental as I explore ways to engage students creatively through composition. They believe compositional opportunities should be given to every child because the process of composing: challenges children to consider their understanding of the world in new ways, Allows children to exercise their generative potential in music, Develops a way of knowing that complements understandings gained through other direct experiences of music, and Invites the child to draw together the full breadth of his or her musical knowledge (p. 4/5). I have given opportunities in the past for students to compose warm-ups for rehearsals and write down more lengthy compositions at the end of a theory lesson but will be engaging students in more substantial creations of original works in the future. Chubb and Smith recommend the use of logs, reflective Journals, notebooks, sketchbooks, blobs, bedposts, or websites to display students work and encourage reflection. The classroom must be a safe place in which students can explore, share, make mistakes, ND reflect as they create. Composition can be a powerful tool, for The voices of young composers hold thousands of incredible explanations for the thinking and the actions that contribute to their musical knowledge and their music making (p. 47). Listening. I am impacted greatly by Reamers (2003) view on creative listening. All people, often willingly and enthusiastically choose to listen-to immerse themselves in listening to their chosen music for all the diverse pleasures musical meaning affords (p. 118). This statement reminds me that many of my students may choose to stop playing heir instruments outside of the classroom, but they will continue to listen. Since listening is the most common music experience, this aspect of music must be improvisers make are saturated with potential musical meanings-potential significant undergoing of mind, body, and feelings. Listeners are called on to make sense of the music, to put it together with mind, body, and feelings. (p. 117) Instead of listening simply to absorb music, students must create meanings out of what is being heard. Activities involving analyzing music, describing music, and tooting music that is heard will be implemented into my curriculum. Students may respond to listening through reflection Journals or music critic assignments that encourage students to evaluate and make sense of the music. Whatever the level of ones capacity to be creative at something, that level can be better achieved by educational interventions designed to improve ones thinking and doing so as to make them more creative (Reamer, 2003, p. 109). Creative opportunities must be present in the instrumental music classroom to further the abilities that all children posses. Creating in my classroom will be a chance for students to make sense of their feelings and experiences as they discover themselves. Musical creativity is the skilled search, by mind, body and feelings, for musical meanings (Reamer 2003). Reamer beautifully brings out this point by saying, Meaning making, after all, in music as well as everything else people do, is a core need in human condition. The meaning making-the creative responsiveness-of musical listening is by far the most common way people involve themselves in musical creativity, and that includes those who, in addition, choose to be creative as Caucasians. World Music and Multiracial Approaches For students to remain motivated in class the music needs to be relevant and meaningful (Campbell, 2002). She argues that music education that emphasizes music theory and musical skills without considering the role of music in its coloratura context is inadequate. I believe music from cultures around the world as well as music that surround our own culture and subcultures should be integrated into the instrumental music curriculum. There was a time when I associated multicultural music as being strictly oral music, but now recognize the music of my school and community culture, which includes popular music, Plywood music is also multicultural in nature and must be present in my classroom. I have not explored the full capacity of Indian music in the classroom assuming that there are a lot of schools around that teach this style. However, I am now establishing ideas to incorporate this music in the present curriculum. World Music. John Blackings work with music in other cultures is an has impacted my philosophy on multicultural music (Campbell, 2000). He believed the inclusion of world music in

Stereotypical kind Essay Example For Students

Stereotypical kind Essay The next character we meet is Torvald Noras husband and puppet master. Torvald is a very strong character and believes that Nora should obey his requests. This is because of an old tradition that a woman should honour her husband. Torvald is a very rich, helpful, ignorant, stereotypical kind of character because even though he thinks he loves Nora he knows love isnt what he feels. We can tell that by the way he treats her. I wouldnt have you any different. Dear little bird, little darling. But what is it? Theres something, isnt there? There is. We will write a custom essay on Stereotypical kind specifically for you for only $16.38 $13.9/page Order now There is alot of Irony between the couple due to the nature that Henrik Ibsen makes Torvald use throughout the play. For instance Henrik has Torvald compare Nora to squirrels, Skylarks, Singing birds all of which are flight mammals. They are free unlike Nora who is trapped in her own home. Torvalds rhythm of speech is very formal and business like because he sees himself as the leader of his family. He is the type of man that believes his family should be seen not heard but even though he is stern and strict he is also caring and hardworking. His rhythm remains constant throughout the play until the very end where his sentence lengths shorten and he becomes less dominant then Nora. I found this through the practical assessment I did in class I played the part of Helmer and I seen him as a broken man by the end of the play. I and my partner represented the less dominant Torvald by having Nora standing and Torvald sitting so he had to look up at Nora. For the first time at the very end of the play we see Torvald for what he really is, a caring man who was blinded by control. Tell me the miracle. I believe. Tell me. If we changed. If we-All of a sudden Torvald begins to treat Nora as an equal but she feels it is too late to amends. The third character we meet is Mrs Linde a friend of Nora. Mrs Linde is the exact opposite of Nora because Nora has been spoon fed everything her whole entire life whereas Mrs Linde has had to fight and work hard for everything she has achieved. Mrs Lindes language is very formal and mature throughout the play. The audience realises the reason Mrs Linde is played like this is because of what she has been through like losing her husband and being left nothing to live on. Mrs Linde then went into business for herself and has worked hard for everything she achieved. Mrs Linde like Torvald treats Nora as a child because of the way Nora acts but when she finds out about the loan Mrs Linde begins to realise how grown-up Nora is and starts to treat her equally. When Mrs Linde is talking to Krogstad she suddenly becomes all kind hearted and begins to see her life with him. I need someone to mother; your children need a mother; you and I need each other. I trust you, Nils, the man you really are. At first Krogstad thinks that Mrs Lindes kindness is an attempt of saving Noras relationship with Torvald but Mrs Linde genuinely still likes Krogstad and wants to rekindle what they had many years ago. Mrs Linde believes that Torvald must see the letter Krogstad wrote so that Nora and Torvald can understand each other. When Mrs Linde is talking to Krogstad her vocabulary is quite sophisticated but her sentence lengths are small. This is probably because she is trying to get straight to the point quickly but at the same time she doesnt want to say what she means to say all in one breathe. .u200a960051db8fb317d321f1782bbc38 , .u200a960051db8fb317d321f1782bbc38 .postImageUrl , .u200a960051db8fb317d321f1782bbc38 .centered-text-area { min-height: 80px; position: relative; } .u200a960051db8fb317d321f1782bbc38 , .u200a960051db8fb317d321f1782bbc38:hover , .u200a960051db8fb317d321f1782bbc38:visited , .u200a960051db8fb317d321f1782bbc38:active { border:0!important; } .u200a960051db8fb317d321f1782bbc38 .clearfix:after { content: ""; display: table; clear: both; } .u200a960051db8fb317d321f1782bbc38 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u200a960051db8fb317d321f1782bbc38:active , .u200a960051db8fb317d321f1782bbc38:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u200a960051db8fb317d321f1782bbc38 .centered-text-area { width: 100%; position: relative ; } .u200a960051db8fb317d321f1782bbc38 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u200a960051db8fb317d321f1782bbc38 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u200a960051db8fb317d321f1782bbc38 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u200a960051db8fb317d321f1782bbc38:hover .ctaButton { background-color: #34495E!important; } .u200a960051db8fb317d321f1782bbc38 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u200a960051db8fb317d321f1782bbc38 .u200a960051db8fb317d321f1782bbc38-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u200a960051db8fb317d321f1782bbc38:after { content: ""; display: block; clear: both; } READ: 1984 Analytical Journal EssayMrs Linde is quite a clever character as she knows what people want her to do like, Nora asking her to persuade Krogstad to take the letter back but, her intentions are exactly the opposite. This is because Mrs Linde is a caring character and sees things for what they really are, she feels not saying anything is a bad thing because then Nora gets to carry on living a lie and she will never see her true relationship with Torvald. Whereas if Torvald knew he would show his true colours towards Nora and she would figure out if her miracle could come true. The fourth character introduced is Dr. Rank; he is a very good friend of the Helmers who visits them daily. Dr. Rank is the opposite of Torvald as he treats Nora as an intelligent human being and she in return speaks more openly to him than she does to her husband. Dr Rank is dying. He refrains from telling Torvald of his death because it is too ugly an idea for Torvald to tolerate, but he does tell Nora, this shows a strong bond between them. He talks with her about his coming death in a code that excludes Torvald and protects him from harsh reality. However, Dr Rank is not entirely the straightforward truth-teller of dramatic tradition. His real motive for visiting the Helmers is that he is in love with Nora. However Nora isnt aware of this until Dr. Rank confesses to her. As Rank is a dr. His use of language is formal and direct when talking to anybody. He tries to keep his personal side professional especially when it comes to his friendship with Nora. However when he learns that he is going to die, he feels that he cant leave without admitting his true feelings. I swore Id tell you before I..went. Now. Nora, now you know. And you know that you can rely on me, as on no-one else. The only time we see Dr. Rank come out of his professional character and into a regular average everyday person is the scene in which he acts as a smitten teenager with Nora. This is a very flirtatious scene between them and it holds great lust between the pair. In this scene the audience begin to realise that Dr. Ranks feelings for Nora are more than just friendship by the way he speaks and behaves. Ive no possible way of telling! Tut tut you bad boy! The pair both act immaturely but at the same time they are both thinking different things will come of their carrying on with each other. The fifth character is Nils Krogstad. Krogstad is an employee at the bank which Torvald is made manager. Krogstad is a mean clever character who leant Nora the money to take Torvald to Italy to recover. He has committed an offence in the past involving a crime similar to Noras forging a signature on a document. Since then, he has struggled to regain and maintain his respectability in the eyes of society. His job at the bank is a major part of this respectability. So when Torvald, who sees Krogstad as an irresponsible repulsive man, decides to give his job to Mrs Linde, Krogstad then resorts to blackmailing Nora about the loan. Unless Nora persuades Torvald to keep Krogstad in his job and give him a promotion, he will tell Torvald about her loan and her forgery of her fathers signature. At first, Krogstad appears to be a grasping and vindictive villain. But as soon as Mrs Linde tells him that she has always loved him and asks him to resume their relationship, he reveals himself as a more loving, joyful and merciful character. .uf1e7a33a2784c016aa822efb5b21aa7b , .uf1e7a33a2784c016aa822efb5b21aa7b .postImageUrl , .uf1e7a33a2784c016aa822efb5b21aa7b .centered-text-area { min-height: 80px; position: relative; } .uf1e7a33a2784c016aa822efb5b21aa7b , .uf1e7a33a2784c016aa822efb5b21aa7b:hover , .uf1e7a33a2784c016aa822efb5b21aa7b:visited , .uf1e7a33a2784c016aa822efb5b21aa7b:active { border:0!important; } .uf1e7a33a2784c016aa822efb5b21aa7b .clearfix:after { content: ""; display: table; clear: both; } .uf1e7a33a2784c016aa822efb5b21aa7b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uf1e7a33a2784c016aa822efb5b21aa7b:active , .uf1e7a33a2784c016aa822efb5b21aa7b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf1e7a33a2784c016aa822efb5b21aa7b .centered-text-area { width: 100%; position: relative ; } .uf1e7a33a2784c016aa822efb5b21aa7b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf1e7a33a2784c016aa822efb5b21aa7b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf1e7a33a2784c016aa822efb5b21aa7b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uf1e7a33a2784c016aa822efb5b21aa7b:hover .ctaButton { background-color: #34495E!important; } .uf1e7a33a2784c016aa822efb5b21aa7b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf1e7a33a2784c016aa822efb5b21aa7b .uf1e7a33a2784c016aa822efb5b21aa7b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf1e7a33a2784c016aa822efb5b21aa7b:after { content: ""; display: block; clear: both; } READ: The Confessor as a failure EssayMrs Linde, unlike Torvald, believes that Krogstad can change for the better, and indeed, from this point on, his life appears to be set on a positive course. Krogstads use of questions throughout the play is mainly interrogation and cross examination questions. I left the date blank. Your father was to fill it in: the date he signed the document. You remember that, Mrs Helmer? Lets keep to the point, Mrs Helmer. That must have been a very difficult time for you. Krogstad is a very cunning and clever character he knows how to manipulate his opposition. Nora is the innocent victim which he chooses to blackmail because of her child like factor which is good at persuading Torvald to get Krogstad what he wants. It is all about control and whether or not he chooses to use the power he has over Nora or just give -up and build his respectability in society back-up from square one. Near the end Krogstad chooses to do exactly that with the help of Mrs Linde he realises his mistakes and his tone becomes alot softer and language simpler. The final character is Anne-Marie. Anne-Marie has brought up Nora since she was a young girl herself and is now helping to bring up Noras children. Having a child of her own with no help from her partner meant that she couldnt support her own child so she considers herself lucky to have been offered her job, even though she had to give up her own child in order to take up her position. Anne-Marie exemplifies the self-sacrificial role of women that Ibsen highlights in this play. Nora finally leaves her children in Anne-Maries care, believing that they will be better off with Anne-Marie than they would be with her. Anne-Marie is a very strong respectable woman who knows her place within the Helmers household. However Nora is the only one who sees her as more than a nanny she sees Anne-Marie as her motherly figure. Anne-Marie isnt a very main character in the play and only has one major scene which is between herself and Nora where there is alot of subtext present. Anne-Marie speaks to Nora quite casually whereas to every-one else she is formal and acts like a worker of the household where she is seen but not heard. Nora feels quite strongly for Anne-Marie and is entirely grateful for all she did for her when Nora was younger. Dear old Anne-Marie. You were such a good mother to me when I was little. The overall use of language within the play is quite formal the only child within the play is Nora who learns to grow up to a respectable woman. The sentence lengths are short and sweet at the beginning but by the end are long and explanative. This is to show the progression in complexity within the play. Nora, Torvald, Mrs Linde and Krogstad all grow as characters throughout the play and by the end come out being better and stronger people. Nora and Torvald mainly because of all the deceit and lies that are told and Mrs Linde and Krogstad through the love they still held for each other. The main Character who grew within this play is Nora as her short sentences became long ones. Her vocabulary went from simple to complex. Her speech pattern changed from unnatural to a constant natural pattern and finally her overall woman broke through her child like self changing her from a doll to a person.