The Eisenstein And Architectural Montage Film Studies Essay

The Eisenstein And Architectural Montage Film Studies Essay From a lump of clay a vessel is made, what makes it useful is space within the vessel, for a room, we make doors and a window, but what makes a room habitable is the empty space, so while theres advantages in the tangible, it is in the intangible that theres use.  [1]   Lao Tzu, Tao Te Ching, c.550 BC Tzu describes a space which is not empty but which is a gap, a gap which is waiting to be transformed by experience. These spatial gaps are inherent in fragmentation. In his book Actions of Architecture, Jonathan Hill focusses on these spatial gaps and discusses the Chora L. Works by Jacques Derrida and Peter Eisenman. The book is split into three sections. It doesnt start at the beginning nor does it end at the end. The first and last sections are penetrated by nine holes whilst the middle section has only conceptual holes. Hill states the intention of this was to convey that the absence of a section doesnt mean the absence of meaning. In the book, Eisenmann and Derrida declare that solid and voids are architectural representations of presence and absence. Voids have as much of a presence as solids in the book, as users can fill in missing words with their own meaning. Montage: In Actions of Architecture, Jonathan Hill discusses the use of montage in architecture. He uses Alvar Aaltos Sanatorium and Le Corbusiers 1931 rooftop apartments for Charles de Beistegui as examples of buildings where montage was used as a strategy for architectural composition. In Aaltos Sanatorium, montage is used as a strategy to join two dissimilar aspects of the building which have no connection expect for being adjacent to each other. Aalto achieved this by utilizing two distinct fragments.  [2]   In Le Corbusiers rooftop apartments, the architect departs from his traditionally rational design approach. Various surfaces of the apartment are juxtaposed with elements of the surrounding city. Important fragments of the city are isolated from the rest of the urban context below with the use of high walls surrounding the perimeter of the terrace. By doing this, Le Corbusier twinned the fireplace with the Arc de Triomphe in the far distance. The architect revealed selected views of the city with sliding walls. A periscope in the centre was the only means by which the entire city could be seen as a spectacle.  [3]   Space Between: Hill explains montage as a spatial exercise where fragments are brought from other sites to a new location while maintaining to some extent the essence of the older location. He uses film to explain this. In film, we perceive fragments through the arrangement of components. In Baldessaris artwork, the artist claims the process is as important as the final result. He juxtaposes unrelated components as he opposes the predictability and linearity of film.  [4]   Jose Quetglas suggests that Mies is concerned with the creation of visual perspective that acts as a guide to movement.  [5]  A Miesian plan is primarily concerned with compositional aspects of perspective painting than that of the anti-perspective intentions of the De Stijl. Jonathan Jones, a researcher at the Applied Visual Research Unity in Derby University found that according to his research, it is impossible to comprehend a painting in its entirety at once. A single glance is not sufficient to take in everything. Visual perception is fragmentary in nature. Our visual field is quite small so to focus on objects results in the background becoming blurred. Similarly in a film by a montage director, the world is viewed through a series of glances.  [6]   While designing the Barcelona Pavilion, Mies drew an axial line over and over from which he measured asymmetries against.  [7]  Mies orientated the Pavilion along an East West axis. Through termination of axis and spaces, movement was diverted. Mies used this technique to formulate movement sequences. Zimmerman states movement flows on the outer of planes in contrast to the delimiting floor and ceiling planes.  [8]  Mies contrasts symmetry and asymmetry and slices space with elements of the building which is characteristic of postmodernism.  [9]   In his book Neoclassicism Architecture Rowe analyses the work of Mies. He states the centre is diminished by the international style and emphasis is placed on dispersion along the axis in which Mies creates a composition of balanced symmetry.  [10]  The Pavilion is an example of decomposition of a volume which is deconstructed into individual planes. Through Mies Pavilion we see a focus on multiple viewing positions as opposed to a single perspective of the classic. The positions of internal walls are determined by the use of triangulated lines. Mies aligns corners and end points of planes using this technique.  [11]  His attention was divided between the fragmentation of the space and the integration of visual perception through this method. The image was fragmented by The Cubist Art Movement which created multiple points of view. As discussed, in Mies Pavilion we see a shift from centrality, abstractions of geometries and facades with frontal relations.  [12]  Buildings such as this cannot be experienced or understood from a static position. Cinema Montage is composition and the assembly of movement images. This comprises an image of time.  [13]  These parts succeed each other creating a parallel alternate montage. Eisenstein criticises Griffith for what he see as the juxtaposition of parts and not a unity of production. A cell, which makes its own part by division and differentiation. Eisenstein agrees with Griffiths idea of an organic composition as an assembly of movement images to the transformed situation through the transcendence of opposition.  [14]   Deleuze investigates cinema in terms of movement, the philosophical and the technical. Movement informs our understanding of the formation of worlds in terms of the types of information it selects and generates as new forms. Deleuze discusses cinema in terms of framing the movement image. In a relatively closed system; framing, type of shot and cut are the vital aspects for the films quality creating what he calls a set of values.  [15]  The speed and rhythm of the shots affects the image. Cinema Montage: Dleuze looks at four schools of montage. American, French, German and Soviet. Deleuze situates montage in the relation the movement of time. In the Deleuzian system, montage is the determination of the whole of the image, achieved through the techniques of cutting and creating continuities. Montaged images creates sets of images. Montage creates movement which in turn produces specific modes of time that are not fixed but events that are contextually reproduced over the passage of chronometric time. He regards montage as the coming together of images to create a whole whose final form is in movement. He refers to the work of Bob Dylan as an example of the long preparation for creating work. To him things are made after an encounter with other things, people but also with after encounters with movement, other ideas, events, entities. Cinema is comprised of a number of different kinds of images, Deleuze calls this image- assemblage montage. Through connections as of yet un-thought, un-named, but intuited through things already manifested in forms and the performance of those intuited spaces. Montage makes possibilities take new forms. Eisenstein: Architectural Montage. For Eisenstein, a relentless vertigo is determined from the architectural forms interacting with each other. Eisenstein intention was for architectural representations of space to explode into successive stages of montage from decomposition to recomposition as though it were an array of shots. From this, Eisenstein claimed the principles of montage are embodied by architecture. In Montage and Architecture by Eisenstein, he sets out this theory. Two paths of spatial perspectives are contrasted, where the viewer follows an imaginary line created among a series of objects. Varying positions moving in front of a spectator and the architectural, where, the viewer moves through an array of carefully positioned elements which he has viewed in order with a visual sense. Eisenstein claims that the perspective path of the Acropolis constructed by Auguste Choisy depicts composition of the site.  [16]  He asks the reader to view it with the eye of a film maker. Eisenstein claims there are carefully sequenced perspectives here. He suggests that there is a relationship between the viewers pace of movement and the rhythm of the buildings. To him, Choisy has set up a combination of a film shot effect, producing new impressions from each new emerging shot. This creates according to Eisenstein a montage effect, where effect is gained from sequential juxtaposition of these shots. In the movie street Eisenstein shows his interest of cause and effect as a notion of movement. Shots are decomposed and recomposed. Architectural composition is compared to cinematic montage by Eisenstein in an essay on two Piranesi engravings for the early and late states of the Carceri series. The flux of form which contains the potential to explode into a series of successive states Eisensteins theory of space constructions depicted new ideas of architecture as frozen music. Eisenstein compared the basis of architectural composition, massing and the establishment of rhythmic elements to that of music, painting and cinematic montages. Montage: As Frozen Music In The Culture of Fragments Gianmarco Vergani puts forward a proposition for the unification of interdisciplinary arts to create an original art form. This is an area which offers a depth of experimentation. According to the author, the merging of architecture and music can be achieved through two principles, synchronic and diachronic expression.  [17]  He terms music as a diachronic art form as it is derived from change and continuous transformations in time. Architecture on the other hand, is synchronic, it a fixed medium consisting of structure and volumetric elements. This leads to two methodologies by which to create architecture through music. First, music must be reduced to its architectonic dimensions outside of time. Music is then seen as a synchronic structure in which it can be applied to architecture. In the diachronic approach, architecture unfolds through time. Space is read sequentially in time increments and is experienced through the observers movement.  [18]  This is a reversal of positions as the observer is required to move in order to experience the architectural composition unlike the listening of music where the observer remains static whilst enveloped in music. Relationships are formed between the two elements. The author proposes that in music; tone timbre, pitch, dynamics and duration can be extracted while in architecture; texture, material, light, colour, scale. These can be transposed into architectural spaces. In music the pitch is transposed into colour, tones and timbres are transposed into textures and materials. The dynamics of a piece of music can be read as contradiction and increasing scale.  [19]   However, he does claim some limitations in this methodology. He states the art form is not truly fluid or dynamic as it can only become such through the participation of the observer. Architecture is static; representing time in this medium cannot be fully executed. The author proposes that a truly diachronic visualization of music is needed. Folding In Folding in Architecture Greg Lynn declares the importance of defining compositional complexity in architecture. Gregg seeks a progression from the collage aesthetics of Robert Venturis Complexity Contradiction in Architecture and the spatial collage of Deconstructivist Architecture. Greg terms Intricacy as a fusion of components into a continuity creating a whole in which the various elements form a larger composition.  [20]   According to the author, this intricacy is unlike compartmentalisation or hierarchy. Instead it is the variation of components. He aims for the term to move from an understanding of detail in architecture as an isolated component. What is proposed is an architectural system where there are no details in the traditional sense. Instead the detail is everywhere continuously variegated throughout the whole. As mentioned in previous chapters, the loss of structure to Greg was in favour of an infinitesimal component and displacement of a fragmentary collage.  [21]   The infinitesimal is a fragmentary approach to form. It is based on the slipping between single frames and interconnections. From a distance the form possess similarity and in a coherence of detail between varying elements that compromise the structure. According to the author, the composition of the intricate is organic, in that every component interacts and communicates simultaneously. Every instance is affected by every other instance. The outside is not a fixed limit but a moving matter animated by peristaltic movements, folds and foldings that together make up an inside: they are not something other than the outside, but precisely the inside of the outside. Deleuze Foucault p.96-97 Le Pli, the concept of the fold, is Deleuzes architectural philosophy. In which, the fold is seen as continuous multiplicity of differentiation Thus a continuous labyrinth is not a line dissolving into independent points, as flowing sand might dissolve into grains, but resembles a sheet of paper divided into infinite folds or separated into bending movements, each one determined by the consistent or conspiring surroundingà ¢Ã¢â€š ¬Ã‚ ¦ A fold is always folded within a fold, like a cavern in a cavern. The unit of matter, the smallest element of the labyrinth, is the fold, not the point which is never a part, but a simple extremity of the line.  [22]   The fold is the integration of elements that are unrelated into a continuous form. Deleuzes philosophy of the fold offers continuity and variation in the development of a form. To him the form is the conclusion and the process. The Inflection as Delezue describes is the point at which a curve begin to form as either convex or concave. Inflection is the ideal genetic element of the variable curve or fold. The essence of a fold is the temporal nature in which it develops from the inflection to its subsequent position. A memory is maintained of its previous position.  [23]   to unfold is to increase, to grow; whereas to fold is to diminish, to reduce, to withdraw into the recesses of a world.  [24]   An example of this can be viewed in Origami. The folds of which shift from enfolding, unfolding to enveloping. After the first fold, the context begins to reduce in size. The form is unpredictable, after each fold the shapes from the previous fold cease to exist. According to the author, in this instance memory can be enacted through unfolding. A variation of this is Kirigami. The continuity of the folds becomes obstructed by cuts in the fold. This demonstrates conflict and contradiction instead of smoothness and continuity. The folds in origami act as bounding agents between other folds, in Kirigami when a conflict arises, the folds deviate from their continuity and exhibit but not resolve the occurring confliction. In this way, Origami is like folding architecture seeking to realize conflict and contradiction whereas Kirigami is similar to Deconstructivist architecture, it exhibits them. According to Deleuze, multiple is not many parts. It is something that has been folded in many ways. This becomes a unity that envelopes a multiplicity.  [25]   As a by-product of the fold, form and context become surfaces with no distinct interiority or exteriority. The continuous nature of the fold implies a dialogue between time and environment. Case Studies: Montage Strategies Rem Koolhaas who had involvement in cinema as a scriptwriter conveys cinematographic image in some of his plans. In his proposal for the City Hall in The Hague, we see a transfer of the Manhattan skyline to the European City. The famous skyline which is seen so many times in film is utilized here as a movie set made into architecture. Koolhaas breaks down the overall volume into various slabs and uses a series of prisms of differing heights. From a distance, the effect appears like a series of skyscrapers compressed on a flattened image, as would be the view from the opposite side of the river in Manhattan. Since the latter decades of the 20thCentury, fragmentation has been a central issue in architecture. The many different guises of architecture today from postmodern, Deconstructivist and to all subsequent trends are based on fragmentation. A transcript of Rem Koolhaas and Sarah Whilings conversation is quite revealing in this aspect. as an entire object from the exterior of a building. That is what seems to unite the biggest project competitions from 1989 (Zeebrugge, ZKM and Bibliotheque). In some of the projects, the architectural language is quite unstable. The facades and the angles of Porto Case de Musica and Seattle are odd structures which no longer possess a unified identity. For the most parts these projects appear more decon now than they did as part of the 1988 Deconstructivist Exhibition.  [26]   For Koolhaas, the characteristic of Deconstructivism was not in the strange forms, but in the fragmentation. According to Koolhaas, each new building insisted on assembly and integration, the construction of a new whole, which may be unstable but which remains a single entity.  [27]  An example of this are the Seattle and Porto projects which have forms that cannot be recognized as regular geometric shapes but they have in their volume a unity of materials on the outside. In terms of metropolitan scale, Koolhaas has said, A city can obtain a coherence in its planned composition through a system of fragments.  [28]   This is evident in his large scale urban projects where he strives to achieve coherence. According to Koolhaas when a building gets beyond a certain size, it becomes a big building. The volume can no longer be articulated by one architectural gesture nor a combination of gestures. It is this which initiates the autonomy of its elements. This is not fragmentation as the elements remain committed to the overall building. To establish links between independent elements, Koolhaas relies on the programmatic hybridizations, frictions, overlaps, proximities and the superimpositions that are possible in a building of large scale. Montage itself was founded to organize relationships between independent elements. As Maholy-Nagy stated in 1929. The technique of montage is present as efficient in many fields of design. It can be found in methodology, in text, writings and in painting through collage.  [29]   In Soviet avant-garde cinema, Lev Kuleshovs idea of montage can be viewed as an analysis, a dissecting into parts, with the aim of reintegration or as he stated, Montage is a two way operation Montage is the basis of cinema. It enables us to fragment and to reconstruct and finally to remake the material.  [30]   Dualities: Koolhaas utilizes these methods of montage in the urban planning and architectural projects his office undertake. A dualism is present in his use of montage. A decomposition and a reintegration. For example, in Lille Congrexpo, there are three independent sections. The zenith, the conference and the expo which are all juxtaposed without any articulation as though the three sections had been cut from one complete form. The CCTV HQ project in Beijing can be viewed as a single skyscraper which has been divided up into six parts which contain functionally different divisions. In these examples the concept was to concentrate all the activity and program into a single system. The Hyper Building in Bangkok is an assemblage of a series of pieces that maintain their independence in the final building. This is both sculptural and architectural. The building was designed by Koolhaas as a veritable city that groups a vast array of programs together giving the essence of a hybrid building on an urban scale. According to Koolhaas, several buildings fuse together into a larger singular whole which brings together the coexistence of real space and cyberspace, of electronics and real facilities. To him the montage consists of material bodies and immaterial flows. Montage as a collision: Urban Complexity Koolhaas compares the work of an architect with the cinematic montage. Im certain the work of a screenwriter and the processes of an architect are methods based on editing, in creating programmatic, cinematographic or spatial sequence  [31]   The complexity of urban life such as infrastructural congestion is the central themes to many of Koolhaas projects. He highlights these elements through the collision of contrasting elements. As with Eisenstein  [32]  , this collision sometimes occurs at several scales in Koolhaas projects, from the urban scale down to the encounter between materials. The Kunsthal in Rotterdam is an example of this issue. The concept was a square with two routes crossing it. The collision between these routes gives rise to the project. These two infrastructures also cross over other collisions, crossing between ramps and staggered planes, and between these and the horizontal planes. A similar instance can be found in The Euraille project. A tower was placed over the TGV station, this solution was the symbol of infrastructural and programmatic congestion that characterized the architectural operation. Similarly with Eisensteins films, through collisions, the visual and mental conflict involved in this montage is what expresses the concept. In The Hague, a service tunnel comprising of a subway with a station at either end and two car parks with pedestrian entrances, was not designed by Koolhaas to resemble a tree like system. Instead it is a hybrid project, building and infrastructure. The different program elements interpenetrate spatially and form an assemblage in which the flow and the visuals are participants an altering but not segregated perception. The strategy utilized here is that of the montage in which collisions between constituent environments and elements give rise to a richer and clearer spatial experience. The Villa Savoye marked a high point in Le Corbusiers promenade architecturale As a critic explains The movement, in one sense, is more virtual than real, to progress through the building you must engage your imagination  [33]  and if entertainment is associated with the displacement of the viewer, then the house becomes the source of that entertainment. It does this by choreography; there is no fixed image but a series of overlapping images. This architectural effect is clearly associated with cinema  [34]   Sequences There are three relations in an architectural sequence. The first deals with the working method. Secondly, external relations where spaces are juxtaposed and thirdly the program. The mode by which architects traditionally draw implies a transformational sequence. Layers of transparent paper are placed on top of each other. Each has a variation around a theme. An open system of sequencing sees transformation through the addition of new elements which are juxtaposed according to criteria such as narrative or programmatic. However, not all architectural sequences are linear and comprised of spatial additions. Fragmented montages produce structure where meaning is found through order of experience rather than the order of the composition. Mies Pavilion as discussed in previous chapters is an example of this fragmentation of space. Its sequence is organised around a thematic structure and variations.

Japan - Breif History from WWII :: Japanese Japan History

Japan - Breif History from WWII INTRODUTION: Without a good history, no nation can ever be considered developed. It is the history that makes or breaks a country. Japans history is very unique. During and after WWII their country was in ruins - literally. All their previous allies had deserted them, they were alone and destroyed by the Americans, an unlikely ally. I will focus on the impacts that America had on Japan, and then how Japan got themselves to the title of "The Second Most Developed Country". WWII: In 1941 Japan station troops in Indo-China (Vietnam) after forming an alliance with Germany and Italy. The Americans did not approve of this, and cut off exports to Japan. Japan was not happy about this and attacked Pearl Harbor. Meanwhile Japan were also attacking Southern Asia, and expanded their land to the Great East Asia Co-Prosperity Sphere. The US declared war on Japan and were burning for revenge. In the coming years Japan was bombed heavily and were pushed back into their origonal land. Japans cities were being torn down. Then came the final blow, two atomic bombs were dropped on Japan, one in Hiroshima, the other in Nagasaki. Both of them combined killed an estimated 105,000 people. Japan finally surrendered. AFTERMATH: The Americans called "The Occupation" invaded Japan and made them give back all the land not owned by them before the war. Then, led by General Douglas MacArthur, they helped Japan do many things; write a new constitution that was fairer to everyone, Create a better trade union. Reform the educational system so it was no longer bias to nationalism. Finally they helped to rebuild industry and commerce. This was the most helpful to Japan because the US government gave the Japanese government thousands of millions of dollars. America rebuilt factories and industries with the latest levels of technology, better than their own pre-war factories. They gave them advice and encouragement. Between 1945 and 1950 MacArthur and the Occupation did what they could to rebuild the Japanese economy. It was as if the Americans felt sorry for the Japanese. Then in June 1950, as if on cue, the Korean war broke out and the UN needed goods and services from Japan.

Oedipul Complex In Sons And Lovers

Sigmund Freud introduced two theories, one is Oedipus complex and other is Electra complex. Sigmund Freud's theory, the Oedipus complex takes its name from the Greek play Oedipus Rex. In the play Oedipus is prophesied to murder his father, marry his mother and have sex with her and he does this unwittingly. The strong attraction of a child to the parent of the opposite sex and envy or jealous feelings toward the parent of the same sex that may be a source of adult personality disorder when unresolved. This attraction in a boy for mother is called Oedipus complex and The female version is called the Electra complex.D. H Lawrence was well aware of Freud's theory. In Sons and Lovers, D. H Lawrence uses the Oedipus complex as its base for exploring Paul's relationship with his mother. Paul is too much attracted to his mother and their love often borders on romantic desire. D. H Lawrence writes many times in the novel about their relation and they go beyond the bounds of conventional moth er son love. Paul hates his father and often fantasizes about his death and loves her mother and in this way he completes the Oedipus equation in the novel. D. H.Lawrence’s Sons and Lovers is the most reliable and remarkable example of Freud’s Oedipus complex in modern literature. Hu Junjie, a Freudian psychologist writes that Lawrence is one of the most original, realist and controversial English writers of the modern literature and twentieth century. The main theme of his writing was relationship between man and woman. His work Lady Chatterley’s Lover was rejected by his contemporary English society and it was based on theme if pornographic nature. However, in D. H Lawrence’s Sons and Lovers Oedipus complex is the dominant theme.The complex here chiefly moves around protagonist Paul and his mother’s dealings or relation. The Oedipus complex begins to appear in William and Paul is examplified in the relationship between their parents. The boys wit ness an unsuccessful & abusive marriage in which Walter Morel often comes home drunk after wasting the family’s income on gambling. He does not like meals in the presence of family. He abuses his Mrs. Boys notice all this and they begin to hate their father and be sympathetic and protective towards their mother. The children see their mother good and pure.She keeps her sons all to herself and sheltered from their father. In this way Gertrude Morel is unconsciously molding her sons into her desires, so with the passage of time they can take the place of her husband. No doubt their marriage was their own choice but now she is clearly unhappy in her marriage and now she tries to live vicariously through her sons. This is the basic motivation that allows the oedipal attachment to form in the two boys. William is the oldest and the mother’s favorite son. He does everything for her mother’s pleasure. He buys two egg cups from the fair for his mother.Sibling rivalry ex ists in the two brothers, William and Paul, as they compete for their mother’s love. Mrs. Morel does not like his female companions and becomes jealous and he finally moves to London. William’s this action of moving to London was his unconscious way of trying to break free from the oedipal attachment to his mother. In London, Mr. William meets a beautiful girl named Lily. They become closer friends but Mr. William is not happy and he has a misogynistic attitude towards her. It is very clear that Lily does not have the good qualities he sees in his mother and it angers and frustrates him.William shows classic symptoms of dissatisfaction. When Mr. William voices his dissatisfaction with Lily and his mother asks him to reconsider marrying her. He replies, †Oh well, I’ve gone too far to break it off now†. All these conflicted moments and feelings that William is experiencing are a sign of his apparent struggle to get rid himself of the oedipal complex th en William eventually gets sick and dies. After William’s death, Paul takes his place and becomes mother’s favorite. This action compels to think a person that she may thought of him as a suitor.This is proved when she accepts a bottle of perfume from him. She said â€Å"Pretty! † in an odd tone or in a curios way, Lawrence says, â€Å"Of a woman accepting a love-token†. When Paul reaches at the age of sixteen to twenty (adulthood), it is clear the Oedipus complex has taken him over (chapter 3). His relationship with his father is deformed and he becomes jealous of him. He hates his father too much and He even asks his mother not to sleep with the father anymore. Young Paul meets Miriam Leivers, he likes her and he is repeating the same misogynistic behavior like his brother William did with Lily.He thinks that he would be betraying his mother by loving her. But the idea that Paul is interested in someone other than his mother shows an attempt to break th e oedipal complex he has. But the mother foils this attempt by making him feel guilty for wanting to be with miss Miriam. She says, â€Å"I cannot bear it, I could let another woman, but not her. She’d leave me no room, not a bit of room. And I’ve never you know Paul, I’ve never had a husband, not really. † The mother exhibited the same behavior with William by being jealous of his female companions and is now being imposed on Paul.Gertrude Morel reinforces the Oedipus complex within Paul by suffocating him and in a elusive way asking him to replace her husband. Paul and Mariam’s relation now reduced to friendship. Paul has to repress his romantic feelings that he might have for her, so she will not replace his mother’s place. Later in the novel we come across that Paul does become physically intimate with Miriam but it is short-lived because Paul will not marry her. It also shows that Paul suffers from a fear of closeness and affair as he c ontinues to remain emotionally detached from Miriam.Paul, once again gives in to the oedipal attachment for his mother. Paul does have an affair with a married but separated woman named of Clara Dawes. In relation to Clara Paul allows himself to have this relationship because he is well aware that realistically this relationship can never go anywhere. Clara would never be divorced her husband. That’s why Clara is not a threat to Paul’s oedipal complex to his mother. There is no threat of her taking his mother’s place. Gertrude morel now becomes ill, she feels pain and Paul gives her morphine.But in the end he intentionally overdoses of morphine to her, which leads to her death and reduced her sufferings. This is a case of euthanasia, this action of killing his mother was a conscious way to reduce her sufferings but unconsciously he releases himself Oedipus complex once and for all. Paul, after her mother’s death, is devastated and alone. Much time has pas sed and Miriam still wants to be with Paul but he refuses. It means that even after his mother’s death he is still not free from his attachment to her mother because he chooses to be alone. Theunpleasant relationship with his mother is still present in Paul’s life. Conclusion: No doubt in the history of psychology a large number of thinkers are influenced by Freud’s view of sexuality. to some extend Some of his followers seem to create their work behind the establishment of Freudian sex theories. But these theories have been losing their appeal along with modernization of psychology. Joseph Jastrow a follower of Freud says that Freud’s Oedipus complex is an indecent and inadequate concept. It’s impossible to find any origin or root of this claim.After constant study we are able merely to know that it is nothing but a consequence of Freud’s imaginative psychoanalysis based on his personal supposition that lacks evidence. But we cannot put it aside that it is a biographical novel. D. H Lawrence loves her mother but not his father. If we come to the conclusion of Paul’s case, we find that his Oedipus complex and its causes are already clear to us. Paul grows in a bitter environment and he has not become a normal adult by getting over some problems. That is not only because of his mother’s abnormal maternity.There are many other reason; some problems with the parents, some with himself, some with his brothers, even some from the society and the mechanical civilization, all these lead to the family tragedy and distortion of personality and devastate people’s healthy development on spirits. Now we can realize and recognize that Paul’ relation with mother is the outcome of many unusual and abnormal causes which are partial, exceptional and individual rather than universal. We can say that it is not usual or natural for the people living in a healthy family and environment to have such anomalous and complex emotional problems.

Johannes Brahms Essays - 1760 Words

Johannes Brahms was a German Composer, Pianist and conductor of the 19th century or the Romantic period. He was one of the 3 B?s or the Big three: Bach, Beethoven and Brahms. Johannes was a very self-critic man he burned many of his pieces before he could get anyone?s opinion on them and he burned all of his compositions that he wrote before the age of 19. Johannes Brahms was born on Tuesday 7th may 1833, in the city of Hamburg the birthplace also of Mendelssohn. Johann Brahms was himself a musician, and played the double bass for a time at the Karl Schultze Theatre, and later in the Stadttheater orchestra. In 1847 Johannes attended a good Burgerschule (citizens? school), and in 1848 a better, that of one Hoffmann. When he was eight†¦show more content†¦When Johannes was in his tenth year he had made such remarkable progress that Cossel thought it best to secure a more advanced instructor. He was thus put under the care of Eduard Marxsen (Cossel?s own teacher), the royal music director at Altona, who took him unwillingly at first, but with whom he remained for a number of years. When he was eleven years of age Johannes made his first appearance as a pianist [at a private subscription concert in which his father also took part, given with the idea of collecting funds for his future education. He played the piano parts in a Mozart Quartet and in Beethoven?s Quintet for wind instruments and piano, with such success that a speculative impresario wished to engage him for a concert tour that was to take him as far as America. About the age of twelve he came entirely under the tuition of Marxsen, who, finding him incorrigible in his desire to improve compositions at the piano, soon began to teach him theory. But in order to be able to continue these lessons, it was imperative that he should earn at least part of his keep at home, where funds were always distressingly low, thus before he was fourteen he was obliged, for want of a more congenial occupation, to play the piano at sailor?s taverns and dancing saloons, often very late at night and always in a far from healthy atmosphere. On his return to Hamburg he ventured, on 21st September 1848, to give a concert on his own account for the firstShow MoreRelatedEssay on Johannes Brahms1739 Words   |  7 Pages Johannes Brahms was a German Composer, Pianist and conductor of the 19th century or the Romantic period. He was one of the 3 Bs or the Big three: Bach, Beethoven and Brahms. Johannes was a very self-critic man he burned many of his pieces before he could get anyones opinion on them and he burned all of his compositions that he wrote before the age of 19. 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