Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music Essay Example

Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music Essay VERBAL-TEXT AS A PROCESS OF COMPOSITIONAL AND IMPROVISATIONAL ELABORATION IN BUKUSU LITUNGU MUSIC by ABIGAEL NANCY MASASABI Submitted in accordance with the requirements for the degree of DOCTOR OF MUSICOLOGY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: DR MARIE R. JORRITSMA CO- SUPERVISOR: DR FLORENCE NGALE MIYA MAY 2011 i DECLARATION Student number: 3658-166-6 I declare that VERBAL-TEXT AS A PROCESS OF COMPOSITIONAL AND IMPROVISATIONAL ELABORATION IN BUKUSU LITUNGU MUSIC is my own work and that all sources that I have used or quoted have been indicated and acknowledged by means of complete references. _______________________ SIGNATURE (Miss A N Masasabi) ______________ DATE ii DEDICATION To the late Japheth Muia Mutangili and my daughter Grace Buyanzi. iii ACKNOWLEDGEMENTS This work would not have been accomplished without the moral and professional support of a number of individuals. I am particularly grateful to my supervisors for their patience, support and guidance. I thank Dr Marie Jorritsma for her perceptiveness in matters of theoretical content, language and organization. Her careful reading and criticisms led to substantial improvement in the quality of this thesis. I am also indebted to my second supervisor Dr Florence Ngale Miya whose comments and suggestions were a source of inspiration. Dr Miya‘s encouragement and her confidence in my ability kept me going throughout my work. I thank Dr Kidula for taking time to critique my thesis, directing me to books relevant to my study and for sending me a number of articles that enhanced my thesis. I thank Dr and Prof Tamusuza for insightful criticisms to the theory, method and terminologies used in my thesis. I also thank Dr Kilonzo for her encouragement and for proofreading my thesis. We will write a custom essay sample on Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music specifically for you FOR ONLY $16.38 $13.9/page Hire Writer In addition I would like to appreciate Dr Omondi Okech for editing my thesis. I would also like to acknowledge the assistance of Fred Wekesa Kusienya and Isaac Shitubi who made my fieldwork much easier. They helped me to identify interviewees and escorted me during my fieldwork. Shitubi was instrumental during the interview process and Kusienya assisted me by verifying the translations of songs from Lubukusu to English. I appreciate the cooperation I received from my interviewees who included members of the Jackson Kisika Band, the Namatete Band, the Sinani Group Band, the Lugulu Bumusika Band and the Kwane Band. Many thanks go to my parents Cleophas Masasabi and Grace Masasabi, my brothers Richard and Wellington, and sisters Catherine and Dorcas for their support and inspiration. Special thanks to my mother for taking care of my baby Grace as I was busy collecting data. Finally, I appreciate the almighty God for giving me strength and the sound mind to undertake this study. iv ABSTRACT The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and â€Å"verbal-text†/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group. Key terms: Kenyan music, Bukusu music, Bukusu culture, Litungu music, silao-sikeleko, performance composition, music composition, song text, music structure, improvisation. v TABLE OF CONTENTS DECLARATION . ii DEDICATION . iii ACKNOWLEDGEMENTS .. iv ABSTRACT ILLUSTRATIONS ix LIST OF FIGURES . ix LIST OF TABLES . x LIST OF PLATES . DEFINITION OF TERMS xi CHAPTER ONE .. 1 INTRODUCTION .. 1 1. 1 BACKGROUND TO THE STUDY .. 1 1. 1. 1 Who are the Bukusu? .. 2 1. 1. 1. 1 Bukusu Origin and Settlement 3 1. 1. 1. 2 The Bukusu Family and Social Life 6 1. 1. 2 Bukusu Litungu Music .. 10 1. 1. 2. 1. Litungu Music in the Community . 0 1. 1. 2. 2. Gender Issues in Litungu Music 11 1. 1. 2. 3. Construction of the Litungu . 12 1. 1. 2. 4. Litungu Performance Technique and Ensemble 14 1. 2 STATEMENT OF THE PROBLEM . 19 1. 3 RESEARCH OBJECTIVES .. 0 1. 4 RESEARCH QUESTIONS 20 1. 5 RATIONALE AND SIGNIFICANCE . 21 1. 6 SCOPE AND LIMITATION . 22 1. 7 THEORETICAL AND CONCEPTUAL FRAMEWORK . 23 CHAPTER TWO .. 8 LITERATURE REVIEW . 28 2. 1 INTRODUCTION .. 28 2. 2 COMPOSITIONAL ELEMENTS IN AFRICAN MUSICS . 28 2. 3 SONG TEXTS AND SILAO-SIKELEKO 38 2. 4 CREATIVE PROCESS IN AF RICAN MUSIC .. 44 2. CONCLUSION . 48 CHAPTER THREE . 49 RESEARCH DESIGN AND METHODOLOGY 49 3. 1 INTRODUCTION .. 49 3. 2 RESEARCH DESIGN .. 49 3. POPULATION AND SAMPLING 50 3. 3. 1 Target population . 50 3. 3. 2 Purposive sampling . 50 3. 3. 3 Snowball sampling .. 51 3. 4 DATA COLLECTION . 2 vi 3. 4. 1 Fieldwork 53 3. 4. 2 Interview method . 54 3. 4. 3 Observation . 56 3. 4. 4 Note taking .. 56 3. 4. 5 Audio and video ecording.. 57 3. 4. 6 Photography .. 57 3. 5 DATA PROCESSING, ANALYSIS AND INTERPRETATION.. 58 3. 8 CONCLUSION . 58 CHAPTER FOUR . 0 FORMAL STRUCTURE OF LITUNGU MUSIC 60 4. 1 INTRODUCTION .. 60 4. 2 SILAO-SIKELEKO STRUCTURE . 61 4. 2. 1 Narration . 62 4. 2. 2 Dialogue by Two People. 3 4. 2. 3 Dialogue by More Than Two People 64 4. 3 OCCURRENCE OF SILAO-SIKELEKO. 67 4. 4 THE CONSTRUCTION OF INSTRUMENTAL PHRASES .. 71 4. 5 OVERALL FORM OF LITUNGU MUSIC .. 79 4. 7 CONCLUSION . 2 CHAPTER FIVE .. 94 THE CULTURAL ROLE OF SILAO-SIKELEKO IN BUKUSU LITUNGU MUSIC . 94 5. 1 I NTRODUCTION .. 94 5. 2 THE ORIGIN OF THE SILAO-SIKELEKO ELEMENT IN LITUNGU MUSIC .. 95 5. 3 CONTEXT OF SILAO-SIKELEKO IN LITUNGU MUSIC .. 97 5. CULTURAL FUNCTION OF SILAO-SIKELEKO IN LITUNGU MUSIC 105 5. 4. 1 Introduction and Acknowledge Personalities 105 5. 4. 2 Education . 108 5. 4. 3 Self Expression . 113 5. 4. 4 Social Commentary. 113 5. CONCLUSION .. 121 CHAPTER SIX 123 SUNG TEXT AND SILAO-SIKELEKO . 123 6. 1 INTRODUCTION 123 6. 2 THEMATIC ROLE OF SILAO-SIKELEKO .. 24 6. 3 QUANTITY OF SILAO-SIKELEKO IN LITUNGU MUSIC . 136 6. 4 LANGUAGE USE 141 6. 4. 1. Prose vs Poetry. 143 6. 4. 3. Imagery 145 6. 4. 6. Proverbs and Sayings 48 6. 4. 7. Symbolism . 152 6. 4. 9. Riddle .. . 155 6. 4. 10. Idiomatic Expression . 156 6. 4. 11. Allegory 156 6. 5. WORDS DEPICTING RELATIONSHIPS 158 6. 6 CONCLUSION .. 160 CHAPTER SEVEN .. 163 vii PERFORMANCE COMPOSITION IN BUKUSU LITUNGU MUSIC 163 7. 1 INTRODUCTION 63 7. 2 PREREQUISITES FOR THE IMPROVISATIONAL PROCESS . 165 7. 2. 1 Prolonged Exposure to Music 167 7. 2. 2 Knowledge and Mastery of Lubukusu .. 171 7. 2. 3. Knowledge of Cultural Environment and Events .. 173 7. 2. 4. Presence and Maturity of Audience .. 174 7. 2. 5. Intra-Group and Inter-Group Interaction 175 7. 2. 6. Knowledge of Instrumental Genre . 176 7. 3 THE CONSTANT AND VARIED FEATURES OF LITUNGU MUSIC .. 177 7. 4 THE CREATIVE PROCESSES 188 7. 5 CONCLUSION .. 193 CHAPTER EIGHT .. 195 SUMMARY, CONCLUSIONS AND RECOMMENDATIONS.. 195 8. 1 SUMMARY . 195 8. 2 CONCLUSIONS 195 8. 3 RECOMMENDATIONS .. 99 BIBLIOGRAPHY .. 201 APPENDIX I 216 SONGS IN LUBUKUSU AND THEIR TRANSLATION INTO ENGLISH 216 APPENDIX II .. 252 CONSENT FORM FOR RESEARCH ASSISTANTS .. 52 APPENDIX III . 254 CONSENT FORM FOR INTERVIEWEES . 254 APPENDIX 1V 255 INTERVIEW QUESTIONS . 55 APPENDIX V .. 256 FOCUS GROUP DISCUSSION INTERVIEW GUIDE 256 APPENDIX VI. 257 INDEX TO AUDIO CD . 257 viii ILLUSTRATIONS LIST OF FIGURES 1. 1 Map of Kenya showing the location of Bungoma district 1. An Example of a Seven-Stringed Litungu Scalic Pattern 1. 3. An Example of an Eight-Stringed Litungu Scalic Pattern 1. 4. An Example of a Twelve-Stringed Litungu Scalic Pattern 1. 5 Interpretation of R egula Qureshi’s performance model of musical analysis 4. 1 Chingubo by the Lugulu Bumusika Band showing Isiriri and Litungu phrases 4. 2 First variation performed by the Isiriri in the song Chingubo (Lubao 2007) 4. 3 Second variation performed by the Isiriri in the song Chingubo (Lubao 2007) 4. 4 Solo-response of the song entitled Chingubo against instrumental accompaniment 4. a Litungu phrase of the song entitled Endakano (Lubao 2007) 4. 5b Isiriri phrase of the song entitled Endakano (Lubao 2007) 4. 6 Litungu phrase of the song Mayi (Namatete 2007) 4. 7 Resultant instrumental music of the song Mayi (Namatete 2007) 4. 8 Call and Response excerpt from the song Ewuyo Ino (Mukubwa 2007) 4. 9 Call and Refrain excerpt from the song Nekoye (Manyali 2000) 4. 10 Solo and Chorused Refrain excerpt from the song Ewuyo Ino (Mukubwa 2007) 4. 11 Strophic form excerpt from the song Namulobi (Namatete 2007) 4. 12 Background, middle ground and foreground features of Litungu music 7. An excer pt from the song Eswa by the Kwane Band 7. 2 Ewuyo Ino theme by the Kwane Band 7. 3. Ewuyo Ino vocal theme by the Lugulu Bumusika Band 4 14 14 14 26 73 74 74 75 76 76 77 77 82 82 82 83 91 170 177 178 7. 4 Relationship between the vocal melody and the drone as performed by Kwane Band 179 7. 5 New vocal melody introduced by Kwane Band in the song Ewuyo Ino 7. 6 Lugulu Bumusika Band’s first new melody in the song Ewuyo Ino 7. 7 The Lugulu Bumusika Band’s second new melody in the song Ewuyo Ino 7. 8 Mayi Muro by the Kisika Band 179 179 180 181 7. Excerpt of the song Mayi Muro showing the relationship between the vocal melody and the instrumental part as performed by Kwane Band 7. 10 Vocal melody of the song Mayi Muro as performed by Lugulu Bumusika Band ix 181 181 7. 11 The Kwane Band’s new material to the song Mayi Muro 7. 12 Opening excerpt of the song Kulukulu wa Bwabi as performed by Kwane Band 7. 13 Opening excerpt of the song Kulukulu wa Bwabi by the Lugulu Bu musika Band 7. 14 Thematic melody of the song Kulukulu wa Bwabi 7. 15 Thematic variation of Kulukulu wa Bwabi by Kwane Band LIST OF TABLES 4. Frequency of silao-sikeleko in Bukusu Litungu music 4. 2 Structure of songs 4. 3 The first quasi-rondoic form presentation 4. 4 Structure of the first presentation of quasi-rondoic form in the song Nekoye 4. 5 Structure of the first presentation of quasi-rondoic form in the song Mayi muro 4. 6 Structure of the first presentation of quasi-rondoic form in the song Ewuyo Ino 4. 7 Structure of the second quasi-rondoic form presentation in the song Yekamakhanya 4. 8 Structure of the second quasi-rondoic form presentation in the song Lijembe 4. Structure of the third presentation of quasi-rondoic form in the song Namulobi 4. 10 Structure of the third presentation of quasi-rondoic form in the song Endakano 6. 1A Quantity of silao-sikeleko and sung text 6. 1B Percentage of silao-sikeleko by group 6. 2 Length of silao-sikeleko in Litungu 182 184 185 18 6 186 69 80 87 87 88 88 89 89 90 90 137 138 139 LIST OF PLATES 1A Parts of the Litungu. Photograph taken by Nancy Masasabi, on 7th May 2010 1B Playing position of the Litungu, demonstrated by Wekesa Kusienya. 2 The Isiriri. Photograph taken by Nancy Masasabi, on 6th February 2007 3 Siiye. Photograph taken by Nancy Masasabi, on 6th February 2007 4 The improvised drum played by Wekesa Kusienya 5 First structure of silao-sikeleko 6 Second structure of silao-sikeleko 7 Third structure of silao-sikeleko 8 Kwane Band, Sylvester Mukubwa on the Litungu and Caleb Wangila on the Isiriri 13 15 17 17 18 64 65 68 163 x DEFINITION OF TERMS Abaluhya This word refers to a community in Western Kenya. The word is used interchangeably with the words Baluhya, and Luhya to mean the same thing. Composition As a product, compositions are musical concepts that have been assimilated and are integral to a Bukusu musician. They are called upon to inform the process of music making. As a process composition is the act of formulating new musical ideas within the Bukusu musical cultural genre. The ideas are mainly conceived and rehearsed before the actual performance. Dominant The fifth tone on the fifth open string, a perfect fifth from the referential tone. Improvisation Creation of music in the course of performance; this is similar to extemporization. Improvised drum This is a plastic water container turned upside down whose base is struck by sticks to produce rhythmic accompaniment in Litungu music. It is used instead of the traditional drum called Efumbo. Khulaa-khukeleka To verbalize or utter the speech and speech-melody sections of Bukusu Litungu music. Mediant The third tone of the third open string, a major third from the referential tone. xi Omukeleki The person who speaks or performs speech-melody in Litungu music. In plural they are called Bakeleki. Performance composition This is the process of formulating new musical ideas as variations of the existing melodies and silao-sikeleko within a given context during performance. Quasi-rondoic A musical form that is similar to rondo form with some deviations from the conventional rondo format. It does not always start with an â€Å"a† section alternating with other sections (b, c, d, and so on). Silao-sikeleko Silao-sikeleko encompasses speech and speech-melody as musical elements in Litungu music. The term is used as a synonym to verbal-text. Subdominant The fourth tone on the fourth open string, a perfect fourth from the referential tone. Supertonic The second tone, on the second open string, a major second from the referential tone. Tonic This is the referential tone in Litungu music which is normally on the first open string of the Litungu from the left. xii CHAPTER ONE INTRODUCTION 1. BACKGROUND TO THE STUDY Performance composition and/or improvisation are common characteristic features of musics on the African continent. 1 Performance composition refers to the creative perspective of music during a performance in a given socio-cultural context. Such a process is facilitated by the fact that musics from oral cultures are not notated but passed on orally from on e generation to another, thus memory is essential. This study is based on the Bukusu people’s Litungu music. The Bukusu culture has been transmitted orally thus the musicians who are cultural transmitters depend heavily on their memory. Within this culture musical composition can be perceived as products and processes. As a product, compositions are musical concepts that have been assimilated and are integral to a Bukusu musician. They are called upon to inform the process of music making. As a process composition is the act of formulating new musical ideas within the Bukusu musical cultural genre. The ideas are mainly conceived and rehearsed before the actual performance. In the process of performance, anyone listening to Litungu music cannot escape hearing verbal-text/ silao-sikeleko as part of the musical experience. The occurrence of silaosikeleko in Litungu music is as captivating as it is educative and appears many times in the performances of this musical genre. Silao-sikeleko is a term I use to refer to both speech and speech-melody. My study of Litungu music separates sung text from speech and speech-melody. The speech aspect of silao-sikeleko is performed as narrations and/or dialogue. I have preferred to consider speech-melody as part of silao-sikeleko for three reasons. First, the amount of text used and the rate at which words unfold as speech-melody are similar to that of speech. Second, speech and speech-melody unfold in prose, and third, speech-melody and speech in Litungu music are so intertwined that it is sometimes not easy to separate the two when listening to the music. For a further discussion of performance composition and improvisation as used in this thesis refer to chapter seven. 1 1 In order to understand the compositional process, I analyze how silao-sikeleko is composed and performed, and also where and when silao-sikeleko occurs in Litungu music. In this regard, the study perceives silao-sikeleko as a musical element and relates it to other musical elements within Litungu music. Furthermore, there is emphasis on the comparison between silao-sikeleko and sung text, because both silao-sikeleko and sung text are made up of words. I also analyze the instrumental phrases over which silao-sikeleko is performed. Once the relationship between silao-sikeleko and other musical elements within Litungu music is established, it becomes easier to identify the function of silao-sikeleko in the music. Even though silao-sikeleko is both a process and a product, my study concentrates primarily on silao-sikeleko as a process of performance composition. As a product, silao-sikeleko normally exists after the performance has been completed in the minds of the audience and the performers. Likewise, the recordings of Litungu music obtained during my fieldwork also contain examples of silao-sikeleko as the products of the performance compositional events. As a process, silaosikeleko keeps unfolding during the performance composition of Litungu music. A song performed on different occasions by the same band has different words as silao-sikeleko but the song theme is maintained. The performance composition of silao-sikeleko takes place within the Bukusu socio-cultural environment. To create relevant social context, the following sections describe the Bukusu people and their cultural beliefs and practices that affect the performance of silao-sikeleko. This is then followed by a discussion of Bukusu music and Litungu music in particular. 1. 1. 1 Who are the Bukusu? The Bukusu, who call themselves â€Å"Babukusu†, are a sub-tribe of the Abaluhya community, who migrated from the region around Cameroon as part of the large group of Bantu-speaking people. They moved eastwards to what is presently central Uganda and then settled around the Mount Elgon. From there they settled in their current location (Makila 1978: 26). In Kenya, the Abaluhya settled mainly in western Kenya and parts of the Rift valley. With regard to social communication, the Luluhya language consists of seventeen dialects with the prefix â€Å"Ava†, â€Å"Aba† or â€Å"Ba† depending on the Luhya dialect of origin. Apart from the Babukusu dialect, the other sub-tribes are Bamarachi, Bakhayo, Babedakho, Babesukha, Batiriki, Basamia, Banyole, 2 Barakoli, Bawanga, Bamarama, Bakisa, Bamateka, Bachocho, Bakabarasi, Batachoni and Banyala (Wanyama 2006: 1-3). Even though the sub-tribes are many and appear different, they do have some similarities in their cultural practices (Gwako 1998: 176). For instance, they believe in God whom they call â€Å"Were† or â€Å"Nyasaye† depending on dialect; they name their children after climatic conditions or major social events; they practise male circumcision as a rite of passage; and they have lengthy greetings as exemplified by Salome Nanyama’s greeting dialogue on page 8 and 9. More significant to this study is the fact that the sub-tribes also share some melodies but with slightly different words due to the close geographical location of the sub-tribes. 2 A common instrument among them is the one-stringed fiddle called eshilili, isiriri, siiriri or kiiriri, depending on the dialect. 1. 1. 1. 1 Bukusu Origin and Settlement The Bukusu have a myth that serves to explain their origin, namely, that Wele Khakaba (God) created Mwambu (man) out of mud. He also created a wife for him called Sela (Makila 1986: 1823). The stories about Mwambu and Sela as the fore-fathers are narrated in Bukusu music as both silao-sikeleko and sung text (see the song Sellah in Appendix 1, page

Analytical Essay Sample on “The Crucible” Different Interpretations

Analytical Essay Sample on â€Å"The Crucible† Different Interpretations Essay: texts can be read in different ways. Choose two readings of The Crucible, and analyse their different interpretations in terms of the focus of their argument, foregrounding of information and language use. Different people interpret things differently. Many things can influence such an interpretation. To understand this concept two different reviews of the film The Crucible will be examined. These two reviews will demonstrate that texts, in this case, The Crucible, can be read differently. Both reviews have distinctive elements of style and focus on different aspects of the text. While both reviews have pragmatic values, commending the actors on their performances, the two reviews focus on separate aspects of the film. The first review, written by Bill Crucie concentrates on the social context of the film, and its entertainment value. It is written informally with extensive colloquial language and Crucie uses exaggeration that boarders on hyperbole. Crucies review disagrees with the second review on the matter of characterization, and how they are represented. Crucies report of the characters is different due to the different angle he takes. The second review, by Greg King, analyses th e film, not from an entertainment angle, like Crucie, but from a context view. King writes a formal piece, from a far more objective angle. The review focuses on the political context of the film. Both reviews differ, and it is this difference that illustrates the ability to contain different meanings, and evoke different readings. The two reviews focus on different aspects, foregrounding what they each think is important. The foregrounding of different ideas illustrates the different interpretations. Both share the notion that the film contains universal themes; however this is the only common thought. The two reviews focus on different aspects, for the reason that they are each aimed at dissimilar audiences. Crucie focuses on the social context of the film, its entertainment value and what he believes to be the main ideas of the film. The social context is discussed in depth, and combined with the use of personal pronoun, colloquial language, and hyperbole, creates a familiar tone, doused with excitement. They chant and dance, wishing for men that they love this line shows the social element of the review. Crucie is able to recreate the film, discussing the social elements. Combined with the tone, the responder is almost able to hear the tone of Crucies voice, and see his face animated as he discusses Abigail s affair. Crucie discusses the entertainment value held by the film. Crucie plays up the love story, elaborating extensively, and creates an unrealistic expectation from the responder, by claiming the film has undercurrents of all genres. is able to combine romance, suspense, comedy, and much more This kind of exaggeration continues throughout the review, adding to the already created tone of excitement. Similar to the exaggeration, this kind of generalization is able to appeal to people of all kinds of, creating the impression that this film falls into all categories, and will be enjoyed by all. The themes of the film are also identified by Crucie. He is able to link the idea of power with the sexual endeavors of the characters. Kings review however focuses on entirely different points. King focuses far more on the historical and political context of the play. This is introduced immediately with comparisons being made between the McCarthy era, and the witch trials. As an indictment of the frenzied mass hysteria of the McCarthy era and the parallels with the poisonous politics and relentless persecution are unmistakable. This instantly provides the review with a more serious tone, enabling it to take a formal, sophisticated approach. Similar to Crucie, King identifies some of the themes present within the film. Paranoia, betrayal, persecution, bigotry King also is able to recognize the unlikely hero in the character of John Proctor. King elaborates on this opinion discussing indirectly the elements of the unlikely hero. Both articles concur that the film contains universal themes, relevant in any context. Themes are very much present in todays society and powerful themes are still relevant forty years later. Quotes from the respective reviews illustrate this. The two reviews focus on different aspects of the film, with Crucies review concentrating on the entertainment values, while King focuses on the historical and political aspects of the film. While the reviews focus on different aspects they also use different techniques to achieve this. Crucie employs a familiar, excited tone, while King uses a more sophisticated style of writing. I remember many classics in high school this is the opening line of Crucies review. Immediately he creates a familiar tone by using the personal pronoun, to create trust, and an anecdote. To compare this with Kings opening line, paranoia, betrayal all important ingredients of this powerful film adaptation it is clear that the initial tone created is different. King creates a formal tone. Crucie initiates an excited tone by using exaggeration bordering on hyperbole. The language that Crucie employs is very informal and extensive colloquial language is utilized. This combines with the exaggeration to create a relaxed piece of writing. Kings word choice varies greatly to that of Crucies. King uses a wider variety of language, with a much better vocabulary. This creates a formal sophisticated piece of writing. King uses constant superlatives to create a favorable review of the actors, magnificent job, superb job. King also chooses strong emotive words to express a subtle opinion. This is shown in the description of Abigail, spiteful, vengeful, and achieves the composers objective of positioning the responder. To add to the formal tone, King utilizes the effect of using historical information, which provides a structured review and an acceptable level of formality. King, in addition provides a slight tonal change, where he slowly begins to include his opinion, this is seen with the addition of emotive words. This allows him to position the reader favorably. King also provides commentary on the story, and the characters, again assisting his positioning of the composer. He comments on the stylistic elements, and this reflect the style of the piece, deftly shifts the emphasis away from its stage origins, focusing the attention on the intense confrontations and the rich characters . This technique is also made use of by Crucie. He provides a running commentary on the development of the love story, and the characters, as the love story evolves paranoid village. Again this mirrors the style of the writing. Along with this commentary, contrasting Kings technique is a very strong opinion, designed to openly position the responder. Another technique Crucie employs is contradiction. The following two lines demonstrate this. Serious suspense provides a heart-pounding climax, and For a film desperately relying on the power of its actors, These lines, and the contradiction present highlights the actors abilities, after continues superlatives praising the entertainment value of the film. The two reviews use different techniques to highlight their desired focuses, and to position the reader in their respective favors. CrucieÐ ¢s review uses simpler language, and a less formal style, while King exhibits his sophisticated, formal style in his article. These techniques ec ho the chosen style, and ultimately their choice of aspects focused upon. The two reviews each focus on different aspects and elements of the film. Crucie identifies the love story, and is able to sympathize with the character of Abigail. King on the other hand, foregrounds the parallels between the film and the McCarthy era. King also discusses Abigails motives, and the hidden hero in proctor. Crucie identifies the evil within Abigail, she realizes she has the power to condemn anyone she wants. But then continues and justifies this evil. Of course, the power is an undeniably strong and almost erotic sensation. Crucie seems to almost sympathize with Abigail. He recognizes that her motives and resultant power are enough to justify her actions. Despite acknowledging that Abigail was the ring leader, Crucie does not extend his sympathy to the girls, and their actions. As all the girls know, if you deny witchcraft, you are hanged. Crucies interpretation of Mary Warren is not as one would expect. In the film, Mary risks her life to tell the truth, so one would expect the description of this to be favorable, yet Crucie uses a monotonous tone to describe Marys actions. Finally Crucie is able to recognize the hidden hero in Proctor. His flawed hero as Crucie describes it, is in fact very flawed. Crucie spotlights Proctors flaws, and mistakes continually throughout the review, who once had an affair with her. Similar to crucie, King points out the unlikely hero that is John Proctor. He however does not necessarily flaunt Proctors flaw, as Crucie did. King uses superlatives to commend the character of Proctor, strength and courage, and appears sensitive with his situation. Contrasting to Crucies views on Abigail are Kings comments on Abigail. King recognizes the evil and horrible character, and dismisses the motives. He describes her as spiteful, vengeful, and then recognizes that her corrupt nature is infecting the whole town. Crucie retells the story, adding overtones of his opinions. He comments on the characters and the events unraveling, the rest of the girls know exactly what she is doing. He also highlights the love story, and identifies other plots occurring simultaneously. Crucie enjoys the concept of a love story thoroughly, and identifies elements common with both The Crucible, and a typical love story. Crucie links this with emotive words, which emphasizes the concept of a love story. Combined with this another parallel plot emerges. This parallel plot is linked with following emotive terms, and takes on its own status as almost a second film. Crucie expands of the elements of the film, discussing extensive use of suspense and its effectiveness. Most suspenseful, and serious suspense, are used to describe depicted scenes. Crucie then commends the actors on their terrific depiction of their respective characters. King does this also. King uses superlatives to commend the actors on their brilliant representations of their characters. Rare depth and emotional range. King also discusses the parallels between the film and events occurring in the McCarthy era. He describes these links as being obvious, and unmistakable. King acknowledges that background knowledge is unnecessary in order to appreciate the film, and describes it as a provocative piece of drama. Similarly to Crucie King provides commentary on the plot unfolding. He adopts a tone of mockery when discussing the events of the town. King provides a more objective tone when discussing the social elements of the film, but a great deal of commentary when discussing the characters. Finally, King comments on the changes occurring when adapted for film. He highly praises the changes, deftly shifts the emphasis away from its stage origins, focusing attention on the intense confrontations and the rich characters that propel the dramatic narrative identifies genre, and focusing on the setting, and brilliant shoots. The two reviews have interpreted the film in different ways. This is shown in their different appreciations of the film, its cha racters and elements typical with the genre. Both reviews have similar focuses. They indentify the universal themes, praise the actor, and comment on the plot. However, this is the extent of their harmony. When different people view a text they will interpret it in different ways, depending on their background. To see this difference an analysis of the focuses, techniques and interpretations is used. As the two reviews did in fact focus on different aspects, and utilize different styles and techniques, it can be understood that Bill Crucie and Greg King interpreted the film in different ways. As well as different focuses and techniques, Crucie and King fore grounded different ideas, and aspects. This confirms the notion that different text can be read in different ways.

Police Discretion in Domestic Violence Research Paper

Police Discretion in Domestic Violence - Research Paper Example Most police officers feel that a domestic dispute is a private matter that should be handled by both parties. However, police officers mostly rely on their experience as police officers to handle the situation as they think appropriate. Police Discretion in Domestic Violence Introduction Family problems which breed domestic violence are universal issues which affect all members of the family including parents and children. Domestic violence can be fatal, but it can be effectively controlled with the proper implementation of law and timely and appropriate intervention by the police. Police reactions to incidents of domestic violence have usually depended upon the attitude and discretion of the officer involved in investigating the reported incident. â€Å"Discretion can be characterized as the authority of the police officer to chose his/her course of action or inaction. Police have discretionary powers in their positions as protectors of the public and upholders of the law. A lot ha s been written about police discretion in the criminal justice field procedures. It has been proved that arrests in such matters reduce incidences, as the offender might not repeat the offence for fear of prosecution. Many abused women do not call the police because they feel that they will not be taken seriously, and the police might make use of its discretionary powers and not arrest the abuser. In such cases, it leads to further violence causing greater injury or harm to the spouse, partner or children. Sometimes women do not report domestic violence because they do not want their spouse or partner to be arrested and sent to prison (Green & Kelso, 2010). Discussed below are some of pros and cons of the police discretion in domestic violence. Police discretion was an unmentionable subject right up to 1956, when it was brought to light by an American Bar Foundation Study. Until then, no one would admit that it was a reality. The approach of police high-ups was that any digression f rom accepted or written down procedures was not permissible by law, and most probably a basis for dishonesty. When it became public knowledge, the police administration made efforts to play it down or even have it outlawed. The actual problem lies in the abuse of discretion, not in its implementation. Police discretion is now accepted as an indispensable malevolence, which can be of great use if used properly. Community policing is where officers can exercise discretion to help the community more effectively. Discretion is good when it is managed and well thought-out. (Green & Kelso, 2010) Defining Police Discretion Some facts which can be regarded as both pros and cons depending upon application have described â€Å"police discretion† as an area where the law is not implemented or as the â€Å"gap in the doughnut†. Discretion is the vacant space which is surrounded by the relevant set of principles and procedures. Alternatively, it can be described as cases where no r ules are applicable and the officer makes a personal decision based on beliefs, assumptions and his own interpretation of the situation. Discretion is not the same as repetitive and consistent compliance. It entails information, talent and the ability to act and perform in random and awkward situations. Police are not soldiers who must obey orders blindly and without question. Police must be quite