The Futility of War Essay -- Literary Analysis

Stories of wars and the resulting victories are usually told in highly elaborated narratives that seek to cover the grim realities of war as much as they aim to arouse emotion in order to ensure support for any future wars among the masses. However, war, by its very nature, is neither desirable nor its outcome praiseworthy. Erich Maria Remarque’s All Quiet on the Western Front lays bare the gritty, gruesome and ultimately self-defeating nature of wars. As Paul Baumer and his soldier comrades enlist and join the German Army in order to defeat the enemy, they themselves are slowly vanquished, first psychologically and finally physically through death. As the soldier members of Paul Baumer’s company are slowly killed in battle, he becomes more and more disillusioned with the war, especially since he and his friends had enlisted with idealistic aims fed to them by their teacher Kantorek. Instead of patriotic glory and poetic war victories, Paul and his friends found defeat and ephemeral triumphs; instead of honor, they encountered dishonor; instead of personal growth and advancement, they found stagnation and watched their youthful dreams die. Through the war experiences of Paul Baumer as depicted in the novel All Quiet on the Western Front, the ultimate tragedy of war is revealed; it destroys the lives of its very agents – the soldiers – by crashing their dreams and claiming their lives for little discernible overall gain. Going To War Ultimately, Paul Baumer and his high school mates enthusiastically enlisted and went to war first out of a sense of youthful adventure. Barely out of their teens, Paul and his high school mates are not old enough to understand the socio-economic and political factors that characterized the outbr... ... war as captured by the leaders of the war hardly depicts the futility of war, and only the through the accounts of soldiers on the front does the truth emerge, as it does in the novel – that war is counter-productive. Works Cited Hunt, Nigel. "The contribution of All Quiet on the Western Front to our understanding of psychological trauma." European Psychiatry 19, no. 8 (2004): 489-493. Remarque, Erich Maria. All Quiet on the Western Front. Trans. A. W. Wheen. New York: Fawcett Books, 1982. Robinett, Jane. "The Narrative Shape of Traumatic Experience." Literature & Medicine 26, no. 2 (Fall2007 2007): 290-311. Tighe, Joseph A. 2004. "All Quiet on the Western Front: A Phenomenological Investigation of War." Critical Survey 16, no. 3(Fall 2004): 48-61. Ware, Thomas C. "Remarque's ALL QUIET ON THE WESTERN FRONT." Explicator 63, no. 2 (Fall 2005): 99-100.

Music for the Mind Analysis and Response

Music for the Mind The purpose of this essay was to inform and explain to individuals all of the several ways for people to enjoy music as well as to explicate that the readers should strive for a more active type of listening. It showed the impact music can have on the lives of people. Aaron Copland said that even â€Å"One note is enough to change the atmosphere of the room† (599). This essay was written for just about everybody, with hearing of course, because most everyone listens to music. Even for the few that do not listen to music often, this could perhaps persuade them to listen to music .This was presented in a creative essay type format. The different types of music and conclusion of this essay are examples of evidence to support the purpose. Copland mentioned â€Å"We all listen to music on three separate planes†¦ (1) the sensuous plane, (2) the expressive plane, (3) the sheerly musical plane† (599). Copland also says that the reader should strive for a more active kind of listening regardless of what type of music you listen to (603). However, the author also mentioned that many people who would normally consider themselves qualified music lovers abuse the first plane when listening.This author effectively uses these appeals very effectively with logic. This author used a more objective type of language in his essay. The evidence in this essay supports the claims through practices people experience while listening, writing, or performing music. The evidence covers the perspectives associated with the 3 planes, but nothing else. I felt this article was very well written. I enjoyed the essay, as I was engaged during it. Anyone who listens or performs music can very easily relate to this essay and become engaged into it. The organization of this essay also helps people to be absorbed by this essay.The language throughout this article is not too formal, but not terribly informal. It was the perfect median in which you could read thro ugh and easily relate to the essay. Copland was very descriptive throughout this essay. I agree with this essay. This essay very much allows you to think and appreciate music in a way that you may have never thought about before. Personally, as a musician, I occasionally tend to listen to music in the third, musicality plane. I enjoy listening to the small details in songs and pieces of music. Without the small details in songs, they would not sound as aptivating as they are. However, I did not realize I was listening to music in this third plane until I read this article. I agree with the author when he claims that some people abuse the sensuality plane of listening by going to concerts in order to lose themselves. These individuals use music as a consolation of an escape. They enter a world where one does not have to think about reality. Of course, these individuals are not even thinking about the music. Instead, they dream because of and incidentally of the music yet never quite listening to it (599).I can relate to the author when he begins to talk about the second plane, the expressive plane. All music does have expressive power. Of course, some music will have much more than others, behind all of the notes, lyrics, is what the music is all about. Copland states that there is a meaning to music, however he cannot state that meaning. I agree because all music is going to have different meanings. A lack in appreciation of music sometimes disables one’s ability to connect with the music. The third plane, the sheerly musical plane, also relates to me.While taking music theory I and II in high school, we were told to compose our own songs, which allowed me to understand how the sheerly music plane works much better. Many listeners are not aware of this third plane when they are enjoying their music. Sometimes, I will stop and think about how the notes are put together, and try to guess the intervals between notes. Aside from the physical notes, other pa rts of the sheer musicality are rhythm, dynamics, scales, and much more. It is important to become more alive to music on its musical plane.This essay was the most enjoyable to read because of how well I was able to connect to it with a past comprised so much of music. Before reading this article, I did not quite think about all of the different planes of listening to music and how they all correlate to each other. I found myself, after reading this article, able to connect with each and every plane of music that Copland mentioned. I, of course, will often listen to music and enjoy it in the sensuous plane. I also can look at music from a composer’s point of because I have written and recorded my own song.However, along with this, I agree with the author in which many performers do not get into the music entirely because they are too worried about the notes and rhythms, they seem to forget what the song is all about. Finally, I can also relate to the third plane because I hav e a past with music and I can pick out certain notes, rhythms, and details in songs that add so much detail to the song. Overall, I believe Copland did an outstanding job in the writing of this essay. Works Cited Copland, Aaron. The Norton Reader. New York: W. W. Norton & Company, 2012. Print.

Copyright Law And The Music Industry Beyond Blurred Lines

Copyright Law and the Music Industry: Beyond Blurred Lines Introduction Copyright law in today’s music industry has become a tangle of litigation, complications, and bitterness. Overly-complex, multi-layered regulations and laws, double to quadruple fees, and arbitrary enforcement have led to a situation where songwriters and artists are hamstrung, the industry is in crisis, and listeners will be the ultimate losers. In the past, there has been a tendency to settle music copyright lawsuits before they go to court, thus keeping the problems from surfacing to the media, until recently. As exemplified by the lawsuit awarding nearly $7.4 million1 to the heirs of Marvin Gaye for copyright infringement of his song, â€Å"Got to Give It Up,†2 by Robin Thicke and Williams in their composition â€Å"Blurred Lines,†3 this area is fraught with disagreement about its very basis: can government really restrict musicians from using similar chord progressions and beats when there are only so many possibilities available? It is becoming increasin gly difficult to sort out rip-offs from mere similarities, and the method of music distribution is changing faster than the law can keep pace. Overall, the area of copyright laws as they pertain to music is a volatile one that deserves consideration and possible revamping if reason, and musical expression, are to prevail. 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