The Sedition Act of 1798 :: Government American History Papers

For the first few years of Constitutional government, under the leadership of George Washington, there was a unity, commonly called Federalism that even James Madison (the future architect of the Republican Party) acknowledged in describing the Republican form of government-- " And according to the degree of pleasure and pride we feel in being republicans, ought to be our zeal in cherishing the spirit and supporting the character of Federalists." Although legislators had serious differences of opinions, political unity was considered absolutely essential for the stability of the nation.Political parties or factions were considered evil as "Complaints are everywhere heard from our most considerate and virtuous citizens, equally the friends of public and private faith, and of public and personal liberty, that our governments are too unstable, that the public good is disregarded in the conflicts of rival parties, and that measures are too often decided, not according to the rules of justice and the rights of the minor party, but by the superior force of an interested and overbearing majority_" Public perception of factions were related to British excesses and thought to be "the mortal diseases under which popular governments have everywhere perished." James Madison wrote in Federalist Papers #10, "By a faction, I understand a number of citizens, whether amounting to a majority or a minority of the whole, who are united and actuated by some common impulse of passion, or of interest, adversed to the rights of other citizens, or to the permanent and aggregate interests of the community." He went on to explain that faction is part of human nature; "that the CAUSES of faction cannot be removed, and that relief is only to be sought in the means of controlling its EFFECTS." The significant point Madison was to make in this essay was that the Union was a safeguard against factions in that even if "the influence of factious leaders may kindle a flame within their particular States, [they will be] unable to spread a general conflagration through the other States." What caused men like Thomas Jefferson and James Madison to defy tradition and public perceptions against factions and build an opposition party? Did they finally agree with Edmund Burkes' famous aphorism: "When bad men combine, the good must associate; else they will fall, one by one, an unpitied sacrifice in a contemptible struggle?" Did the answer lie in their opposition with the agenda of Alexander Hamilton and the increases of power both to the executive branch as well as the legislative branch of government?

Mary Wigman

Mary Wigman: Witch Dance Word Count: 1120 Through her simplification and breaking down of theatrical and aesthetic dance, Mary Wigman stands as one of the most inspirational figures of 20th century dance. Her unique use of theatrical elements such as masks, sound, costume and movement created an evolution of dance that was never seen before. Her use of the character, The Witch, changed the world’s views on dance forever, and inspired a revolution of artistic quality all around Europe.In this essay I will discuss whether or not The Witch in Wigmans work stands as an interpretation of her role in society, and her aspirations for future dance forms. Mary Wigman’s Witch Dance epitomized the breaking away from conventional concepts and traditions. Through her modernistic choreography she captured the true essence of dance. There was no conformity or theatricality to it. Instead, she used elements that would speak directly to the audience (Muller, 1986, pp. 173-184). The arch aic image of the witch expressed the elements of Wigman’s own identity.She expresses her modernistic identity in her breaking away of the social and cultural boundaries that besieged her time error. She also physically identifies herself as a witch, absorbing the viewer with the magical essence of her imagination. Through her movements she was able to personify this strong presence of the witch (Gunhild, 1992, pp. 35-49). She stressed the common association of the image of a witch with that of fear and apprehension of losing control over both body and mind.This fear was created to be extended to the audiences watching the piece (Chritiane & Finnan, 2006, pp. 76-84). One of Wigman’s most praised techniques in dance was her use of breathing. She believed that a dancers expression could be built to a climax simply through the pace and tone of their breathing. Through inhalation and exhalation the dancers were able to create both tension and tranquility. In addition to thi s her dance techniques were also highly revolutionary.Wigman did not believe that dance should be performed merely for entertainment purposes (Chritiane & Finnan, 2006, pp. 76-84). She diverged herself from the conventional practices of dance, such as ballet, and formed her own unique dance language that stripped away the aesthetic movement that was generally accepted at the time. The movement which she used in her pieces was unrestricted and she made use of percussion instead of traditionally orchestrated aesthetic music (Muller, 1986, pp. 173-184).This made the audience focus more on the properties of the dance itself then the external features of it. Wigman’s dances hypnotized the viewer with its powerful yet highly abstract choreography. Her use of repetitive gestures in her choreography helped to carve their cultural roles. She broke away from conventions by pulling away from the aesthetics of ballet. She did this by avoiding following fixed choreography, dancing barefoo t and using eccentric music and percussion (Gunhild, 1992, pp. 35-49).The cultural context in which Mary Wigman’s lived was a very restricted and conservative society. Wigman grew up in Germany during the Weimer republic. This was a time of extreme change in Germany. Ausdruckstanz had been ubiquitous in Germany from the start of the 20th century, and there was a definite cultural and social revolution taking place. Along with this was the reign of feminism taking place worldwide. These ideologies and social changes showed up significantly in Wigman’s choreography. Before Wigman, dance was primarily based on sexuality (Jiyun, 2007, pp. 27-437). Exoticism was instrumental in the audiences appeal to it. Wigman broke away from these ideals by performing characters which held modernistic significance (Muller, 1986, pp. 173-184). Before Wigman, women were often portrayed in dance as modest and simple characters. Wigman changed this view by primarily using female dancers and depicting females as strong and powerful beings. Wigman’s performances challenged the static social dynamics of the time. She created an atmosphere of respect between the female dancers and herself.She allowed for a strong female subject in her pieces that provided females, who were previously oppressed, with a firm identity and place in society. Previously, male choreographers had objectified woman in their choreography. Wigman aimed at individualizing women and breaking away from the sensual image that they previously conformed to (Valerie & Lahusen, 1990, pp. 8-10). Wigman’s choice of using the witch figure in her choreography was partly influenced by her attempt to emphasize the roots of dance and highlight feminist ideals.Through her dances she strove to elevate her art to a new culture and change her own identity to that of a goddess. The witch figure stood as a solution to the concept of Ausdruckstanz (Valerie, 1998, pp. 298-304). This concept introduced a confl iction between the desire to have their dance accepted by society but maintain a strong level of originality at the same time. Wigman’s dance focused primarily on raw and natural movement to truly capture the fresh expressiveness of her work.Through her work she hoped to portray a new vision of life. She wanted her work to be characterized by its dark and somewhat masculine nature. She explored the different ways in which the body could express itself (Valerie & Lahusen, 1990, pp. 8-10). She tried to use freedom of movement in expressing her sensuality and accepted that improvisation was the first step toward composition. The important thing about Wigman’s choreography was that even those who misunderstood it were inspired by the energy of her performances.The audience seldom failed to recognize the energy and life in Wigman’s choreography (Gunhild, 1992, pp. 35-49). The witch in Wigmans choreography represented the overcoming of human mortality and deficiencies through her new religion of dance. The dances were not sets of beautifully displayed images, but were created through disfigured movement that held no consideration for the viewer’s enjoyment. She ripped the space apart through her dance and engaged in the emptiness and diversity of the space.In conclusion, Wigman played a truly inspirational role in the modernization of dance in the 20th century. It would seem that Kolb’s statement regarding the feminist and demonic quality would be true with regards to the time error that she found herself in. The Witch not only represented woman as a powerful figure, but it highlighted the abstract quality of her dance. Wigman changed the face of dance forever through her diverse and unconventional ways of thinking. The way she broke away from conformist ideals still serves as inspiration to the dance we have today. Works Cited

Definition of Visitor Attraction - 634 Words

Visitor attraction management Module: TSM08776 Visitor attraction management Assessment: A Matriculation No: 40228856 Due on: 14.03.2016, 16:00 Word count: 499 Module leader: Prof A. Leask The purpose of this essay is to further discuss the definition of a visitor attraction. It shall further resolve if events should be defined as visitor attractions, as Swarbrook (2001) characterizes them. Or rather should not be included in the definition as Getz (2008) argues. Visit England (2012) assigns the following characteristics to the definition; the fundamental purpose of an attraction must be one of the following: entertainment, interest or education, in unique occasions also worship. More than that it has to be†¦show more content†¦(1992) The tourism system, an introduction text (2nd ed.). London, NJ: experiences (pp. 1-12). New York, NY: Cognizant Communication Corporation. Swarbrooke, J. (2001) Key challenges for visitor attraction managers in the UK. Journal of Leisure Property, 1 (4), 318-336. Visit England. (2012) Visitor Attraction Trends in England, [online] Availabe at: https://www.visitengland.com/sites/default/files/va_2013_trends_in_england_summary_report_tcm30-38297.pdf Accesed: 11 March 2016 4Show MoreRelatedThe Educational Value of Exhibitions in Musuems1189 Words   |  5 PagesDefinition of exhibition Before proceeding to the discussion of relationship between exhibition, communication and education, the meaning of the term should be clarified first. The term exhibition implies several meanings owing to a movement within different context and style of each professional realm. As the definition shows in oxford dictionary, the word exhibition can be defined as ‘a public display of works of art or items of interest, held in an art gallery or museum or at a trade fair’Read MoreEssay Tourism ]1122 Words   |  5 Pageshis daily universe. 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