... further draw the viewer into my work. Thirdly, I want some interaction of the sculpture with the viewer, so that they can make a more intimate contact with the piece through tactile and kinesthetic action, so that they thus may "get into it" more and begin to experience some of the passion & feeling that I put into my work as it is thus conveyed to and impressed upon them. As a title theme for my year's work I have come up with "Multifaceted Interactive Involvement With The Electro- Magnetic Spectrum." This includes many different forms of radiation, light and waves. I am also integrating sound to give an added flair. Some practical project examples that ...

... would treat him as an ordinary person. Finally Jean Valjean finds refuge in the home of the Bishop of Digne. In spite of the kindness that the bishop displayed Valjean became weak and stole the silver that was in the home. He was immediately caught by the law abiding officer, Javert, who would chase Valjean for the rest of his life. When Javert brings Valjean back to the priest's house to confirm the theft, the priest amazes everyone by saying that he gave Valjean the silver and then he added a pair of silver candle sticks to what already was taken. When the police left, the priest told Valjean that he "must use this precious silver to become an honest man". ...

... in France. The short excerpt of Morte d' Arthur tells of how King Arthur abandons his assault on Lancelot to defend Camelot and all of England from Mordred. Because Camelot seems to immediately precede Morte d' Arthur and there is no overlap in the story, the way the plot is handled in each work cannot be debated. I will however, discuss the mood, tone, and characterization of a few key figures in the two works. One difference in character that I found was that in the introduction to Morte d' Arthur, Mordred is referred to as King Arthurs nephew. Later in the text, when Arthur and Mordred are fighting (p. 96, para.1) it says, ". . . so he smote h ...

... many times in the play. In line eighty he says "Why, this is hire and salary, not revenge". He knows that he must kill Claudius but he postpones it. This almost suggests that Hamlet does not really want to kill Claudius, but feels obligated to do so. Through his over-analysis he seems to be almost talking himself out of doing his job. One of Hamlet's most renown traits is his over-analysis of conversational topics and situations in which action must be taken. An example of his over-analytical nature is apparent in his speech in act one, scene four, line 13. He begins his speech quite normally, replying with a simple answer to Horatio's inquiry but t ...

... did not reveal his talent and hard work as they did before? Seeing how the restorations were done at the end of the video was alot better than the methods of restoring had been. Removing all of the glue and varnish from the past was a good idea and then patching up the areas that needed it and doing it consistantly and using the same style he does makes the paintings reveal Michelangelo's talent and the charactaristics of his characters. Marking and bringing it to attention which areas had the restorations applied to is a very good idea. I think that by going about trying to get these portraits back to their original style was not only an appreciative thing to do ...

... society takes part in the communion of mass murder and destruction because it seems to protect us from having to deal with the shock of death and recognizing it. In Psycho, Hitchcock revealed out “shock of recognition” by not letting us see the cutting and death in the shower scene. Films made after Psycho usually refer back to this scene, either working with or against the unseen cuts of the knife. An example of a film that works with the shower scene in Psycho is obviously displayed in de Palma’s Dressed to Kill. The scene that correlates is when Peter’s mother is killed the elevator by Liz. This scene is similar to Psycho because as in Psycho when Kate ...

... of the state, that he should become knights-errant and roam through the world with his horse and armor in quest of adventures" (Starkle 17). In Part I Don Quixote of La Mancha (added the name of his kingdom like Amadius) equips himself with arms and armor and rides forth on Rosinante, a broken-down horse, to challenge evil wherever he may find it. A peasant, named Sancho Panza serves him as squire. In his deranged state, Don Quixote sets himself the task of defending orphans, protecting maidens and widows, befriending the helpless, serving the causes of truth and beauty, and reestablishing justice. His adventures and journey's are often inappropriate to the ...

... the fog and filthy air" (Line 11). The weather might personify the witches, meaning that the witches themselves are disturbances, though not limited to nature. The bad weather also might mean that the witches are bad or foul ("filthy air") creatures. In Act II, Scene i, it is a dark night. Fleance says, "The moon is down" (Line 2), and Banquo says, "Their (Heaven's) candles are all out (there are no stars in the sky)." (Line 5) Darkness evokes feelings of evilness, of a disturbance in nature on this fateful night. It creates a perfect scene for the baneful murders. Another disturbance in nature comes from Macbeth's mouth, "Now o'er the one ...

... think of the crashing thunder, lightning and rain, they all remind you of evil and ominous things. Later on the Sergeant is talking with Duncan and Malcolm when he states "Ship wrecking storms and direful thunders break" (1. 2. l26). Again this darkness imagery contributes to the ominous atmosphere of the play, having reference to thunder and dark storms. Finally, Lady Macbeth and Macbeth are talking in the scene just before the murder of Banquo and Macbeth says "Light thickens, and the crow makes wing to the rooky wood: Good things of day begin to droop and drowse, whiles night's black agents to their preys do rouse" (3. 2. l50-53). This example of darkness ...

... complexity of motives. For example, his fighting in Duncan's service is magnificent and courageous, and his evident joy in it is traceable in art to the natural pleasure which accompanies the explosive expenditure of prodigious physical energy and the euphoria which follows. He also rejoices no doubt in the success which crowns his efforts in battle - and so on. He may even conceived of the proper motive which should energize back of his great deed: The service and the loyalty I owe, In doing it, pays itself. But while he destroys the king's enemies, such motives work but dimly at best and are obscured in his consciousness by more vigorous urges. In the mai ...