Methods of Characterization in The Hairy Ape
Eugene Gladstone O’Neill was born October 16, 1888, to Irish-American parents
in New York City. His mother, Ella O’Neill, reserved and genteel (Sheaffer 15), came
from a prosperous Cleveland family. His father, James O’Neill, from a poor family, was
an actor who became synonymous with Dumas’ Count of Monte Cristo, a role he
performed over 3000 times (Sheaffer 8). Driven by fear of poverty, James worked
nonstop and constantly tried his hand at get-rich-quick schemes, such as buying and
selling real estate. Eugene had one older brother James. During Eugene’s early years,
the family toured around the country with James Sr.’s acting company and spent each
summer vacationing in New London. Eugene grew to hate theater life with its constant
moves and unreliable income. He attended Catholic schools growing up, and he went to
Princeton in 1906. Eugene spent his first year loafing and neglecting his studies, and he
was dismissed for “poor scholastic standing” (Sheaffer 125). In October of 1909, he
secretly married Kathleen Jenkins before sailing to Honduras on a gold-prospecting
expedition. On his return, six and half months later he learned he had a namesake,
Eugene Gladstone O’Neill. He neglected his responsibilities as husband and father,
however, and he was divorced in 1910. For the next two years he served as a
crewmember on various sailing boats and steamships. Those experiences served as
material for his future sea plays.
At the end of 1912, he was diagnosed with tuberculosis
and was admitted to Gaylord Farm sanatorium in Wellingford, Connecticut, for six
months. It was here, away from alcohol and the vestiges of wild living, ...
... middle of paper ...
...12, 1997, 27.
Carpenter, Frederic I. Eugene O’Neill. New York: Twayne Publishers, Inc., 1964.
Chothia, Jean. Forging a Language: A study of the plays of Eugene O’Neill. New York:
Cambridge University Press, 1979.
Diggins, John Patrick. “‘The Hairy Ape’ and the FBI”. The New Leader. April 7, 1997, 21.
Egri, Peter. “'Belonging' Lost: Alienation and Dramatic Form in Eugene O’Neill’s The Hairy Ape”
in Critical Essays on Eugene O’Neill. James J. Martine, ed. Boston: G.K. Hall & Co., 1984.
Hofmannsthal, Hugo. “The Beggar and The Hairy Ape” in Eugene O’Neill’s Critics: Voices from
Abroad. Horst Frenz, et. al. eds. Carbondale: Southern Illinois University Press, 1984.
O’Neill, Eugene. Four Plays by Eugene O’Neill. New York: Signet Classic, 1998.
Sheaffer, Louis. O’Neill: Son and Playwright. Boston: Little, Brown and Company, 1968.
Creativity is something that isn’t taught but learned through self-reflection. Creativity requires one to be able to express their thoughts through words or other various forms of expression. Creativity allows students to come up with practical solutions to everyday problems when applying them to real life situations. This teaches students that there may be several ways to solve a problem, but no solution is better than the other. “People who are creatively successful go beyond merely performing a job, becoming sources of new ideas, discoveries, and inventions” (Zagursky). Students that are more creative thinkers; instead of, standardized test takers may find it difficult to advance in class. According to Kim Zagursky, the Torrance test is the most widely used creativity test in the world and is the best predictor of creative achievement. The Torrance test, named for creator E. Paul Torrance, was developed in the late 1950s as a potential tool to individualize student instruction (Zagursky). Unfortunately, as time past creativity is becoming less among our students. There is a growing concern for the ability to form their own opinions about ideas they have read. The questions in the Sternberg’s Kaleidoscope policy was designed to measure creativity, ana¬lytical, practical, and wisdom-based skills and attitudes (DiMaria 55). Sternberg’s policy is currently being used at Oklahoma State
A Creativity Researcher For More Than 30 Years, ihaly Csikszentmihalyi Is A Professor Of Human Development And Education In The Department Of Psychology At The University Of Chicago. He Has Written 13 Books, Including The Best-Seller Flow: The Psychology Of Optimal Experience (Harper Collins, 1991). Here Are Highlights Of His Books “Creativity”. This Book Is About What Makes Life Worth Living. The Creative Excitement Of The Artist At Her Easel Or The Scientist In The Lab Comes As Close To The Ideal Fulfillment As We All Hope To, And So Rarely Do. Professor Mihaly Csikszentmihalyi Interviewed More Then Ninety Of Possibly The Most Interesting People In The World - People Like Actor Ed Asner, Authors Robertson Davies And Nadine Gordimer, Scientist Jonas Salk And Linus Pauling, Senator Eugene Mccarthy - Who Have Changed The Way People In Their Fields Think And Work To Find Out How Creativity Has Been A Force In Their Lives. The Author Defines Creativity In A Mode He Designates As “Capital C”, Distinct From Individual Creative Impulses Or Acts That Occur Without Initiating Significant Cultural Change. The Creativity With A Capital C That Is Of Interest To Csikszentmihalyi Is The Act Of Creativity By Which Culture And Cultural Evolution Are Seminally Altered. What Made Galileo And Einstein Think Otherwise And But Couldn’t It Be This? What If They Hadn’t? They Aren’t Around To Ask. But There Are Others Who Are. Creativity Provides A Groundbreaking Overview Of Those Characteristics Shared By Some Of The Most Extraordinary Visionaries Of Our Most Recent Century, Painstakingly Gleaned From Hundreds Of Hours Of Personal Interviews. Finally, It Proposes Ways In Which We Can Capitalize On These Commonalities In Order To Further Creativity In O...
Children who are profoundly academically gifted experience social and emotional difficulties at twice the rate of nongifted children (Winner, 2000). In fact, neurobiology seems to concur since highly gifted brains appear more at risk for medical and psychological disorders (Mrazik & Dombrowski, 2010). Gifted children have trouble finding like-minded peers and may feel like they have to hide their abilities in order to seem relatable to other children and avoid isolation. Girls are more likely to disguise abilities and in return, report more depression, lower self-esteem, and more psychosomatic symptoms (Winner,
... Unquiet Mind, p.72). Such unique ideas and associations provide significant evidence for aid in all types of creativity.
Many believe that people are born with an innate level of creativity that is later on influenced by the environment in which they are raised. Schools are one of the most influential environments in which people spend an average of eight hours a day. Whether it be a public, private, or home school environment, these early surroundings that children are exposed to shape their creativity. As students, parents, and even teachers we don't realize the effects that the education system can have on ones creativity. The public education system is defined by two main ideas, what are the most useful subjects for work and ones academic ability. So, where does this leave creativity? Due to the ideals of the education system, creativity can be seen as unvalued or even stigmatized. Understanding the correlation between the educational environment and creativity can help positively influences the progress of the individual as well as their society.
A recent debate tackled a particular aspect of creativity studies that focused on whether creativity studies should be included in the core curriculum of education or should be integrated into existing courses. Though some colleges and other institutions have already implemented creativity studies programs. The question of whether this is the right decision is yet to be answered. Many professionals and authors have made claims regarding this issue of creativity studies and have provided effective arguments. Since each one of them has different assumptions about creativity studies and agree only on few aspects of the
In conclusion to some up this essay the term ‘creativity’ will always cause a debate in the educational system as. There will always be difficulty defining it as many use the term too loosely to have a definitive meaning. It requires risk taking, it is difficult to portray creativity when schools are so obsessed with right or wrong answers for ways of doing things. Society teaches us the risks are bad because the government and its policies interfere with our own choices and decisions.
...cience and human genetics concerned with human learning, memory, and intellectual developments which have implications in gifted education.
Rossman, B. B., & Gollob, H. F. (1975). Comparison of social judgments of creativity and intelligence. Journal of Personality and Social Psychology, 31(2), 271-281.
... activations after training in Creative task during a period of time to see the possible enhancement of creativity in the central nervous system. Although the complexity of the creative process difficult direct application and clear classroom strategy, neuroscientific knowledge can be shared to recognise creativity in an educative environment.
Creativity is a hard phenomenon to be measured, for it is a complex concept that encompasses a lot of domains; it is not specific to a certain field, rather it is manifested in different ways. Throughout the years, researches have tried to come up with a variety of methods to assess the occurrence and the development of the creative abilities individuals possess, each depending on a different perspective. As mentioned in the previous sections, creativity was considered an exceptional gift only certain people are endowed with, the reason why, at that time, there was no need for assessment, for it was recognized through the exceptional achievement of those “exceptional individuals”; their outcome is sufficient to tell how creative they are. Barboot,
According to Google, creativity is defined as “the use of the imagination or original ideas, especially in the production of an artistic work.” In his TED Talk, which is one of “the most popular talks of all time”, Sir Ken Robinson discusses how public education systems degrade creativity as an essential component within the academic growth of all students. Robinson is a creativity expert and an author who writes books about creativity in school systems. His expertise in the field of school systems and creativity justifies his opinion on the subject. Robinson concentrates on the significance of creativity by creating a variety of strong arguments. His main contention is that “creativity now is as important in education as literacy” (Robinson).
There is an overwhelming amount of evidence of the human race realtion to, creativity and that we all have an interest in education. Education is so important to us because it is the only thing we can use for this unpredicted future. All children have talents, but the education system crushes our creativity because we are taught to think a certain way. Due to the fear of being wrong has led children to no longer be creative which is why many adults lose that “capacity” to be able to be creative. The very few children who are allowed to continue using their creativity tend to not to be as dissatisfied their lives as much as other adults who were not able to pursue passions they truly enjoyed.
...gh-functioning individuals in that domain. Further, giftedness can be viewed as developmental, in that in the beginning stages, potential is the key variable; in later stages, achievement is the measure of giftedness; and in fully developed talents, eminence is the basis on which this label is granted. Psychosocial variables play an essential role in the manifestation of giftedness at every developmental stage. Both cognitive and psychosocial variables are malleable and need to be deliberately cultivated (L. Coleman & Cross, 2005, Dai & Coleman, 2005a; Mayer, 2005; Olszewski-Kubilius, 2000).
Lowenfeld, V. and Brittain, W. L. (1987). Creative and Mental Growth. (eighth edition). New York: Macmillan Publishing Co., Inc.