Free Dutchman Essays and Papers

In Amiri Baraka’s Dutchman, the binary between black and white people embeds itself into the characters on the subway. Lula, who incorporates her image with control and deception through her white skin, represents one significant driving force. Clay, who faces manipulation from the oppressive white presence of Lula and the others on the train, has to step up and become an opposing force. Throughout these characters transformations from individuals to powers, they express a combination of double consciousness

The Character of Clay in Amiri Baraka's The Dutchman Clay is not naive. He may be misguided, misled, and mistaken, but he is anything but naive. Clay is an individual who has shed the roots of his race, disregarding many of the cultural implications that such a decision could have on him. He is a misguided individual who, because he is human, does the wrong things at the wrong times for the wrong reasons. He continually struggles with his own identity and the power struggle between him and Lula

around in wooden shoes and wear large hats, why exactly would a person travel half way across the world and land in the United States? A non-bordering country, fairly unaffected by globalization and maquiladoras. I sat down a talked with a native Dutchman and asked him many of the questions from my opening paragraph and this is what I learned. His name is Koos Van Leeuwen, he lives in the northwest valley of Phoenix, Arizona: “Kevin, did it work out for in California? With the job interview you

Bertolt Brecht, LeRoi Jones and Antonin Artaud In LeRoi Jones's play, "Dutchman," elements of realism, naturalism and non-realism abound. The play features characters such as Clay, a twenty-year-old Negro, Lula, a thirty-year-old white woman, both white and black passengers on a subway coach, a young Negro and a conductor. All of these characters take a ride that, for each, ends with different destinations and leaves the audience to sort through the details and find conclusions themselves

within the governing council. What has most Europeans concerned is the ECB’s secrecy of conducting business. There is no voting record nor will there be published minutes of the meeting that take place. Wim Duisenberg president of the ECB and a native Dutchman stated that he wanted the ECB to be one of the most open banks in the world.1 When BBC reporter Steve Levinson confronted him about this in Frankfurt Germany Wim replied I reconcile these two positions by not defining openness as publishing everything

Dutchman is a play by Amiri Baraka; it is a one act drama set in a train. Dutchman’s debut was in the Cherry Lane theatre in New York, more specifically Greenwich Village. The date of its debut was March 1964; on the date of its debut it also won an Off-Broadway award or the Obie award. In short this play features an African American man by the name of Clay who is on a train. On this train there is a woman by the name of Lula, she is older than Clay and she is white. Lula attempts to sexually seduce

1a. Rich Snyder in his youth was an unlikely business mogul, but from the outset he had a special knack for spotting major trends in society and positioning his business to thrive by meeting the needs of customers. He eventually grew into the job and pursued a much more aggressive expansion than his father would have preferred. However, putting a twenty-four year old in charge of a major enterprise was a risky move. An incredibly local group of managers and a culture embedded into the operating

Language in Amiri Baraka's The Dutchman The popular saying "actions speak louder than words" is upended in Amiri Baraka's play, The Dutchman, where words, or in this case language, speaks louder than the actions of the characters, Lula and Clay. Language governs the characters and their actions, and is therefore a prominent feature in shaping the identities of Lula and Clay. In the play, Baraka conveys the significance of Lula and Clay being enabled to change their identities by a simple change

The Flying Dutchman There once drifted the wraith of an unknown soul along with his haunted ship, swooping ever so stealthily over the humane lives of the people of Holland. He was contrived with the undesired, unexpected, very shade of glowing green. Wearing a weary, tattered pirate hat. Along with a dense beard and an old-fashioned shirt embellished by a fancy belt also in green. He had no legs at all, his body thinned into the air as it would get to his feet, into a thin string-like consistency

In the 1964 play Dutchman by Amiri Baraka, formally known as Le Roi Jones, an enigma of themes and racial conflicts are blatantly exemplified within the short duration of the play. Baraka attacks the issue of racial stereotype symbolically through the relationship of the play’s only subjects, Lula and Clay. Baraka uses theatricality and dynamic characters as a metaphor to portray an honest representation of racist stereotypes in America through both physical and psychological acts of discrimination