Magazine Advertisment Essay Example for Free

Magazine Advertisment Essay Advertisements are everywhere on TV, the internet, movies, magazines, etc. They are there to get people to buy whatever it is that they are advertising. They do it with color, models, and tricky words. In this case my magazine advertised a lip balm called â€Å"Baby Lips†. This advertisement says that you can, â€Å"kiss dull lip balms goodbye and instead have baby lips† making it so that woman get interested into buying this product because you will have baby lips. The colors that are being used in my advertisement are grey, black, bright orange, and white. What is being suggested in this advertisement is that you should wear the lip balm shown in the magazine because it will give you baby lips. In the article the picture is of a pretty woman whose whole face is grey, except her lips. The rest of the article is in very light colors making it so that the lip balm and the models lips are the two things stand out the most. Both of them are in a bright orange color that makes them stand out more than anything else in the picture. Also in my advertisement there is a model, she is a female, although you can’t see all her body and just her face you can tell that she is pretty just by the way her eyelashes and eyebrows are done. The expression on her face is as if the woman is going to give someone a kiss. She has her eyes closed but she looks like if she’s in the mood of kissing someone and feels good about that. All these little details are made to imply that with this lip balm everyone will want to get kissed by your baby lips. In the picture there is also a before and after picture of someone’s lips but you can’t really tell the difference. Words are a big help in advertising. The words call the reader’s attention and also can sometimes fool the buyer. In my ad it says â€Å"In one week your lips will be visibly renewed.† Although it says that, there is no given proof of it. They don’t provide us with a survey of people or percentage of people who says that. Also the word baby lip is in bright orange to get the viewers attention because it stands out who wouldn’t want baby lips right? There is also a small caption next to the bright orange lip balm that says that it’s an exclusive lip renew formula. Furthermore the model is saying that she wants a clinical strength care with a kick of color to get woman to buy it because not only does it help you care for your lips but it also gives you some color. The intended audience for the lip balm is young woman or any type of woman who want to get baby looking lips and wants to stand out at the same time. The woman who are interested in this lip balm are probably the ones who are looking for non dull lips and instead interested in lips that are more moisturized and lips that stand out. Lastly, advertising helps buyers learn more about the product but it also tricks buyers into buying stuff that most of the time doesn’t work.

Job Training versus Career Development: What Is Voc Eds Role? Essay

Job Training versus Career Development Should vocational education concentrate on preparing students for specific jobs or should it be more focused on broader career development, including lifelong learning, employability, and cognitive skills? This Digest explores these questions and examines how vocational education programs can best prepare students to meet the demands of the current and future workplace. Job Training and Vocational Education When asked to describe the role of vocational education in the schooling of the nation's youth, most educators (and citizens) would say it is to prepare students for work in a given trade or vocational area. For many years, this preparation has focused on job skill training, the philosophy being that training individuals in the "hands-on" tasks required for work is of primary importance in ensuring their employability and job market success. This singular attention to job-specific skills continues to characterize many vocational education programs. The controversy among educators is whether or not students are actually acquiring the appropriate job-specific skills and whether or not those skills are sufficient for the comprehensive education of youth. In an effort to document the learning gains for students in secondary and adult full-time vocational programs, states are developing skill standards for given occupations upon which their vocational curricula are based. These standards form the basis for assessing students' entry-level occupational skills plus the employability skills that are generic to all occupations. The documentation of these skills then provides vocational program completers with credentials (or a career passport) to present to potential employers, thus e... ...Hoyt, K. B. "Career Education and Transition from Schooling to Employment." 1993. (ED 371 242) Jacobs, H., ed. Interdisciplinary Curriculum: Design and Implementation. Alexandria, VA: Association for Supervision and Curriculum Development, 1989. (ED 316 506) Kincheloe, J. Toil and Trouble: Good Work, Smart Workers, and the Integration of Academic and Vocational Education. New York: Peter Lang Publishing, Inc., 1995. Parnell, D. "Cerebral Context." Vocational Education Journal 71, no. 3 (March 1996): 18-21, 50. Rosenstock, L. "The Walls Come Down: The Overdue Reunification of Vocational and Academic Education." Phi Delta Kappan 72, no. 6 (February 1991): 434-436. Vocational Instructional Materials Laboratory. OCAP: Occupational Competency Analysis Profile. Columbus: Center on Education and Training for Employment, The Ohio State University, 1995.

School Kills Creativity †Ken Robinson

1. I agree with this statement, my explanation is that everybody got an education since they was born. First, you have to define the word â€Å"education†. In my opinion education is same as imitation because everyone learns by imitate from what people have done. Students learn mathematic by the method that ancient people made, baby or kids learn everything from what they have seen. You can see that when we were young, we imitated the way we speak from our parents, and we drew the picture from what we see. In that time, we enjoyed that moment.So, we can say that education is in our instinct. 2. 3. What he say happen to us because we have been taught to live in the same pattern, we have to do something in the same way, we have to do something in the same pattern, to make mistake is prohibited. If you learn from history, many things come from the mistaken; Alfred Nobel found Dynamite when he tries to make other thing. Another reason why I agree with his word is that we’re all taught by the same way, so after graduated, we’ll be something like a textbook that you can find it easily.Creativity is the thing that can’t be taught. It has in everyone but education system obstruct it. School kills creativity – Ken Robinson In his speech at the TED conference in February 2006, Sir Ken Robinson claims for a reformation of the current creativity retarding worldwide education system. His point of departure is that children are born with huge talents, wasted by the contemporary education system. While children are not afraid of being wrong, school and the ecological system eliminate this attitude. Read also  How Powerful Do You Find Atticus Finch’s Closing Speech?Robinson thinks that this, making mistakes, is the only way to develop new ideas, although getting on in life means not making mistakes. People, especially children, should have more space to be wrong, accordingly to possibilities of creating something new. Being developed in the 19th century, the education system is focused on providing the requirements for a job in the industry and academic ability. The orator points out that the hierarchy of subjects around the world is the same: first comes math and languages, followed by humanities and concluded by the arts, especially usic and art, after that drama and dance. In Robinson’s opinion this is the right order of priorities for a scientific career, but not for people of the future which have to solute the world problems in a more creative way. Talented people do not get the sense of achievement, because things they are good at are not valued at school; hence, their high creative potentials are wasted. Furthermore Sir Ken Robinson mentions an â€Å"academic inflation† around the world, since conditions for job entrance referring to one’s academic degree are raised.Intelligence is diversely based on visual, tonal, kinesthetically, dynamic and abstract influences as a result it is the interaction of different disciplinary ways of seeing things. That is why the whole body has to be educated to use the whole spectrum of human capacity. Therefore fundamental principles of the education system have to be changed in order to send the next generation into a better future. In my personal experience, around two years ago when I was in high school, I lost all of my confidence and didn’t know what I have to do. My score were lower than other students in the class.The teachers used to ignore me and treated me as a troublemaker. After finishing some internship in America, I’ve realized that I was not that kind. Peopl e who I had met in America, especially my boss and my co-worker, encourage me to do what I really want to do. And finally I have a confidence that I can do everything if I want to. Good morning. How are you? It's been great, hasn't it? I've been blown away by the whole thing. In fact, I'm leaving. (Laughter)  There have been three themes, haven't there,  running through the conference, which are relevant  to what I want to talk about.One is the extraordinary evidence of human creativity  in all of the presentations that we've had  and in all of the people here. Just the variety of it  and the range of it. The second is that  it's put us in a place where we have no idea what's going to happen,  idea how I have an interest in education —  actually, what I find is everybody has an interest in education. Don't you? I find this very interesting. say you  actually, you're not often at dinner parties, frankly, if you work in education. (Laughter) You're not asked . And you're never asked back, curiously. That's strange to me.But if you are, and you say to somebody,  you know, they say, â€Å"What do you do? †Ã‚  and you say you work in education,  you can see the blood run from their face. They're like,  Ã¢â‚¬Å"Oh my God,† you know, â€Å"Why me? My one night out all week. † (Laughter)  But if you ask about their education,  they pin you to the wall. Because it's one of those things  that goes deep with people, am I right? Like religion, and money and other things. I have a big interest in education, and I think we all do. We have a huge vested interest in it,  partly because it's education that's meant to  take us into this future that we can't grasp.If you think of it, children starting school this year  will be retiring in 2065. Nobody has a clue –despite all the expertise that's been on parade for the past four days —  what the world will look like  in five years' time. And yet we'r e meant  to be educating them for it. So the unpredictability, I think,  is extraordinary. And the third part of this is that  we've all agreed, nonetheless, on the  really extraordinary capacities that children have —  their capacities for innovation. I mean, Sirena last night was a marvel,  wasn't she?Just seeing what she could do. And she's exceptional, but I think she's not, so to speak,  exceptional in the whole of childhood. What you have there is a person of extraordinary dedication  who found a talent. And my contention is,  all kids have tremendous talents. And we squander them, pretty ruthlessly. So I want to talk about education and  I want to talk about creativity. My contention is that  creativity now is as important in education as literacy,  and we should treat it with the same status. (Applause) Thank you. That was it, by the way. left.Well I heard a great story recently — I love telling it —  of a little girl who was in a drawing lesson. She was six  and she was at the back, drawing,  and the teacher said this little girl hardly ever  paid attention, and in this drawing lesson she did. The teacher was fascinated and she went over to her  and she said, â€Å"What are you drawing? †Ã‚  And the girl said, â€Å"I'm drawing a picture of God. †Ã‚  And the teacher said, â€Å"But nobody knows what God looks like. †Ã‚  And the girl said, â€Å"They will in a minute. †Ã‚  (Laughter) When my son was four in England —  actually he was four everywhere, to be honest. Laughter)  If we're being strict about it, wherever he went, he was four that year. He was in the Nativity play. Do you remember the story? No, it was big. It was a big story. Mel Gibson did the sequel. You may have seen it: â€Å"Nativity II. † But James got the part of Joseph,  which we were thrilled about. We considered this to be one of the lead parts. We had the place crammed full of ag ents in T-shirts:  Ã¢â‚¬Å"James Robinson IS Joseph! † (Laughter)He didn't have to speak, but you know the bit  where the three kings come in. They come in bearing gifts,  and they bring gold, frankincense and myrhh.This really happened. We were sitting there  and I think they just went out of sequence,  because we talked to the little boy afterward and we said,  Ã¢â‚¬Å"You OK with that? † And he said, â€Å"Yeah, why? Was that wrong? â€Å"They just switched, that was it. Anyway, the three boys came in —  four-year-olds with tea towels on their heads —  and they put these boxes down,  and the first boy said, â€Å"I bring you gold. †Ã‚  And the second boy said, â€Å"I bring you myrhh. †Ã‚  And the third boy said, â€Å"Frank sent this. † (Laughter) What these things have in common is that kids will take a chance. If they don't know, they'll have a go.Am I right? They're not frightened of being wrong. Now, I don't me an to say that being wrong is the same thing as being creative. What we do know is,  if you're not prepared to be wrong,  you'll never come up with anything original —  if you're not prepared to be wrong. And by the time they get to be adults,  most kids have lost that capacity. They have become frightened of being wrong. way. We  where mistakes  And the result is that we are educating people out of  their creative capacities. Picasso once said this —  he said that all children are born artists. The problem is to remain an artist as we grow up.I believe this passionately,  that we don't grow into creativity,  we grow out of it. Or rather, we get educated out if it. So why is this? I lived in Stratford-on-Avon until about five years ago. In fact, we moved from Stratford to Los Angeles. So you can imagine what a seamless transition that was. Actually, we  just outside Stratford, which is where  Shakespeare's father was born. Are you struck by a ne w thought? I was. You don't think of Shakespeare having a father, do you? Do you? Because you don't think of  Shakespeare being a child, do you? Shakespeare being seven? I never thought of it.I mean, he was  seven at some point. He was in  somebody's English class, wasn't he? How annoying would that be? (Laughter) â€Å"Must try harder. † Being sent to bed by his dad, you know,  to Shakespeare, â€Å"Go to bed, now,†Ã‚  to William Shakespeare, â€Å"and put the pencil down. And stop speaking like that. It's confusing everybody. †Ã‚  (Laughter) Anyway, we moved from Stratford to Los Angeles,  and I just want to say a word about the transition, actually. My son didn't want to come. I've got two kids. He's 21 now; my daughter's 16. He didn't want to come to Los Angeles. He loved it,  but he had a girlfriend in England.This was the love of his life, Sarah. He'd known her for a month. Mind you, they'd had their fourth anniversary,  because it's a long t ime when you're 16. Anyway, he was really upset on the plane,  and he said, â€Å"I'll never find another girl like Sarah. †Ã‚  And we were rather pleased about that, frankly,  because she was the main reason we were leaving the country. (Laughter) But something strikes you when you move to America  and when you travel around the world:  Every education system on earth has the same hierarchy of subjects. Every one. Doesn't matter where you go. You'd think it would be otherwise, but it isn't.At the top are mathematics and languages,  then the humanities, and the bottom are the arts. Everywhere on Earth. And in pretty much every system too,  there's a hierarchy within the arts. Art and music are normally given a higher status in schools  than drama and dance. There isn't an education system on the planet  that teaches dance everyday to children  the way we teach them mathematics. Why? Why not? I think this is rather important. I think math is very important, b ut so is dance. Children dance all the time if they're allowed to, we all do. We all have bodies, don't we? Did I miss a meeting? Laughter) Truthfully, what happens is,  as children grow up, we start to educate them  progressively from the waist up. And then we focus on their heads. And slightly to one side. If you were to visit education, as an alien,  and say â€Å"What's it for, public education? †Ã‚  I think you'd have to conclude — if you look at the output,  who really succeeds by this,  who does everything that they should,  who gets all the brownie points, who are the winners —  I think you'd have to conclude the whole purpose of public education  throughout the world  is to produce university professors. Isn't it?They're the people who come out the top. And I used to be one, so there. (Laughter)  And I like university professors, but you know,  we shouldn't hold them up as the high-water mark of all human achievement. life, another   them. There’s  not all of them, but typically — they live in their heads. They live up there, and slightly to one side. They're disembodied, you know, in a kind of literal way. They look upon their body  as a form of transport for their heads, don't they? meetings. If  by the way, get yourself along to a residential conference  of senior academics,  and pop into the discotheque on the final night. Laughter) And there you will see it — grown men and women  writhing uncontrollably, off the beat,  waiting until it ends so they can go home and write a paper about it. Now our education system is predicated on the idea of academic ability. And there's a reason. The whole system was invented — around the world, there were  no public systems of education, really, before the 19th century. They all came into being  to meet the needs of industrialism. So the hierarchy is rooted on two ideas. Number one, that the most useful subjects for work  are at the top.So you were probably steered benignly away  from things at school when you were a kid, things you liked,  on the grounds that you would  never get a job doing that. Is that right? Don't do music, you're not going to be a musician;  don't do art, you won't be an artist. Benign advice — now, profoundly mistaken. The whole world  is engulfed in a revolution. And the second is academic ability, which has really come to dominate  our view of intelligence,  because the universities designed the system in their image. If you think of it, the whole system  of public education around the world is a protracted process  of university entrance.And the consequence is that many highly talented,  brilliant, creative people think they're not,  because the thing they were good at school  wasn't valued, or was actually stigmatized. And I think we can't afford to go on that way. In the next 30 years, according to UNESCO,  graduating through  combinati on of  technology and its transformation effect on work, and demography  and the huge explosion in population. Suddenly, degrees aren't worth anything. Isn't that true? When I was a student, if you had a degree, you had a job. If you didn't have a job it's because you didn't want one.And I didn't want one, frankly. (Laughter)  But now kids with degrees are often  heading home to carry on playing video games,  because you need an MA where the previous job required a BA,  other. It’s  And it indicates the whole structure of education  is shifting beneath our feet. We need to radically rethink  our view of intelligence. We know three things about intelligence. One, it's diverse. We think about the world in all the ways  that we experience it. We think visually,  we think in sound, we think kinesthetically. We think in abstract terms, we think in movement.Secondly, intelligence is dynamic. If you look at the interactions of a human brain, as we heard  yest erday from a number of presentations,  intelligence is wonderfully interactive. The brain isn't divided into compartments. In fact, creativity — which I define as the process  of having original ideas that have value —  more often than not comes about through the interaction  of different disciplinary ways of seeing things. The brain is intentionally — by the way,  there's a shaft of nerves that joins the two halves of the brain  called the corpus callosum. It's thicker in women.Following off from Helen yesterday, I think  this is probably why women are better at multi-tasking. Because you are, aren't you? There's a raft of research, but I know it from my personal life. If my wife is cooking a meal at home —  which is not often, thankfully. (Laughter)  But you know, she's doing — no, she's good at some things —  but if she's cooking, you know,  she's dealing with people on the phone,  she's talking to the kids, she's painting the ceiling,  she's doing open-heart surgery over here. If I'm cooking, the door is shut, the kids are out,  the phone's on the hook, if she comes in I get annoyed.I say, â€Å"Terry, please, I'm trying to fry an egg in here. Give me a break. † (Laughter)  Actually, you know that old philosophical thing,  if a tree falls in a forest and nobody hears it,  did it happen? Remember that old chestnut? I saw a great t-shirt really recently which said, â€Å"If a man speaks his mind  in a forest, and no woman hears him,  is he still wrong? † (Laughter) And the third thing about intelligence is,  it's distinct. I'm doing a new book at the momentcalled â€Å"Epiphany,† which is based on a series of  interviews with people about how they discovered  their talent.I'm fascinated by how people got to be there. It's really prompted by a conversation I had  with a wonderful woman who maybe most people  have never heard of; she's called Gillian Lynne —  have you heard of her? Some have. She's a choreographer  and everybody knows her work. She did â€Å"Cats† and â€Å"Phantom of the Opera. †Ã‚  She's wonderful. I used to be on the board of the Royal Ballet in England,  as you can see. Anyway, Gillian and I had lunch one day and I said,  Ã¢â‚¬Å"Gillian, how'd you get to be a dancer? † And she said  it was interesting; when she was at school,  she was really hopeless.And the school, in the '30s,  wrote to her parents and said, â€Å"We think  Gillian has a learning disorder. † She couldn't concentrate;  she was fidgeting. I think now they'd say  she had ADHD. Wouldn't you? But this was the 1930s,  and ADHD hadn't been invented at this point. It wasn't an available condition. (Laughter)  People weren't aware they could have that. Anyway, she went to see this specialist. So, this oak-paneled room,  and she was there with her mother,  and she was led and sat on this chair at the end,  and she sat on her hands for 20 minutes while  this man talked to her mother about all  the problems Gillian was having at school.And at the end of it —  because she was disturbing people;  her homework was always late; and so on,  little kid of eight — in the end, the doctor went and sat  next to Gillian and said, â€Å"Gillian,  I've listened to all these things that your mother's  told me, and I need to speak to her privately. †Ã‚  He said, â€Å"Wait here. We'll be back; we won't be very long,†Ã‚  and they went and left her. But as they went out the room, he turned on the radio  that was sitting on his desk. And when they  got out the room, he said to her mother,  Ã¢â‚¬Å"Just stand and watch her. † And the minute they left the room,  she said, she was on her feet, moving to the music.And they watched for a few minutes  and he turned to her mother and said,  Ã¢â‚¬Å"Mrs. Lynne, Gillian isn't sick; s he's a dancer. Take her to a dance school. † I said, â€Å"What happened? †Ã‚  She said, â€Å"She did. I can't tell you how wonderful it was. We walked in this room and it was full of  people like me. People who couldn't sit still. People who had to move to think. † Who had to move to think. They did ballet; they did tap; they did jazz;  they did modern; they did contemporary. She was eventually auditioned for the Royal Ballet School;  she became a soloist; she had a wonderful career  at the Royal Ballet.She eventually graduated  from the Royal Ballet School and  founded her own company — the Gillian Lynne Dance Company —  met Andrew Lloyd Weber. She's been responsible forsome of the most successful musical theater  productions in history; she's given pleasure to millions;  and she's a multi-millionaire. Somebody else  might have put her on medication and told her  to calm down. Now, I think †¦ (Applause) What I think it comes to is this:  Al Gore spoke the other nightabout ecology and the revolution that was triggered by Rachel Carson.I believe our only hope for the future  is to adopt a new conception of human ecology,  one in which we start to reconstitute our conception  of the richness of human capacity. Our education system has mined our minds in the way  that we strip-mine the earth: for a particular commodity. And for the future, it won't serve us. We have to rethink the fundamental principles  on which we're educating our children. There was  a wonderful quote by Jonas Salk, who said, â€Å"If all the insects  were to disappear from the earth,  within 50 years all life on Earth would end.If all human beings disappeared from the earth,  within 50 years all forms of life would flourish. â€Å"And he's right. What TED celebrates is the gift of the human imagination. We have to be careful now that we use this gift  wisely and that we avert some of the scenarios  that w e've talked about. And the only way  we'll do it is by seeing our creative capacities  for the richness they are and seeing  our children for the hope that they are. And our task  is to educate their whole being, so they can face this future. By the way — we may not see this future,  but they will. And our job is to help  them make something of it. Thank you very much.

Julius Caesar And Brutus Character Traits - 1968 Words

Nobility can be a Negative Trait When one thinks of the word noble, they either envision someone from England who is from the Victorian era or somebody who stands tall. Nobility can also mean someone who possesses, or arises from superiority of mind, character, or of ideals and morals. While this definition is not the most popular, it does fit the mold with the character of Brutus from a play by William Shakespeare titled The Tragedy of Julius Caesar. In the beginning of the play, Brutus is close friends with Julius Caesar, even called his ‘guardian angel’. However, Cassius, who is not a fan of Caesar, then approaches Brutus with his feelings toward Caesar (how if he is crowned, Rome will fall) and Brutus thinks over this concern for a due†¦show more content†¦Brutus, on the other hand, believes that if Caesar is who the Romans want to lead them, then Brutus is okay with Caesar leading him as well. Cassius approaches Brutus one day with a concern of this, and Brutus responds: â€Å"If it aught toward the general good,/ Set honor in one eye and death i’ th’ other†(1.1.85-86). Strictly speaking, if Cassius concern is for the public welfare, Brutus will look at the situation without a preference or concern. Or, Brutus is taking himself out of the situation, and by doing so he is thinking for others rather than for himself. Whereas he is stripping away any bias and looking at the situation with eyes that do not see people and what he believes of them, rather that Brutus is looking at the facts and assessing the situation. Brutus is doing this on account that his morals are higher than others are, showing us his noble mindset. Brutus believes that he, as well as everyone else, can detach from a conflict and see the situation as an outsider would rather than being blinded with a personal bias. However, this leads to his downfall because the Romans cannot stay loyal to one side, or one person. The Romans cannot see how this would be for their own good, becau se the Romans believed Caesar to be an epitome of a leader. It is like when somebody finds out their neighbor is a serial killer, and they ‘never saw it coming, they were just so nice!’, because even though they know the truth, they refuse to see thatShow MoreRelated Julius Caesar - A Comparison of Brutus and Cassius Essay1629 Words   |  7 PagesJulius Caesar - A Comparison of Brutus and Cassius      Ã‚  Ã‚   In the play Julius Caesar, written and preformed by William Shakespeare, there are many characters, but two, Brutus and Cassius, stood out. The play begins in Rome where a celebration of Julius Caesars victory over the former ruler of Rome, Pompeii. The victory leads to Caesars betrayal by his jealous companions. 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Shakespeare used symbolism in Caesar, Anthony, Brutus, and Cassius to create a spectrum of characters that makeup the usual candidatesRead More Brutus Character Analysis in Shakespeares Tragedy of Julius Caesar964 Words   |  4 PagesCharacter Analysis: Brutus William Shakespeares play, The Tragedy of Julius Caesar, was mainly based on the assassination of Julius Caesar. The character who was the mastermind behind the assassination was, ironically, Marcus Brutus, a senator and close friend to Julius Caesar. But what would cause a person to kill a close friend? After I examined Brutus relationship towards Caesar, his involvement in the conspiracy and his importance to the plot it all became clear. Brutus had one particularRead MoreWilliam Shakespeare s Julius Caesar1126 Words   |  5 PagesEvery character in Julius Caesar serves a purpose. While some characters are not featured heavily in the main plot, they serve as a means by which the author can illuminate aspects of the main characters, which are important to the plot development and overall depth of the story. Some of the more prominent characters that do this are Calpurnia, Caesar’s wife; Portia, Brutus’ wife; and Lucius, Brutus’ young servant. Lucius highlight s Brutus’ affectionate side, Portia illuminates the issues growingRead MoreJulius Caesar and The Odyssey Comparative Essay700 Words   |  3 PagesJulius Caesar and The Odyssey Comparative Essay Throughout William Shakespeare’s play Julius Caesar and Homer’s epic poem The Odyssey, loyalty is strongly presented as a major motif. In both texts, loyalty is highly valued as one of the most important traits to a person’s character. Not only do the loyal characters receive better fates, but those who are not loyal are punished for the actions, usually through revenge. In Julius Caesar, the characters that remained loyal to Caesar are the few whoRead More Julius Caesar - Tragic Hero Essay1028 Words   |  5 Pages Julius Caesar as a Tragic Hero amp;#9;Julius Caesar is a play written by William Shakespeare during the year 1597. Julius Caesar’s story involves a conspiracy against Julius Caesar, a powerful senator. The play involves a highly respected senator, Brutus, who decides to join the conspiracy to kill Julius Caesar, in the effort to keep democracy intact. Brutus believes that if Julius Caesar is allowed to live, Caesar will take a kingship and turn the government into a monarchy. Brutus, CassiusRead MoreShakespeare’S Tragic Hero . William Shakespeare, â€Å" The1492 Words   |  6 PagesTragedy of Julius Caesar. The Tragedy of Julius Caesar was one of Shakespeare s plays that are still read and studied in today’s schools. Shakespeare got his information on the play from Plutarch’s Lives of the Noble Greeks and Romans translated by Thomas North. In this play one of the main characters is a man named Marcus Brutus. Brutus is one of the main characters in this play. Brutus was greatly admired person in the Roman community and looked highly upon. The Tragedy of Julius Caesar is veryRead More Julius Caesar Essay: The Character of Brutus1227 Words   |  5 PagesThe Character of Brutus in Julius Caesar      Ã‚   â€Å"Et tu Brute?† Caesar’s simple statement sums up Brutus’ round character in the development of The Tragedy of Julius Caesar. Brutus was thought to represent no threat due to his nobility and his loyalty; however, these qualities are precisely why the story is such a catastrophe.   What stemmed from these traits is the last expected outcome.   Caesar’s surprise was so immense, he could only mutter these last few words.   Brutus’ honorable nobility,