The Speakers Importance in Poetry free essay sample

It will be shown how speakers serve a variety of roles in poetry, and can help readers gain a better understanding of universal issues. The speaker in A Man Who Had Fallen Among Thieves, takes on the role as a Good Samaritan for a man in need of help and abandoned by others. The speaker acknowledges society’s unjust acts against a man who lay by the roadside on his back dressed in fifteenthrate ideas (16). The speaker tells of citizens who graze at pause then fired by hypercivic zeal sought newer pastures, and left the weak man to go elsewhere (17). The speaker, the Good Samaritan, rescues the punished man while the other citizens deny assisting the helpless man. While the poem illustrates themes like the importance of doing the right thing despite one’s own desires, the speaker serves as a voice to reiterate the point the poet wants to communicate to the audience. We will write a custom essay sample on The Speakers Importance in Poetry or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Because of the speaker, this poem offers a more of a realistic point of view and a different perspective from the citizens and the helpless man. Using powerful and graphic diction in such lines like of pinkest vomit out of eyes, to describe emotions throughout the poem, the speaker helps to stir up emotions within the reader by offering a vivid first-hand account of the situation (17). Like the speaker in â€Å"A Man Who Had Fallen Among Thieves,† the speaker in The Man He Killed, uses vivid imagery to illustrate his feelings, helps to communicate the writer’s ideas to an audience, and offers a first-hand account of what is occurring in the poem. The speaker talks about his own confusion. He is confused because he cannot understand why the person he has killed is dead. In his state of confusion, the speaker tells of the intimacy between himself and the person he has killed when he mentions the phrases staring face to face (34). In addition, the speaker tells of the hostility between the two men, for they are both firing guns at each other. The speaker says I shot at him as he at me(34). The speaker knows that he would’ve been killed otherwise, and he goes on to say â€Å"and I killed him in his place. I shot him dead because-because he was my foe(34). Here, the speaker shows a conflict between his feelings and actions and he is questioning it. Later in the poem, the speaker says Just so: my foe of course he was; thats clear enough; although,† which shows that he understands that he had to kill his enemy because of the tradition of war (34). He begins to think about what he did when he says he thought hed list, perhaps offhand-like-just as I- was out of work(34). Here, the speaker offers additional insight into reasons why men enlist to fight in war. In this case, the speaker suggests that the man he kills was unemployed just like the speaker was. The reader gets to take another peak at the speaker’s inner turmoil as he mentions You shoot a fellow down Youd treat if met where any bar is, thus concluding that one kills another in war despite the possibility of knowing the person in the past or future (34). All in all, it is as if the reader gets a front row seat to experience the inner chaos the speaker suffers as he tries to fully grasp the concept and tradition of war. The speaker provides a realistic and familiar voice that could be any person during any war era. As a result, the speaker helps bring to life the atrocities of war to readers who may have never experienced it. The speaker in Dulce et Decorum Est, describes a gruesome war scene involving enemies using gas to kill victims. Here, the speaker watches someone die because he didnt wear a gas mask. The speaker offers readers first-hand vivid descriptions of the young men that have become filthy, weary, and helpless when he describes the men as bent double, like old beggars under sacks, knock-kneed, coughing like hags, we cursed though sludge†(27). The speaker paints a picture with his words to illustrate what is happening. In one scene, the speaker shows the men heading towards lodging when he says and toward our distant rest began to trudge then in an instant, gas-shells are dropping and the men must put on their helmets (27). One of the men did not put on his helmet. Through the poet, the speaker uses vivid imagery to describe the man’s death when he says as under a green sea, I saw him drowning(27). The speaker tells an audience my friend, you would not tell with such high zest to children ardent for some desperate glory, meaning that he would not suggest children go to war to become heroes, or die honorably for one’s country, because it is not sweet or fitting to suffocate in gas (27). Obviously he disagrees with the old saying â€Å"Dulce ed decorum est Pro patria mori,† because the speaker refers to dying honorably in war as the the Old Lie (27). Like the speakers in the previous poems mentioned, the speaker of Dulce et Decorum Est, illustrates a moving picture in order to help an audience understand the atrocities of war. Here, the speaker once again serves as a familiar mouthpiece that awakens emotions within the reader. Through the speaker, the writer tells this horrible memory because he is informing future generations not to fight in wars for a false feeling of accomplishment because being killed in war can be in no way heroic, but gruesome. The speakers all have certain aspects in common. One thing they all have in common is reacting under social pressure. In A Man Who Had Fallen Among Thieves, and Dulce et Decorum Est, the speakers both rebel against the social pressure and struggle with society’s often inhumane teachings. In other words, the speakers question universal issues like whether or not to follow the prevailing social code. In The Man He Killed, the speaker struggles with the social pressure to kill, and while he questions what he did, he doesnt try to stop the war. Another similarity is the speakers are all first-hand participants in the action of the poems. For A Man Who Had Fallen Among Thieves, the Good Samaritan speaker sees the citizens ignoring the man who had been robbed and opts to rescue the helpless man. In The Man He Killed, the speaker is â€Å"face to face† with another human being and kills him simply because their countries are at war (34). In Dulce et Decorum Est, the speaker informs future generations and the reader that war is not always heroic and valuable, but it can be cruel, and immoral. In addition to reacting under social pressure, another similarity of the three poems is all the speakers sense the injustices committed, and they all wish they could relive the situations and possibly change the outcomes. For instance, in The Man He Killed, the speaker accepts social pressure as a way of life, and he does this to escape the guilt he is feeling and by taking what some may feel is the easy way out. In Dulce et Decorum Est, and A Man Who Has Fallen Among Thieves, both speakers challenge the crowds to acknowledge injustice and go against social pressures. The speakers throughout these three poems also convey differences. The main difference is how they respond to social pressure. In A Man Who Had Fallen Among Thieves, and in Dulce et Decorum Est, both speakers rebel loudly against the social code. In other words they are more opinionated, and while they arent scared of social pressure, both speakers are aware of the often, brutal social code. In The Man He Killed, the speaker succumbs and accepts the ways of society. While he does question his error, he doesnt do anything rebellious like the other speakers. To conclude, the speaker is crucial in getting the point of the poem across. Although the speaker is often anonymous, the poet uses an insightful, familiar speaker as a tool to impart different points of view, wisdom, or whatever the writer is seeking to tell an audience. The speaker often offers a first-hand experience in order to help evoke feelings within a reader. The speaker is also important because while he or she is not factual, nor omnipresent, the speaker offers a different perspective and helps readers get a better idea of why war is not sweet and fitting, or why it is better to do what is morally just for instance (27). The poet uses the speaker to created irony and tension in the poem. Overall, the speaker is valuable to both the poet and an audience in order to achieve a better understanding of an occurrence, universal issues or any ideas the poet seeks to illustrate to an audience.

Wes Moore Essay Topics

Wes Moore Essay TopicsA decade ago, with the help of some creative revision, I managed to come up with a good copywriting essay topic. The other Wes Moore essay topics are very important for essay writing and guide students on the right path. I believe the other Wes Moore essay topics will provide for the students to excel in the academic world.One of the first Wes Moore essay topics I would like to highlight is W.W. Moore's essay, 'A Day at the Races'. 'A Day at the Races' was written in 1934 by Dr. Moore in response to a serious comment made by an athletic director that questioned the ethics of racing. 'A Day at the Races' is one of the famous Wes Moore essay topics.It is not always easy to write about someone who is a real professor. Not everybody is familiar with these types of professors because they tend to be a little bit on the boring side. In this type of essay topic, writing the topic may be more difficult as it has to be a fair description of the professor as well as how t hey have shaped his career and impacted the other students. In writing this type of essay, students should be able to write about their own professors from their own perspective. If it is done properly, the student will be able to give a fair and accurate description of the professor's skills.Another Wes Moore essay topic would be the fictional character 'The Other Wes Moore'. In this type of essay, the writer must be aware of the writer's writing style in order to come up with the appropriate and true account of the character. The essay should also follow a logical sequence and be logical and less verbose as some of the students could get annoyed with the over-complicated way of writing.Other Wes Moore essay topics include Jim Morrison's 'Art is a Pervasive Thing', U2's 'The Unforgettable Fire', and The Doors' 'L.A Dreamin'.' My favorite Wes Moore essay topic would be 'Woody Guthrie's Fourteen Channels'. This essay has everything you would expect from a Wes Moore essay topic, inclu ding the ability to create a strong conclusion.Many of the Wes Moore essay topics have important messages about the purpose of teaching. For example, in some essays on the topic of school, students are to show a certain respect towards the teacher because he/she is the one who has taken the time to develop an essay topic.Many Wes Moore essay topics also discuss the differences between truth and fiction. There is nothing wrong with using the two kinds of content as long as the essay writer keeps it light and simple. As long as the essay content is interesting and helpful, then the other Wes Moore essay topics are actually quite useful.There are many Wes Moore essay topics that are very relevant and can really help a student when it comes to essay writing. But then again, if you are not comfortable with writing the other Wes Moore essay topics, there are plenty of online writers who can help you out in the writing process.

Living as non

Introduction Living as a non- English speaking artist in an English speaking country is a fascinating challenge and an advantage to a nation since aliens in a country are play pivotal role in promoting cultural activities as well as innovation. Empirical and past comparative studies indicate that in the history of civilization and human culture, aliens in any given country have always been known as one major source of social vibrancy since they share local traditions with the local people alongside passing their own cultural values to the local population.Advertising We will write a custom research paper sample on Living as non-speaking English artist in English speaking country specifically for you for only $16.05 $11/page Learn More In cases such aliens are quite intimate with the local population. Then it is indefinite that a lot of unprecedented cultural exchange will indeed take place leading to a positive outcome. Brandellero indicates that due to the uniqueness of strangers or immigrants, local milieus dealing with production have developed keen interest of attracting and retaining them for purposes of enhancing growth and sustaining their economies (10). As this paper analyses, artists are important personalities in any cultural economy bearing in mind that they act as forerunners in harnessing and generating capabilities through their own artistic works. By so doing, they directly contribute towards economic growth of the respective countries they are living in. It is also against this scope that this paper explores non-English speaking artists living in English speaking countries, their impact on the economy and some of the challenges facing them. Understanding cultural and ethnic diversity In her publication, Brandellero argues that cultural diversity and its link to the status of an outsider is a factor that creates tension, but has a positive effect towards innovative potential (11). While cultural diversity has myriad of similarities to ethnic diversity, it is prudent to mention that the former is a key driver and a potential source of innovation, creativity and building positive relationships. The latter are essential in enhancing mutual competitiveness. In their cultural theory, Schwartz and Thompson elaborate that a new entrant into a foreign country may act as an intersection between the local community and outside world largely due to multiple ethnic and spatial ties. To emphasize on this, it is worth noting that contemporary immigrants, English or non-English speakers, are contributing immensely in strengthening of advanced urban economies by enhancing competitive advantages. Effective understanding of cultural and ethnic differences have become some of the most fundamental requirements which businesses and immigrant artists need today since it assists them in building relationships by fostering understanding of the cultural values of members of different cultures alongside interpreting of their behaviors and actions. The efficient performance of a non-English speaking artist as well as his or her participation in the growth of the economy of a host English speaking nation is to a larger extent, influenced by cultural differences experienced through complex interaction between the environment and individuals. Brandellero makes a significant contribution related to this argument by pointing out that an understanding of cultural diversity and ethnicity easily affect the degree of satisfaction, motivation results and behavior of individuals (35).Advertising Looking for research paper on social sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More His argument concurs with Hofstede’s model and networking theory that demonstrate how cultural differences impact on the dimensions of an organization in terms of networking, gaining social capital, relationship marketing and development of human resource (Brandellero 54). Add itionally, the differences also directly impact on intra organizational communication, problem solving capabilities and creativity levels. An artist who is living in the contemporary cultural economy has a greater advantage since the modern global economy has emerged as a thriving market offering colossal employment opportunities in many cities and countries globally. Brandellero posits that the cultural economy offer potential support for artists of all nation whether English speaking or non- English speaking, and massive opportunities to generate artistic capabilities for productive purposes (20). This is made possible by the spatial manifestations created by the cultural economy which play a pivotal role of attracting substantial and significant attention which is an important playing field in the revolution of culture in a new economy. Living as a non-English speaking artist Living as a non-English artist in another country as opposed to one’s own native land is a major c hallenge brought about by the diverse changes that are mainly structural, of global proportion and that continuously alter and impact on experiences. Research studies clearly indicate that living and working in a foreign country may affect a worker’s private realms and social life due to issues such as industrial capitalism and rational forms. Scholars on modern sociology point out that a lot of transformations involving cultural, political, economic and social processes happen differently in diverse nations and result in the emergence, development and flourishing of new structures of social life that may affect an immigrant worker. Brandellero argues that non-English speakers migrating to other English speaking nations in order to work ought to understand the culture of the country they are going to live in bearing in mind that this will shape how they relate with the locals and enhance their business performance (14). Needless to say, cultural understanding in a foreign lan d is of great essence if an artist is to reap the optimum benefits out of his or he artistic work. It is also prudent to underscore the fact that should cultural differences between artists and locals clash at any given point, then the expected benefits either to the artist or host country will be null and void.Advertising We will write a custom research paper sample on Living as non-speaking English artist in English speaking country specifically for you for only $16.05 $11/page Learn More Importance of effective understanding of cultural differences by non-English speaking artists National culture is a phenomenon that distinguishes one group from another. Therefore, different nations have unique cultures that affect or largely determine how they run their affairs. A country may express its culture through conceptual elements such as arts, rituals or beliefs. For non-English speaking artists living in English speaking countries, it is definite that the y indeed encounter myriad of challenges brought about by national culture. Besides, when employed, they serve, co-work and interact with workers and customers from different cultural backgrounds who manifest various gender, ethnic, regional and national beliefs. This calls for an effective understanding of the local or national culture of a host nation and development of coping strategies in order to be productive. Most importantly, the barrier posed by language differences may not be eluded in most cases since an artist may not be a multilingual speaker. According to Brandellero, for individuals or companies to perform successful business ventures in countries different from their own, they must have an effective understanding of different cultures (12). Besides, they must apply knowledge in management as tactics which are important for success. It is imperative to mention that non-English speaking artists have to be flexible and keep changing their strategies to meet the needs and challenges a new cultural environment presents. Those intending to innovate or invest in the cultural economy must incorporate knowledge in management with the strategies they have devised. With globalization taking rapidly taking effect, these artists must come up with ways to overcome organizational and national cultures and the diverse challenges posed by the same. Using Hofstede’s model, it is important to note that special cultures of diverse nations are based on different independent dimensions that include short term or long term orientation, uncertainty avoidance, masculinity or femininity, individualism or collectivism and power distance (Brandellero 62). Understanding of the different independent dimensions will greatly assist a non-English speaking artist to predict how societies or nations that host them culturally operate. It is imperative to note that the culture of a given society is the sum of its assumptions, beliefs and values. The man-made part of the cult ure of a society is influenced by the perceptions individuals have of their social environment. As such, a prescribed behavior of a particular society is shaped by those shared perceptions (Brandellero 43). An artist may not be able to directly observe culture, but can easily infer it from verbal exchanges and daily societal activities.Advertising Looking for research paper on social sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More Knowledge of different cultures enhances networking According to Pettigrew Whipp’s model of dimensions of change, effective understanding of different cultures assists business owner to develop their social networking behaviors (Brandellero 18). This argument clearly indicates that a non-English speaking artist who intends to succeed in his or her operations in an English speaking host country must possess or develop positive patterns of behavior necessary for social networking. Indeed, many businesses today are operated with an intention of growth and maximization of profits. Positive networking behaviors should be enhanced by the non-English speaking artists as will not only aid them to effectively understand the cultures of the environment they are situated and build good relationship, but will also assist them to acquire scarce resources for business growth. The effective understanding of factors such as masculinity and femininity cultures in a host country will enhance a positive networking behavior that will improve an artist’s relationship with the different cultures and aid it in obtaining external resources necessary to drive up arts business (Brandellero 19). Brandellero supports the above notion and points out that effective understanding of different ethnic cultures of a host nation is a means of success for business owners who have developed networking skills (35). In fact, it is a common denominator underlying a business agenda and is suitable for establishing a higher networking behavior. Mourkogiannis contributes to Brandellero’s argument by indicating in his moral purpose model that entrepreneurs, and in this case non-English speaking artists, should effectively and efficiently include social spheres in expanding their networks with a bid to develop a competitive advantage in a host nation (Brandellero 20). An artist can achieve this by raising his or her social status via vertical social mobility and learning the local la nguage. Additionally, studies have indicated that effective understanding of different cultures by a business creates for it a dyadic and interconnected relationship that has diverse ties such as influence, exchange and information. It is imperative to note that the aforementioned ties are part of a business’ assets that legitimizes the business, enables it to access resources and provides it with information. In agreement, different scholars have used interactive perspective to link cultural and economic resources to economic opportunity structure in analyzing the effectiveness of businesses understanding diverse cultures. According to them different ethnic groups, depending on the structure of economic opportunities, brings income to a business. From an interactive perspective, Brandellero points out that effective understanding of cultures helps in distribution of resources through built relationships (42). Different societies vary in terms of status, power and class. As s uch a non-English speaking artist in an English speaking host country will be supplied with capital from ethnic networks depending on social relationships and ties built on social obligation and trust. It is imperative to note that customer relationship and ties with a business depend on a cultural enclave the business is in. Knowledge of culture and relationship marketing According to neoclassical microeconomic theory, relationship marketing is an important marketing activity that businesses having their operations in different countries carry out for successful establishment and sustenance of relational exchanges (Brandellero 32). An artist in a foreign nation can create a long-term relationship between his business and individuals or groups within a particular host culture in a relational market. Neoclassical microeconomic theory presents a transactional school of thought that indicates that effective understanding of different cultures by a business will assists it in developing relational exchanges with the locals. Consequently, this will aid it in the maximization of profits if it is found in a competitive market. Additionally, an artist living in an English speaking host country can develop exchanges with the locals and demonstrate rational behavior that shows a deep understanding of diverse cultures. Consequently, this will cause an artist to fashion his or her products to meet the cultural demands of the host country thereby making the artist to become a utility maximizer and a price taker. Statistical literature revealing imbalance in art and theater Past statistical research evidences have indicated that receive neglect in some countries. For instance, a report carried out in the nineties indicated that the Australian media failed to show a reflection of the diversity of the Australian people. Advertisement pictures and other programs conspicuously made exclusions to cultures that are not English speaking while portrayals in comedy only showed stere otypical images of the non-English speaking people. Current statistics on non-English speaking representation in the media have shown estimations that slightly less than two percent of roles in the acting industry, especially in regards to mainstream drama in television, were directly played by other ethnic communities of Australia and the aboriginals (Bertone, Keating Mullaly 30), an indication that the level of participation of first generation Australians of the non-English speaking cultures is extremely low. This indicates that there is only a small amount of cultural recognition of the non-English speaking Australians in the acting industry. Such low levels of recognition show that either the acting industry is ignorant of the non-English speaking Australians or simply their willingness in participation is relatively low. Further reports indicated that in any given drama shown on the mainstream Australian televisions, out of the two percent non-English speaking actors, thirty five percent were Australians while the rest were a collection of all other cultures that are not English speaking. Such figures have been continually used in debates regarding the participation of such low numbers. Authors have argued that such figures represent a â€Å"pitifully† low when put into comparison with the more than one third of the Australian origin. More arguments have indicated that portrayal of numbers in the media industry is a very vital indicator of commitment and participation in arts. In cultural societies with many cultures, it is obvious that there are also talented individuals in all cultures. They are thus expected to perform specific duties as their talents dictate. In examination of the Australian culture, such low numbers of representation of other cultures in the theatre industry raise serious concerns about consideration of other cultures in Australian theatre. Being a non-English speaking artist in such a country stands a limited chance of pene tration in the theatre industry given the low figures shown in previous reports. Other measuring dimensions Bertone, Keating Mullaly (30) argue that it is not impossible to take measurements in regards to non-English speaking cultures, especially the first and the second generations, participation in the arts industry. They posit that ABS conducts census with details of birth place, employment and occupation. But there is omission of such cultures such as the Aborigines. With this consideration, they continue to argue that a report published in the mid nineties, indicated that there were only ninety five actors of the first generation out of the total 1506. This represented a mere six percent of the total actors in the acting industry, indicating a slight percentage of first generation participation of non-English speakers. These figures, they argue, represent only small fraction of numbers of what would be expected in the theatre industry. The second generation, with one Australia n parent composed of eleven percent. The English speaking of Australian origin comprised of more than sixty four percent of the total actors in theatre while those from English speaking countries comprised of the remaining eight percent. This still shows that consideration of non-English speaking people in Australian theatre industry was still low as reflected in numbers. The use of numbers has been greatly disputed as a general concept of determination of participation of non-English speaking people in the Australian theatre and thus new modes have been developed. Consideration of demographics and economic realities of those involved in the theatre industry has been adopted as a new approach to determination of participation. By consideration of demographics, another report published showed great diversities in regional representations. The report published by ASB showed that participation of people from outside Australia comprised of only thirteen percent of the total workforce. O ut of these, approximately six percent are from Europe and the USSR. Approximately five percent are from South East, North East and Southern Asia regions. The Oceania region is represented by only a fraction slightly less than one percent. Africa closes as the last in representation with only zero point five percent in the theatre industry. This is a clear indication that regions of origin play a role in determination of participation in the theatre industry (Bertone, Keating Mullaly 38). Implications Such statistical evidences provided above have not been directly explained. The cause of the presence of such statistical evidence is yet to be determined. But with surety, there seemed no suggestion or presence of literature that lack of interest in the non-English speaking population was the major cause of such low numbers in theatre participation. There is an attributed presence of attitudes and barriers resulting from the involved institutes. According to new evidences acquired by the ESB, there is a strong consideration of the view that opportunities available for non-English speaking Australians of the first generation were relative few compared to English speaking ones. This view, coupled with the previous fact of causal indicates that the non-English speaking people are marginalized in the Australian theatre. Given that they have not failed to show interest in theatre and acting, explanation of such numbers raise serious concerns. Determination of real cause of presence in theatre industry is yet to be achieved. Such under-representations may be considered invisible within public domain. Since research has revealed that there is a problem with cultural representations, alternation of the situation has failed to commence. Consequently, there has been automatic misrepresentation as multicultural societies are concerned. This misrepresentation is sending a wrong signal of exclusion to the world with an indication of non-belongingness in the mainstream theat re industry. This thus implies that non- English speaking people are considered stereotypes and thus considered suitable for low and more casual positions such as â€Å"Taxi driver, cook and Greengrocer† (Bertone, Keating Mullaly 76). Problem of funding It has also been noted that non-English speaking people undergo problems of funding in areas they participate, especially in regards to art. Bertone, Keating and Mullaly (78) continue to posit that the Non-English speaking in Australia especially the first generation seem to dominate in areas which are less funded in theatre than areas with well funded programs. These areas include youth theatre groups, ethno-specific companies and theatres that are considered to be communal (Bertone, Keating Mullaly 76). As a matter of fact, funding would be much appreciated especially in line with acquiring necessary knowledge needed either to fund their investments or acquire higher levels of education to support their works of art. These areas are not fully commercial and their contents are not of great influence in the media as mainstream contents are. As a result, they do not receive much attention from across English speaking Australians and are thus considered less competitive; hence the presence of a majority of non-English speaking groups. Due to this kind of attraction, there seems to be shunning from mainstream in regard to ethno-specific groups in Australia. As such, no commercial attachment is given. On the proportionality of funding, there seems to be a disproportional approach to the situation. As revealed from interviews, literature and available evidence from statistics, there is great bias in theatre and art funding from sponsoring bodies. Although there are steps that have been taken to contain the situation, the disparities have not been eliminated. With the creation of funding workshops and organization of church bodies to sponsor art in Australia, equal funding has not yet been achieved. The nati onal State government has also shown concern to lack of funding in multicultural art. As a result, it has shown great devotion by commitment through a creation of a funding program aimed at funding multicultural art in Australia (Bertone, Keating Mullaly 58). Despite these efforts, mainstream related theatrical organizations continue to dominate attraction of funding from willing bodies (Bertone, Keating Mullaly 62). This has been associated with related profits and achieved from productions related to mainstream. Sponsors have thus put more in mainstream with a view to regain or sell their image to the public. Project related events have increasingly dominated the mainstream art industry due to organizational perspective. Barriers to multicultural art In most countries with multicultural practices, there is always the problem of balance. In Australia, there seems to be a problem as regards this balance of English speaking and non-English speaking due to several barriers. To begin with, the domination of English cultures and traditions continue to alienate content related to non-English speaking cultures. Secondly, there is an observed lack of willingness as far as theatrical art is concerned. Attribution of class boundaries have locked out interest of multicultural participation in art. For instance, non-English speaking people are considered working class and thus thought as unsuitable for creation of artistic content suitable for mainstream art industry in Australia (Bertone, Keating Mullaly 35). Thirdly, there are discrimination related implications in auditioning processes whereby individuals are given content in a complex language. During funding applications, there is a problem with the application process whereby there is need for clarification of nationality and whether one is English speaking or not. These are aimed at eliminating non-English speakers from English speakers as theatre and art are concerned. Other problems such as market size and un observable risk taking in the industry for non-English speaking additionally added to the problem of limited numbers of non-English speakers in art and theatre. Conservatism has also been identified as one of the leading problems due to the fact that theatre audiences have been thought to be conservative and thus unlikely to accept new content, different from original English. Philosophical perspectives There have been diverse views in regards to the multicultural imbalance in art as depicted in Australia. Many philosophers have argued under the perspectives of social just, indicating humanistic approach to the situation. They claim that recognition of different cultures is imperative in a multicultural society. This creates a society that embraces diversity and respect for all human beings. They have however noted that, success in this regard needs careful planning and production of competent content (Bertone, Keating Mullaly 50). From the dimension of laizze fair, arguments such as industrial self-regulation of art and theatre industry should prevail without integration or intervention of external bodies. In either case, there has been proposition of recognition of multicultural practices in a society that has minority cultures that accept majority culture content. Conclusion It is evident from the discussion that there is marginalization of non-English speakers as artists in English speaking nations, for example, as apparent in Australia. Of great concern are those who do not understand English language for purposes of understanding the local culture. Although the claims have been arrived at from statistical approach, demographical and economic approaches have also shown correlation to supportive evidences. The obvious disparities have been attributed to several problems faced in art and theatre industry such as problems of funding, lack of will, discrimination and conservatism. Light from philosophical perspectives have raised attention to the situation. As argued from a social justice dimension, recognition of multicultural environment is important in fostering national unity and achievement of human respect. In most cases, the challenge posed by traditional and cultural balance has been noted as a growing challenge that needs t o be addressed for the sake of assisting artists who may be disadvantage by language barrier. As already mentioned, artists who are non-English speakers may be alienated by the dominant English cultures and works of art that may be dominant compare to those of non-English speakers. Although both art contents may be relatively similar, it is definite that non-English speakers who practice various works of art may be largely disadvantaged in one way or another. In terms of theatrical art, there seems to be lack of cultural willingness seems to be dominant in most English speaking nations bearing in mind that cultural differences may pose real challenge to non-English speakers. On a final note, it is prudent t o mention that societies differ a lot in terms of class, power and class. While these variations may be welcome in terms of diversity in generating resources both for native and non-English speakers, it is prudent to mention that ethnic differences may adversely play a negative role in alienating non-English speakers. Various factors play unique roles but of great importance are the role played by language in promoting cultural harmony. From the philosophical point of view, industrial self regulation of both art and theatre industry ought to take place with proper regulation of the industry by relevant bodies. There are doubts that regulation of artistic works may no be balanced or uniform across the board. As a matter of fact, those who may suffer in this situation are the aliens who are non-English speakers. It is indeed necessary to recognize multicultural practices among different artists from various backgrounds. Works Cited Bertone, Santina, Keating, Clare Mullaly, Jenny. The Taxi driver, the Cook and the Greengrocer: The representation of non-English speaking background people in theatre, film and television. Melbourne: The Australia Council, 2006. Print. Brandellero, Amanda. Crossing cultural borders? Migrants and ethnic diversity in the cultural industries. London: European Cultural Foundations, 2007. Print. This research paper on Living as non-speaking English artist in English speaking country was written and submitted by user Vivid H0rse to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.