Crucible final

            The events that take place in the Crucible are an example of recurring themes that happen all throughout the course of history. Fear is a part of human nature, and it has defined circumstances in the past and shaped our future. One of the main fears used to trick or persuade people into following orders or going against their moral codes is fear of God and the Devil. This is illustrated in the Crucible, where good people are turned “evil” because of hysteria. What may start out as an innocent prank or joke can quickly cause a full-scale uproar, just due to the responses of people. The Puritans in the Crucible turn into murderers because of their fear of change and Satan. Many of the characters who accused other people of being witches did not even know why they were doing so or how the entire trial got started, but the fear of one person turned into the feverish craze of dozens. This is shown when Abigail is talking to the bird she is pretending is Mary Warren, and the other girls chime in about it. Though it is not real, and Abigail just created it to get revenge on Mary Warren for blackening her name, her false show of fear leaves the other girls afraid as well. Fear has a ripple effect; though the smallest disruption on the surface of the water can cause it, the aftermath and hysteria can turn into a shaking of the entire body of water.

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Act 3 Response

Act 3 of the Crucible is the climax of the story.  Act 3 is full of dramatic and situational irony- dramatic in that Elizabeth lies about her husband’s affair because she doesn’t know Proctor already confessed, and situational because it defies the usual good vs. evil and light vs. dark battle. It becomes obvious to the reader that John Proctor is the “good guy”- while moral wise he is anything but. The prosecutors are seen as evil, while they claim to be working for God to rid the world of sin. It is hard to label the antagonist and protagonist because of the motives. Most of the people in Salem who are accusing people of being witches truly believe that they are doing good and helping people, even though the reader can obviously tell that they are committing a crime. Meanwhile, John Proctor, who is trying to exonerate the accused, is an adulterer and unfaithful man. Both parties have a paradoxical double standard to their motives.

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Crucible Act 2 Response

      Arthur Miller's own life as a suspected Communist is reflected greatly in Act 2 or the Crucible. During the time that he wrote the book, he was blacklisted and ostracized, and he is reflecting on his own inner feelings through the struggles of those trying to prove the women innocent. Judge Danforth and Parris are using blatant McCarthyism to convict the "witches" in Salem, a technique that might have also been enlisted on Miller himself. While the Crucible is a true story, characters such as Abigail and Parris seem to be very similar to people in Arthur Miller's experiences during the Cold War, and the reason the book is so realistic is because Arthur draws the malice of the "bad guys" from people he knew that accused him of supporting the Soviet Union. The Crucible was a way for Miller to express his anger and reproach at the U.S. government for treating him like a criminal, though he did nothing.

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ALL MA BIB!!!111***!818188**!*!*!**!*

1. Morrison, Hugh. Louis Sullivan: prophet of modern architecture. New York: Museum of Modern Art and W.W. Norton & Co., 1935. Print.
Biography and record of Louis Sullivan's life and works

2. Twombly, Robert C., and Narciso G. Menocal. Louis Sullivan: the poetry of architecture. New York: W.W. Norton, 2000. Print.
The art and structure of Sullivan's designs

3. Sullivan, Louis H., and Robert C. Twombly. Louis Sullivan: the public papers. Chicago: University of Chicago Press, 1988. Print.
All of Louis Sullivan's released papers and interviews

4. Paul, Sherman. Louis Sullivan, an architect in American thought.. Englewood Cliffs, N.J.: Prentice-Hall, 1962. Print.
History of Sullivan's innovations

5. Hoffmann, Donald. Frank Lloyd Wright, Louis Sullivan, and the skyscraper. Mineola, N.Y.: Dover Publications, 1998. Print.
The development of the skyscraper

6. "Louis Sullivan: Louis Sullivan." Louis Sullivan: The Struggle for American Architecture. N.p., n.d. Web. 4 Oct. 2012. <http://louissullivanfilm.com/sullivan/>. 
Biography of Louis Sullivan and short videos on his work

7. "American Experience | Chicago: City of the Century | People & Events." PBS: Public Broadcasting Service. N.p., n.d. Web. 4 Oct. 2012. <http://www.pbs.org/wgbh/amex/chicago/peopleevents/p_sullivan.html>
Information about Sullivan's designs/buildings

8. "Louis Sullivan." MIT - Massachusetts Institute of Technology. N.p., n.d. Web. 4 Oct. 2012. <http://web.mit.edu/museum/chicago/sullivan.html>
Louis Sullivan's building history and relevance 

9. Colquhoun, Alan. Modern architecture. Oxford: Oxford University Press, 2002. Print.
Sullivan & the Chicago School

10. Larson, George A., and Jay Pridmore.Chicago architecture and design. New York: H.N. Abrams, 1993. Print.
Chicago School and Sullivan's impact on Chicago's architecture

11. "Louis Sullivan." Prairie Styles - An Online Museum of Prairie Style Architecture. N.p., n.d. Web. 11 Oct. 2012. <http://www.prairiestyles.com/lsullivan.ht
Sullivan's life, architectural achievements, and decline.

12. "Louis Sullivan Buildings Extant in Chicago | The Art Institute of Chicago."The Art Institute of Chicago. N.p., n.d. Web. 11 Oct. 2012. <http://www.artic.edu/research/louis-sullivan-buildings-extant-chicago>.
List of buildings Louis Sullivan designed

13.Siry, Joseph. Carson Pirie Scott, Louis Sullivan and the Chicago department store. Paperback ed. Chicago: The University of Chicago Press, 2012. Print.
The making of and history of the Carson Pirie Scott building

14 Michael J. Lewis
The Art Bulletin
Vol. 87, No. 3 (Sep., 2005), pp. 546-548
Published by: College Art Association
Article Stable URL:http://www.jstor.org/stable/25067198
Article on the Auditorium Building

15. Appelbaum, Stanley. The Chicago World's Fair of 1893: a photographic record, photos from the collections of the Avery Library of Columbia University and the Chicago Historical Society. New York: Dover Publications, 1980. Print.
History of Chicago World's Fair (transportation building)

16. "Auditorium Building." Encyclopedia of Chicago. N.p., n.d. Web. 11 Oct. 2012. <http://www.encyclopedia.chicagohistory.
Excerpt on Auditorium Building

17.Korom, Joseph J.. The American skyscraper, 1850-1940: a celebration of height. Boston: Branden Books, 2008. Print.
History of skyscrapers

18.Sullivan, Louis H.. Kindergarten chats and other writings. New York: Dover Publications, 1979. Print.
Sullivan's own writings 

19. Sullivan, Louis H.. The autobiography of an idea. New York: Dover Publications, 1956. Print.
Louis Sullivan's thoughts on his buildings

20. "Carson Pirie Scott & Co.." Encyclopedia of Chicago. N.p., n.d. Web. 11 Oct. 2012. <http://www.encyclopedia.chicagohistory.org/pages/2586.html>.
Information about Carson Pirie Scott

21. Thompson, Emily Ann. The soundscape of modernity: architectural acoustics and the culture of listening in America, 1900-1933. Cambridge, Mass.: MIT Press, 2002. Print.
Explains the acoustics of buildings and various auditoriums

22.Douglas, George H.. Skyscrapers: a social history of the very tall building in America. Jefferson, NC [u.a.: McFarland, 1996. Print.

History of skyscrapers

23.Condit, Carl W.. The Chicago school of architecture; a history of commercial and public building in the Chicago area, 1875-1925. Chicago: University of Chicago Press, 1964. Print.
Personal achievements of the Chicago School

24.Twombly, Robert C.. Frank Lloyd Wright, his life and his architecture. New York: Wiley, 1979. Print.
Biography of Frank Lloyd Wright

25.Secrest, Meryle. Frank Lloyd Wright. New York: Knopf, 1992. Print.
Frank Lloyd Wright's life 

26.Miller, Ross. The great Chicago fire. Urbana: University of Illinois Press, 2000. Print.
History of the Great Chicago Fire

27. Kamin, Blair. Why architecture matters: lessons from Chicago. Chicago: University of Chicago Press, 2001. Print.
History of Chicago Architecture 

28. Gorman, Thomas J.. Architecture in detail: Chicago.. New York: PRC Pub.;, 2003. Print.
Chicago's innovations in architecture 

COMPLETE NOTECARDS!!11111~*~**~*~*~**~

1.      Louis Henry Sullivan was born in Massachusetts in 1856. When he was 18, he went to MIT for college, before heading to the Ecole de Beaux-Arts in Paris a few years later. Sullivan was famous for his "inventing" of the skyscraper- instead of building things squat and short, he focused on length and height. His popularization of steel frames, or skeletons, of buildings led to the massive amount of skyscrapers in Chicago today. Sullivan believed in aesthetic purpose just as much as practicability, and liked to use materials such as terracotta to design intricate patterns on the outside of buildings, as exhibited in many of his works. (8)

2.   Sullivan was a part of one of the first architectural programs in the country at MIT. Sullivan was very intrigued by Renaissance artwork, and based many of his ornaments on it. When Louis moved to Chicago, he worked with architect William Le Baron Jenney. Once his education was complete, Sullivan began studying engineering. After the Chicago Fire, when architects were in high demand, Sullivan began his more famous work. He was known for saying "Form should follow function." (7)

3.    Louis Sullivan's career started booming when he began working with Dankmar Adler. The pair mentored and employed Frank Lloyd Wright (who would soon become one of the most famous architects in history). Adler and Sullivan's most famous creation was the Auditorium Building- a theater/performance hall that was expected to be the best in the country. When it was finished, the Auditorium Building became the most famous and expensive building in the entire city. (7)

4.    Louis Sullivan came up with the idea of synthesizing heavy masonry with uniform structure. The Wainwright Building is a famous building that Sullivan co-created. The Wainwright building was one of the most famous buildings in the country at the time, built in St. Louis in 1981. The ten-story brick building was the one of the first skyscrapers in the world at the time. While looking somewhat out of place at the time, it became very famous. Sullivan's romanticism combined with Adler's pragmatic approach to building created this masterpiece, along with many others. (9)

5.   Frank Lloyd Wright was a dedicated student and worker for Sullivan. Wright got his architectural start whilst working for Sullivan and Adler's firm, and learned many techniques from them. Sullivan thought that looks were very important for his buildings. He thought that buildings should be beautiful as well as functional. He disliked ugly, drab and boxy buildings, and instead focused on elongating the buildings. Many tall buildings at the time were square and ugly, and Sullivan worked on making them more like the skyscrapers we see today. (10)

6.     After Sullivan's most famous buildings such as the Chicago Stock Exchange and the Auditorium building were built, he started his decline as a major architect. When Adler had left architecture, and Frank Lloyd Wright began his solo career, Louis Sullivan worked by himself for the next fifteen years, starting out by building great and nationally known buildings like the Carson Scott Building, but after a while he started on smaller projects. While he still had a league of workers and acquaintances, Sullivan and Adler worked extremely well together and created masterpieces. After a few more years, Sullivan was mostly designing banks and other businesses. (11)

7. After Sullivan stopped building, he fell into massive debt and poverty. He moved out of his office and often relied on money borrowed from friends as he grew older. Sullivan developed many maladies: his heart and kidneys were deteriorating and he died in 1924. Sullivan is now buried in Graceland Cemetery, a place that he once designed tombs for. (11)

8.  Dankmar Adler was one of Sullivan's most trusted colleagues and close friends. Adler's pragmatic approach matched with Sullivan's love for beauty and art created many of the country's most famous buildings. Though Adler had more experience in designing than Sullivan, Dankmar and Sullivan considered themselves equals. Dankmar Adler started the firm between him and Sullivan. Their main competition was a firm between John Root and Daniel Burnham, renowned architects who helped design the rookery. (5)

9.  The Auditorium Building was a architectural revolution at the time it was built. Taking up half of a block, it was the biggest opera house in the world. The building was heavy and bold, comprised of brick and iron with much ornamentation. This was the building that skyrocketed Sullivan to fame. While undeniably solid looking on the outside, the inside was lavishly decorated.  (14)

10. The Carson Pirie Scott building was one of Sullivan's greatest accomplishments as an architect. Known as one of the last famous building's designed in his career. The huge department store was originally for Schlesinger and Mayer, however once the building was finished they fell into debt and Carson Pirie Scott bought the landmark almost immediately. This was one of the last buildings Sullivan designed before retiring. The Carson Pirie Scott building was built in the late 1800's. (13)

11. Another one of Louis Sullivan's more famous buildings is the Transportation Building from the Chicago World's Fair in 1893. Perhaps most well known for it's gold-leaf embossed door, the Transportation Building was one of Sullivan's greatest accomplishments. The Transportation Building showcased many different types of trains. While Sullivan was still working with Adler at the time, the latter did not have much part in the design. The Transportation Building was aptly built on the lagoon. (15)

12. Sullivan's creation of the Transportation Building earned him some criticism from fellow architects. Many of his colleagues said that the structure was too heavily decorated, and the architecture did not fit in with the other buildings in the White City. Despite the mixed reviews, the building earned many awards for it's decor. (15)

13. During Sullivan's decline, he designed banks outside Chicago.  He made the outsides simple and homely, and focused on turning the inside into a haven for the customers and tellers. At the time, banks were solid and strong, made of heavy materials such as marble, but Sullivan chose a different strategy. He fired clay in a way that morphed it's color and texture, and used the resulting bricks to create patterns. Even through the end of his career, Louis Sullivan still maintained his artistic views on architecture. (2)

14. Sullivan and Adler designed the Chicago Stock Exchange building in 1983. The palace-like structure had 13 floors and was over 150 feet tall. The building was destined to be one of Chicago's most well known landmarks, and once completed it did not disappoint. The Stock Exchange building resided on LaSalle street and Washington Street, and was made of terracotta, bricks, and limestone. The steel structure was a classic of the team, and set an example for skyscrapers to come. (17)

15. Sullivan viewed himself as a poet and an artist. Along with designing over 100 buildings, he liked to write prose and poetry. During his career, he also wrote an autobiography and a listing of his personal experiences in architecture. Sullivan's parents were of Irish and French heritage, and Sullivan was raised in New England by his grandparents. (19)

16.  Louis Sullivan and Dankmar Adler became known as masters at creating beautiful acoustics. After designing more than a dozen theaters and auditoriums, the pair became experts at designing buildings so that the sound was near perfect. The best example of this accomplishment is found in the Auditorium Building on Congress Parkway- built for more than 4,000 people, the acoustics could be changed depending on the amount of people present. While normally it would be a struggle to do this based on sheer size, the two adapted the main theater based on how much was needed. (21)

17. Sullivan and Adler's work was a breakthrough in terms of relative space. The firm managed to keep things both beautiful and useful ("Form follows function" was a quote Sullivan was known for, and it is exhibited in much of his work). Both were excellent at making double uses for things, and even Sullivan's usual ornate decorations facades had use. Hotels and restaurants were placed within the Auditorium Building not only for service, but to help gain money to support the structure. Unlike with other architects, Sullivan believed that what designed not only had to look good, but be able to serve the owner. (21)

18. Out of all the members of the Chicago School, Sullivan is known as one of the greatest. His skill with aesthetics and function labeled him as the top architect at the time. Without his input in the creation of the skyscraper, buildings in the present time would look very different. After revolutionizing the steel frame, Sullivan used his love of beauty to make the skyscraper more sleek and elegant. When people critiqued his buildings as being too out of place, Sullivan designed a street comprised of only skyscrapers to prove them wrong. Before Sullivan, buildings were 3 or 4 stories at most. However, Louis doubled the number and still made the buildings beautiful. (22)

19. Much of Louis' knowledge of architecture was taught to himself. As a young man, he was fascinated by buildings and would talk to the architects to learn their ideas and techniques. While disorganized and somewhat hasty, Sullivan took great care in his work. At a very young age, he became recognized around the country for his architectural brilliance. Sullivan's influences came from many different places- his stint at art school in Paris is visible in the ornate decorations flowering his buildings, his knowledge of architects of the past is visible in his very classic style- yet they came together as a whole. (22)

20. Louis Sullivan created a firm with Dankmar Adler when he was 23 years old- an extremely young age to be paired with a renowned architect such as Adler. The two were almost complete opposites in manner, Adler was levelheaded and diplomatic while Sullivan was more whimsical and indelicate, yet against all odds they flourished greatly. Because of Adler's  previous experience, the firm were commissioned many buildings, and Sullivan's genius helped them gain more respect. When Adler died, Sullivan designed the frame surrounding his portrait.(22)

21. Before Sullivan teamed with Adler, he was an apprentice of renowned architect William Baron Jenney. Sullivan came across this opportunity in a rather unorthodox way- instead of the normal application process, he would walk around the city, find a building he liked, and ask to be employed by the architect who designed it. Working at Jenney's firm opened many doors for Sullivan, but he decided to go to Paris to finish schooling. When Louis Sullivan returned to Chicago, he was hired as a draftsman and soon designed the interior of Moody Tabernacle in his custom floral design. (23)

22. To many people, Sullivan seemed frigid, crass and irresponsible. Unlike his partner, Louis was not a "people-person", and had trouble opening up to others. Despite his grouchy manner, Sullivan was known as the philosopher of the Chicago School. His ideas were deep and profound. Sullivan believed in something called organic architecture- or the idea that buildings should fit into their surroundings. All of his buildings and designs were made so that they meshed with the other buildings on the street or in the area. This theory became a huge part of the Chicago School. (23)

23. Frank Lloyd Wright was an esteemed student of Sullivan and Adler. Wright joined their firm in 1888, however, he did not truly work with them until 1890. Sullivan taught Wright much of the knowledge that Frank would use in his solo projects later in life. Sullivan saw that Wright was an exceptional student, and advanced him quickly- by 1892 he became a head draftsman. Sullivan gave Wright charge of many residences that the team was commissioned. Frank Lloyd Wright was much like a younger Louis Sullivan, and his time at the Sullivan/Adler firm sculpted much of his style later on. (24)

24. During his career with Sullivan, Wright began covertly commissioning other buildings. When Sullivan discovered this, he became livid. Sullivan did not approve of Wright commissioning anything not involved with the firm, and though it is unclear whether he was fired or quit angrily, Wright left the firm. The father-son bond between the two evaporated until the end of Sullivan's life, when he forgave Wright and the two became friends again. In these later years, Sullivan praised Wright on his work and said that he was proud of the younger man. (24)

25. Fall out or no, Wright learned much from Sullivan. Frank Lloyd Wright often referred to Louis Sullivan as "master", and in many of Wright's essays he paid tribute to his teacher. Though Sullivan was recognized worldwide, he became very poor, and during this time he reunited with Wright. Frank Lloyd Wright helped support Sullivan's firm by giving him large sums of money. Before Sullivan died, Wright was the only friend he had left, and the two had an inseparable bond through those last few years. (25)

26. After the Great Chicago Fire, most of the buildings in the city were completely obliterated or seriously ruined from the fire. Instead of seeing this as a setback, architects saw this as a clean palate and a fresh start- with a completely new canvas, they could modernize their works and use technology that wouldn't have fit in with the old buildings. Louis Sullivan benefited greatly from the Fire, at the time he was famous, and he was commissioned many new landmarks and buildings. (26)

27. Sullivan's Carson Pirie Scott building has caused much dispute over people writing about his life. The building's organic structure (as seen in most of Sullivan's work) included wrought iron and heavy granite. The building was two-toned, the top being lighter than the bottom. Sullivan's artistic style is demonstrated in this building more so than many others. (26)

28. Sullivan's ideas and architectural innovations were imitated very much throughout the century. An example of this would be in Josef Paul Kleihues' work. Kleihues was a German architect that came to Chicago to design buildings in downtown Chicago, in the Loop and on Michigan Avenue. He used Sullivan's different ideas and floor plans to create many buildings. (27)

29. Sullivan's creations marked a new, modern trend. Because many of his works were commissioned in the late 1800's, his new style marked the turn of the century, bringing upon new styles and technology to the 1900's. Compared to other buildings at the time, Sullivan's were almost futuristic, and his designs became standard throughout the next hundred years. (27)

30. Sullivan's designs and buildings have distinguished Chicago in many ways. A lot of his pieces are national landmarks, and his buildings comprise many of Chicago's main streets. People from all around the world come to marvel at his works, and his buildings are seen as pieces of art as well as functional buildings. (28)

31. Another person who imitated Sullivan's ideas and works was Richard Schmidt. In the creation of the Madlener House, much of it's architecture is very similar to buildings of Sullivan in the past. The slim design and beauty was very reminiscent of the Carson Pirie Scott building. All of Sullivan's designs were very horizontal and tall, a trend that had not been around in years before. (28)

32. The Auditorium Building was and is one of the most famous buildings in the city. When Chicago hosted the Columbian Exposition, fair visitors from around the world all flocked to the Auditorium. The construction of the building was just as fascinating as some of the fair attractions to many guests. Many architects who visited the fair also came to view Sullivan's masterpieces. (28)

33. The Carson Pirie Scott building is a Chicago legacy. Not only beautiful and highly functional, the Carson Pirie Scott building is incredibly detailed. The first 2 stories are encrusted with ornate iron, with many designs etched in. Sullivan never overused any designs- his works are ornate and elegant, but different enough to not be boring and repetitive. (28)

34. Another trend that Sullivan developed was putting large glass windows on storefronts. This was a new concept, and almost every single store in the city has copied that technique. With windows as the exterior walls, passing customers could view the stores stock without actually entering. (28)

35. Although Sullivan's goal was to create "organic" buildings that flowed with the surrounding architecture, Louis Sullivan believed in the unexpected. He wanted his works to not be out of place, yet still pop to the passer-by and draw attention to the design. His buildings were simple, yet lavish, and the idea was continued in much of the Chicago School's pieces. (28)

Subtopics

5 Subtopics for Paper

1. Biography of Louis Sullivan
2. The Wainwright Building
3. The Chicago School
4. Louis' Architectural Style
5. Influences on Modern Architecture

Response to Act 1 of the Crucible

              Act 1 of the Crucible highlights the power hungry and conniving nature of human beings through Abigail Williams. As the true "villain" of the story, Abigail personifies these qualities. Abigail uses her beauty and clever mind to trick the townspeople into believing in witches. Her love for John Proctor turned her spiteful, and once Abigail realized that she had the power to end lives, she did not stop. When she realized that naming witches was more simple than drinking blood and cursing people, Abigail immediately chimed in. She used the town folk's fear of God and Satan against them, and started pitting them against their neighbors and friends. Abigail's anger at Goody Proctor, while perhaps misguided, caused the entire trial and many deaths. She caused unease and fear in the town that took her in, nourished her and gave her a home, all because of an affair that had gone very sour.

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