Commedia DelArte Essay Example for Free

Commedia DelArte Essay Columbina is the perky maid of the Old Man, Pantalone. She is better dressed than the male servants as she is also a ladys maid. She usually wears a knee length dress and an apron. The colouring of her clothes can be different in different acts, depending on her relationships with the characters and the scenario. She can be in a similar scheme to Arlecchino (where she is sometimes known as Arlecchina with similar diamonds and triangles), or if she is assigned to a rival family of Arlecchinos, she can be in that scheme. In cases where she is an independent character, she can be in blacks and whites in the spirit of a French Maid. Columbina does not usually wear a mask but sometimes wears one covering only her eyes. Her signature props are a tambourine and a basket. Her physical appearance is attractive, perky and petite with a tiny waist, wide hips and lots of cleavage. She walks as if she is skipping on air with a little flick of the foot at the end of each step. All her posses are usually seductive and accentuate her cleavage. Her movement continues during speaking, shifting balance from one foot to the other and moving her head sharply as if searching for someone other than the person being addressed. Shes fast and nimble in order to escape unwanted attentions or to butt in, and can escape from a situation. She is happy and carefree, yet when assigned a task moves with speed and efficiency. This is one of her strongest traits in being a good servant. Her speech is sharp and gossipy with frequent variations of pitch. She Loves Arlecchino, but sees through him. She therefore scolds him, punishes him, deserts him, takes him back, but in the end he does not change and she has to accept him for what he is, which is still more lovable than Il Dottore, Pantalone and Il Capitano. She can be very affectionate to other characters as well, and her affections seem to flow through her physically, but she always holds something back. As a result she is pestered by other men, especially Il Capitano and Pantalone. She is always ready to help the Lovers, perhaps through natural sympathy with their plight. She is a spectator herself. She has a very strong relationship with the audience, almost confidential in the sense that she too can see what fools the rest of them are. She also often flirts with the spectators. She appears almost if not before her name is called, always being on step ahead of her master and finishes sentences for her master too, which she sometimes uses in her favour. When a situation gets out of control, she becomes the dominant voice to put everyone and everything back in its place. She even beats the male characters in strength and intelligence, sometimes even her master. ISABELLA Isabella is the daughter of Pantalone, the old man. Because of her fathers status she had the newest fashion, and usually showed off her wardrobe, wigs and shoes often. She wore stunning silk dresses, often in antique Renaissance style with necklaces of gold and pearls. She is young and attractive and modest but at times can be selfish. Isabella did not usually wear a mask but did sometimes wear a small mask that covered only her eyes. Her signature props are a handkerchief, book and a fan. She has a lack of firm contact with the earth. Her chest and heart appear heavy. They are full of breath, but then take little pants on top. Her posture is correct and tall and is always very proud. Her walk is small as her steps are little. Isabellas posses are of an innocent and happy nature; leaning to one side with one leg pointed outwards, and hands in praying position touching cheek as if sleeping. Another is the back of her hand on her forehead, tilted back as if in agony as well as her chin resting on hands laying on top of each other or fingers interlocked and the head slightly tilted. Her movements are exaggerated, especially her hands and arms, which are like  feathers flapping in the wind. She often manipulates her hankie and frequently looks in a hand mirror. Any imperfection can spell disaster. Her speech is refined, however lacking pretentiousness and is never lost for the correct phrase. The lovers are in love with themselves being in love. They love each other, but are more preoccupied with being seen as lovers. They often feign mild hatred. She is extremely aware of being watched and plays with the audience for sympathy in their plight and ccasionally flirts with spectators. She is flirtatious, headstrong, has dramatic intensity and feigned madness due to passionate love and can be prudish. She can be hot and cold. i.e. prone to mood swings and is a tease with an independent will. She is vain, petulant, spoilt, full of doubt and have very little patience. She has a masochistic enjoyment of enforced separation because it enables her to dramatize their situation, lament, moan, send messages, etc. When her and Lelio do meet they are almost always tongue-tied and need interpreters who proceed to misinterpret their statements, either through stupidity (Zanni), malicious desire for revenge (Brighella) or calculated self-interest (Columbina). Isabellas attention span is short like a young childs and her fear that she might be a nobody keeps her hyper-animated. ARLECCHINO Arlecchino has an enduring magical power, a testimony perhaps to the mystery of it origin. He is a servant and jester, usually to Pantalone, but also frequently IlCapitano, or Il Dottore. He wears a tight-fitting long jacket and trousers, sewn over with random, odd-shapen patches of green, yellow, red and brown possibly remnants of leaves The jacket is laced down the front with a thong and caught by a black belt worn very low on the hips. The shoes are flat and black. He wears a beret, or later a malleable felt hat with a narrow brim, with a feather or tail of a fox, apparently this was a sign of the wearer being a butt of ridicule. Coloured in deep earth tones with warm coloured diamond shaped patches, Arlecchino is always ready to spring into action in a clumsy yet graceful manner. He is ragged, yet sleek. His wears a mask that gives him a low forehead with a wart and has small round eyes. Arlecchinos signature props included his batocchio, meaning in Italian clapper inside the bell, which he always carries. He is continuously in a lowered position, with his hands on his hips with his thumbs in his belt. He walks in sly and comical way by taking a couple steps followed by a quick tip toe. This walk shows alacrity; he also uses it to show off in front of Columbina. His joints are often loose and floppy. When Arlecchino spots someone, the mask moves first; he then hops round and into the gesture of greeting. He is physically quick and slow mentally, in contrast with Brighella (who can, however, be fast physically when he needs to be). His gestures extend to the fingertips with each digit having a separate articulation. His speech is guttural and hoarse from street hawking and the are no pauses or silences for the sake of effect he either speaks continuously or doesnt speak at all. Arlecchino is in love with Columbina, but his sexual appetite is immediate in terms of any passing woman. He is occasionally aware the audience is there and can make asides during which he gives his full attention to the spectators before returning to complete absorption in the action. His character is a mixture of ignorance, naivete, wit, stupidity and grace. He is both a rake and an overgrown boy with occasional gleams of intelligence, and his mistakes and clumsiness often have wayward charm. His acting is patterned on the lithe, agile grace of a young cat, and he has a superficial coarseness which makes his performances all the more amusing. He plays the role of a faithful valet, always patient, credulous, and greedy. He is enternally amorous, and is constantly in difficulties either on his own or on his masters account. He is hurt and confronted in turn as easily as a child, and his grief is almost as comic as his joy. Lelio Lelio is one of the lovers (Isabellas partner) and is usually the son of Il Dottore or has no relations. He is high in stature, but is usually brought low by the hopelessness of his infatuation. He wears the latest fashion, which at that time was to be dresses as a young soldier or cadet. Sometimes he dressed in an over fashionable colour scheme that was very feminine with a great deal of flair. Lelio is young, attractive, modest, courteous and gallant. He occasionally wears a mask that covers only his eyes but often went unmasked. His signature prop is a handkerchief. His feet have a lack of firm contact with the earth, making his stance and walk air like. His chest and heart appear heavy and full of breath. His legs are usually tightly together, with only one foot firmly planted on the ground, and the other crawling upward like he has to go to the loo. He does not walk as much as tweeter, due to the instability of his base. First the head leans the other way to the body sway. Then the arms have to be used, one above the other, as a counterweight like and off balance tip toe. His pose can be anything that might look Vogue and whenever he is sitting, his legs are crossed in a feminine matter. Lelios movements are well-to-do but ridiculously exaggerated. His movement comes at the point of overbalance, leading to a sideways rush towards a new focus, with his arms left trailing behind. When stopping at the new point (usually the beloved or some token thereof) before almost touching it. The Lovers (he and Isabella) have little or no physical contact. When there is any, the minimum has maximum effect. Lelio is often holding a handkerchief or flower, etc. in his leading hand. His arms never make identical shapes and because of his vanity, he  frequently looks in a hand mirror, only to become upset by any minor imperfection that is discovered. He is always looking to see if a ribbon or sequin is out of place. A button found on the floor or a blemish in the coiffure equals disaster. His speech makes great display of courtly words and baroque metaphors, also knowing large extracts of poems by heart. He speaks softly in musical sentences which are often flamboyant, hyperbolical and full of amorous rhetoric. When it comes to women, his words are the only thing that shows that he might have any interest. His body language, actions, tone, all contradict any infatuation he may have with a female. The only reason why he would express an interest in a female is because he loves the idea of love. However he seems genuinely more in love with himself and other male characters before he is in love with a woman. He relate exclusively to himself he is in love with himself being in love. The last person he actually relates to in the course of the action is often Isabella. When he and she do meet they have great difficulty in communicating with each other (usually because of the nerves). And they relate to their servants only in terms of pleading for help. The Lovers love each other, yet are more preoccupied with being seen as lovers, undergoing all the hardships of being in such a plight, than with actual fulfilment. Consequently they frequently scorn each other and feign mild hatred; they rebut, despair, reconcile, but eventually end up marrying in the way of true love when the game is up and they know they cannot play any more. Lelio is extremely aware of being watched. He plays with the audience for sympathy in their plight and occasionally flirts with spectators. Lelio is indispensable. Without him and his inability to resolve problems with Isabella, there would be no struggle between the ineffectuality of youth and the implacability of age. The lovers are never alone on stage   they always have someone with them or spying on them.

Elements of Darkness in Apocalypse Now and Heart of Darkness Essay exam

Elements of Darkness in Apocalypse Now and Heart of Darkness   Ã‚  Ã‚  Ã‚  Ã‚   In both Apocalypse Now and Heart of Darkness certain elements of darkness attempt to show how deep one must look inside themselves to discover the truth. Conrad portrays the idea of the darkness of the human heart through things such as the interior of the jungle and it's immensity, the Inner Station, and Kurtz's own twisted deeds. Coppola's heart of darkness is represented by the madness of the Vietnam War and how even to look for a purpose in it all; is itself quite mad.   Ã‚  Ã‚  Ã‚   It was no accident that a documentary was made on Francis Ford Coppola's 1979 film, "Apocalypse Now" entitled "Hearts of Darkness- A Filmmaker's Apocalypse" since the production of the film was something of a horrific journey for those involved. Throughout the production, the cast and crew were plagued by some serious problems. A typhoon that nearly destroyed the set, budget problems, suicide threats from Coppola, and Martin Sheen having a heart attack were just a few things that were faced during the filming. The descent into madness that went along with making "Apocalypse Now" mirrored the film's own themes and also reflected the themes of "Heart of Darkness", the Conrad novella that the film is based on. The theme of a journey into human darkness is something shared by both the film and the book but each tells the story in a different and unique way.   Ã‚  Ã‚  Ã‚   The basic plots of "Apocalypse Now" and "Heart of Darkness" are very similar. Both films have a main character that makes a journey down a long and winding river to find a man name Kurtz. In the film the protagonist is a Special Forces captain named Willard, in the book he is called Marlow. The film seems to have a more dir... ... Darkness: A Filmmaker's Apocalypse [Film]. Showtime/ Paramount. Chatman, Seymour.   "Two and a Half Versions of Heart of Darkness."   Conrad on Film. Ed. Gene M. Moore.   Cambridge: Cambridge University Press, 1997. Conrad, Joseph. Heart of Darkness. Editor Robert Kimbrough. New York: Norton, 1988. Coppola, Francis Ford (Director, Co-author). 1979. Apocalypse Now [Film]. American Zoetrope/ United Artists. Ruthven, K. K. 'Elements of Darkness: Conrad and Lawrence,' Critical Quarterly, x, nos 1& 2 (Spring and Summer 1968), pp. 41-6. Ed. C. B. Cox. Virtanen, Panu S. (1997). Apocalypse Now Tribute Page. Retrieved July 2nd, 1997 from the World Wide Web: http://www.geocities.com/Hollywood/9067/apocal.html. Wilmington, Mike.   "Worth the Wait: Apocalypse Now."   Heart of Darkness, Norton Critical Edition.   New York: W.W. Norton and Company, 1988.

Character breakdown

Set at a fictional university, all the characters reside in a fraternity sponsored house within the confines of university grounds. All the characters are an attempt to break stereotypes, and come from regularly viewed backgrounds found in American society. Marcus Pullman Senior, African-American middle-class from New York. Marcus Pullman is not a star athlete, or the campus drug dealer. He is as about as average as they come, with a good GPA, an interest in football and baseball, but an even stronger interest in environmental issues and obtaining a degree in political science. He is one of many American families from the middle-income band, with a father who is a NY firefighter and a mother who works as a legal assistant at a law firm. Marcus is part of a small statistic, an alarming statistic of overall African-American males in universities in America. According to an article in 2004, â€Å"today, black men make up 41 percent of the inmates in federal state, and local prison, but black men are only 4 percent of all students in American institutions of higher education† (Maxwell). It has to be said, however, that circumstance is everything, and whilst Marcus is part of a 4% statistic, he is also one of   â€Å"17% of blacks age 25 and older who had a bachelor’s degree or more in 2005† (US Census, 2007). Marcus has been in the fraternity since his Freshman year and is seen as a figurehead of the house. Simon Li American-Asian, Freshman, music student from Louisiana. It isn’t unusual for there to be a diverse ethnicity in fraternities, but it is also been cited as something as irregular. According to some fraternity members, this comes down to simply just a matter of comfort. â€Å"Minorities don't rush because they are intimidated by the stereotypically white Greek system,† Ngan said. On the other hand, â€Å"a lot of minorities do rush, they are just more comfortable hanging out with people of the same ethnic background.†(Brubaker, 2000). Simon Li is a ‘Rushee’ and a freshman music student from Louisiana. He is a second generation American-Asian, with roots in China. According to the census bureau, Louisiana has a registered American-Asian population of 1.4% (2005) with 2.5% of firms owned by Asians in the state. Simon Li’s parents own and operate a chain of successful auto-part stores – and nothing related to restaurants or grocery stores, as is often the stereotype. Having grown-up in Louisiana, Simon has a soft spot for anything Cajun, as well as an interest in music – from country to bluegrass. His predominant interests do not lie with traditions, but with incorporating grassroot sounds with techno, or club music. Dermot â€Å"Ozzie† Sullivan Australian, Sophomore, medical student. International students continue to make-up a large percentage of undergraduates at American universities. According to Hahn-Koenig, within Philadelphia, â€Å"more than 11,000 are enrolled in the city alone, with thousands more studying elsewhere in Pennsylvania† (2007). Whilst the Australian university system is considerably good, Dermot has come to America to broaden his horizons. His family is part of the wealthy upper-class in Australia, which avails him the high tuition fees and ability to apply for a student visa. Despite Australia being a part of the Visa Waiver Program, Dermot would have had to apply for a F-1 visa in order to study in America (State Dept, 2007). Dermot is an easy-going guy who is hard-working but also knows how to enjoy life. He appears to be a well-liked sort on-campus. Victor Henson Sophomore, member of a neo-nazi group. The antagonist of the characters. Victor is a Caucasian American from a poor background in middle America. He has not known his father, and his mother continues to struggle to make ends meet and keeping a family. His family are like many who should have seen better times after Clinton’s welfare reforms, but still suffer from poverty conditions. The Anti-Defamation League have cited a 12% decline in anti-Semitic activities, in recent surveys, however â€Å"it is disturbing that there are still an average of about four anti-Semitic attacks per day in America† (ADL, 2007). Victor indulges in many on-campus parties, and unsurprising is his overindulgence in alcohol. He is the student who is trying to fit in, and is a â€Å"Rushee† of the fraternity. SCRIPT Scene: Outside the campus library. It is a noticeably Fall day, and overcast. Marcus (leaving the library): Hey, Ozzie! How’s it going? Ozzie (seated on the stairs of the library): Gudday, Marcus. Yeah, s’alright, I reckon. Weather’s a bit foul, eh? Marcus (looks up briefly, smiles): Definitely going to rain. Hey, you seen that new rushee? Uh, Victor I think his name is. Ozzie: Yeah, yeah, I have. Saw him last night. Was hammered something nasty, I tell ya. Looked real green in the bushes (laughs) Marcus: Drunk? Ozzie: Aw, totally smashed, mate. Marcus: Hm, well Freshman, I suppose. But, listen, you think you can have a talk with him? See what he wants from joining a fraternity, and if he’d fit in. (slaps Ozzie on the arm with a book) Be a spy, eh? Ozzie: Yeah, yeah. Sure. Check ya later, eh? Marcus and Ozzie part ways. Scene change: Ozzie is in the frat house with Simon, who is ‘plugged in’ to a laptop and appears to be listening to music. Ozzie throws a screwed up paper ball at him. Simon (loudly): What? Ozzie demonstrates to remove the earphones, and Simon does. Simon (normal volume): What? Ozzie: Ya seen that new kid? Victor? Simon: Yeah, he was looking a little rough in the kitchen. Told him to clean the dishes for us. Ozzie: Smooth move, mate, smooth move. Hey, what ya think of him? Simon: Meh, he’s okay, I guess. He doesn’t say much to me. Ozzie: Hm, fair enough. I’ll go talk to him. Marcus wants the scoop on him, see if he’ll fit. Simon nods and plugs back into his laptop. Ozzie goes to the kitchen where Victor is struggling in removing a pair of rubber gloves from his hands. Ozzie: Hey mate, lemme give ya a hand. Hah – get it. Victor: Yeah, I got it. Ozzie: Jeez, no humor, eh? Victor: Sorry, still hungover a bit.. and†¦ (voice trails off) Ozzie: What’s up? Feelin’ a bit crock still? Victor: Huh? Ozzie: Ill. The hangover†¦ Victor: Nah, not the hangover. Just†¦ hey, I can talk to you right, yeah? Ozzie: Sure, mate. We’re all brothers. Or, well.. you â€Å"might† be, eh? (smiles) Victor: Yeah, I guess.. well.. I don’t know. Seems really†¦ well†¦ Ozzie: What? Victor: Well, why are they in charge here? Ozzie: Who ya mean? The seniors? Victor: Nah.. well yeah.. but†¦ nevermind. Ozzie: Something bothering you, you know you can tell me. Or Marcus even, mate. Victor (sneers): I don’t think so. Ozzie: What? Marcus? Nah, he’s cool, mate. Don’t need to worry about him. He’s a good egg. Victor: Egg? Rotten, more like. His sort are nothing but trouble. Ozzie: His sort? What Greenpeace Al Gore types? (laughs) Victor: No†¦ his â€Å"sort†. Ozzie: Don’t get you mate†¦ you mean New Yorkers? Victor (laughs): Yeah†¦ New Yorkers. Whatever. Victor leaves, sees Simon still plugged in and shakes his head. Ozzie looks perplexed and follows Victor out of the house. Ozzie: Wait up. So, I don’t get what you meant in there. Victor: You want me say, for real? Ozzie: Yeah, mate. For real. Victor: I don’t trust Marcus. His type are nothing but trouble, they take advantage of everything. Ozzie: Wait, wait.. his type? What’s his type? Victor: Black, man. I got to spell it out, or what? You fucking blind? Blacks are nothing but trouble. Ozzie: Woah.. woah†¦ you can’t be serious†¦ Victor: Yeah†¦ well maybe I am. He’s always getting up in my business. Ozzie: Well you are trying to join the fraternity†¦ Victor: Yeah, well screw it. I don’t want to be a black man’s brother, ya know. Ozzie: Jesus†¦ well.. yeah, I don’t think I want you around either†¦ Marcus walks up to them outside the house. Victor falls silent but stares at Marcus. Ozzie is stunned, but looks serious. Marcus notices the uneasiness quickly. Marcus: Everything alright? Victor (snorts): Yeah, man. Victor walks away, and Marcus looks at Ozzie questioningly. Marcus: Ozzie? What happened? Ozzie: I dunno mate†¦ I really dunno†¦. References _. Lousiana State Quick Facts. Census Bureau. (available from: http://quickfacts.census.gov/qfd/states/22000.html ) _. New York City, Black History Month, 2007. Census Bureau Press Release, February, 2007. (available from: http://www.census.gov/Press-Release/www/releases/archives/facts_for_features_special_editions/007862.html ) _. Anti-Semitic Incidents in US. Press Release. Anti-Defamation League, 2007. (available: http://www.adl.org/PresRele/ASUS_12/4993-12.htm ) _ . Student Visas. US State Department, Bureau of Consular Affairs. (Available from: http://travel.state.gov/visa/temp/types/types_1268.html ) Brubaker, C. â€Å"Greek system concerned with diversity† The Cavalier Daily, April 5, 2000. (available: http://www.cavalierdaily.com/CVArticle.asp?ID=3898&pid=564 ) Hahn-Koenig, A. â€Å"Coming to America.† OneBigCampus.com 2007 (available: http://www.onebigcampus.com/article_comingtoamerica.htm ) Maxwell, B. â€Å"On campus, grim statistics for African-American men.† St. Petersburg Times, January 4, 2004. (available from:

Taxes Are The Devil By The French And Indian War - 849 Words

Taxes are the Devil Before the French and Indian war the American colonists were already beginning to dissent against the British Crown. Evident from the elaborate act of crossing a treacherous ocean to escape the constraining rule of the burgeoning British Empire. Escape they did and it was reinforced by the lack of interest shown to the American colonies by the king. There were a meager amount of taxes collected but they were otherwise left to their own devices. When the French and Indian War (World War Prequel #2) occurred the English and the Americans fought side by side. They pushed deeper into the new territory and growing the breadth of the Colonies. This growth along with the bill due for the war itself caused a great deal more attention paid to the Colonies by the Crown. The Crown which was worn by a newer head. The new King George III felt that the security of the new territories had a value. One that the Colonies would bear. This was a tough yoke to put on for the previously fairly independ ent Colonies. So they took their independence and declared it because as always Taxes are the Devil. The Eroding Authority of our Parents As in most familiar relationships America’s with England started of strong but grew strained with the approaching adolescence of the new Frontier. America (flush from years of freedom and cheap cheap (read slave)) labor was straining under the unjust rules that seemed to them arbitrary and unjust. Such as the Proclamation Line of 1773Show MoreRelatedColumbian Exchange : The Movement Of Animals, Plants, Ideas, Diseases, And Technology Across The Atlantic1355 Words   |  6 Pagesof Puritans and they wanted religious freedom. 7. Pequot War- 1634-1638 †¢ Indian populations in the Massachusetts area were dying out due to disease. The drop in population caused the Indians to have to sell most of their land to the English. 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What happened that turned the Americans from happy colonists to angry, revolting colonists? Taxes. The colonists felt so threatened by these taxes enacted by Parliament because their liberties and rightsRead MoreNotes18856 Words   |  76 PagesBritish, the French, and the Portuguese, proceeds to  ­ iscuss d their respective political administrative styles in their colonies and their e  ­ conomic policies and practices, and concludes with some assessment of the effect of all these factors on the political and economic evolution of African countries. The two largest colonial powers in Africa were France and Britain, both of which controlled two-thirds of Africa before World War I and more than 70 percent after the war (see Table 4Read MoreEnduring Vision Study Guide Essay3112 Words   |  13 Pages | |b. |41,000 B.C. | |c. |13,000 B.C. | |d. |6,000 B.C. | |e. |2,500 B.C. | ____ 3. Which of the following was a feature of Paleo-Indian society? 1-3 |a. |They dwelled in bands of about fifteen to fifty people. | |b. |They moved constantly, within informally defined boundaries. Read MoreInfluence of Immigration on the American Culture and Language14362 Words   |  58 PagesHistory†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..... 2.3. Different Views on Americanization †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Chapter III The Mosaic of American Culture†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Chapter IV The Influence of Immigration on American English †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 4.1 Indian Influence on American English †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 4.2 French Influence on American English †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.... 4.3 Spanish Influence on American English †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦... 4.4 Dutch Influence on American English †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 4.5 German Influence on American English †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦