Entertainment And Education Essay Research Paper Both

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Entertainment And Education Essay Research Paper Both

Entertainment And Education Essay, Research Paper

Both amusement and instruction have been integrals parts of the human

experience since the beginnings of clip. Many bookmans insist that the two

establishments frequently serve jointly, with entertainers and amusement

functioning as a chief beginning of instruction. There is small statement, so,

that in add-on to by and large appealing to the multitudes, entertainers have

on a regular basis fulfilled the function of a instructor to typically unsuspicious

audiences. Entertainers have served as pedagogues throughout history, from

the beginnings of unwritten narrations through the Middle Ages.

The earliest signifiers of unwritten communicating were basically

used to distribute cognition from one beginning to another. Religious subjects

were the first information passed from individual to individual through

amusement. In the 3rd century B.C. , Buddhist monastics tried to win

converts outside India through the usage of theatre and vocal ( Bur*censored* 97 ) .

They taught the principles of Siddhartha and Buddha in such theatrical heroic poems

as Ramayana and Mahabharata, puting demanding regulations for theatre

public presentation in the procedure ( Bur*censored* 99 ) . Similarly, Irish monastics

established vocalizing schools, which taught unvarying usage of music throughout

the church ( Young 31 ) . Through chants which were all the same, they spread

indistinguishable instructions. Christian Psalms and anthem in Apostolic times

were sung to distribute the cognition and religion of Christianity. In fact,

Christianity was promoted from the start by music. Churchs were for long

the lone centres of acquisition, with monastics learning all lessons through

music ( Young 39 ) . Through the usage of sacred music, monastics and clergy

successfully distribute the instructions of their faiths in a practical


Entertainers used the theatre as a topographic point to state the narratives of

the twenty-four hours, both fictional and topical. The African unwritten tradition was rich

in common people narratives, myths, conundrums, and Proverbss, functioning a spiritual, societal,

and economic map ( Lindfors 1 ) . Likewise, Asiatic histrions covered their

faces with masks in order to move out a dirt of the twenty-four hours without the

audience knowing who was go throughing along the chitchat ( Archer 76 ) . European

marionettes were another medium which permitted entertainers to distribute current

chitchat without uncovering the individuality of the narrator ( Speaight 16 ) .

The theatrical productions of the Greeks farther explored the usage of

theatre as an instructional tool. Because the theatre provided such a

diverse forum for look, phase histrions and dramatists consistantly

utilised this venue to eduate the general populace.

Oral communicating was widely used to educate society about ethical motives

and basic truths. The most extremely developed theoretical treatments from

ancient times were those of he Greeks, who passed on this cognition

through music and narratives. Homer, the eighth-century B.C. poet, tribunal

vocalist, and narrator, embodied ideal Grecian ethical motives and epic behavior in

his spoken heroic poem, The Iliad ( Beye 1 ) . Homer and other poets used qualities

non found in written linguistic communication to do the memorisation of their plants

easier so their sagas could be repeated for coevalss ( Edwards 1 ) .

African folks people and Native Americans besides instilled ethical motives and

lessons to their communities through narratives and fabrications ( Edwards 1 ) . These

unwritten narrations were shortly after recorded on paper as early signifiers of

literature became prevailing.

Many of the ideas antecedently expressed through unwritten

communicating merely could now be recorded for the hereafter as authorship became

wide-spread. The epoch of composing began with Chinese literature more than

3,500 old ages ago, as the Chinese recorded narratives on prophet castanetss ( Mair 1 ) .

The Greeks, nevertheless, were the first known civilisation to interpret their

unwritten history into authorship ( Henderson 1 ) . While the earliest Hellenic

literature was produced by the Indo-Europeans in 2,000 B.C. , the most

indispensable plants began in Ionia with the heroic poems of Homer in the eighth

century B.C. ( Henderson 7 ) . This unwritten poesy is the foundation of Grecian

literature, and epic poesy such as Boetian? s Hesiod explored the poet? s

function as a societal and spiritual instructor ( Henderson 8 ) . These written plants

clearly informed those who read them, but were non every bit successful in

educating the multitudes as the Greek play. Any spoken plants that were

particularly important could now be transcribed for descendants and hereafter


Grecian dramas were besides recorded on paper get downing about 500 B.C. ,

reflecting issues of the twenty-four hours and entertaining audiences at the same time. The

calamities of Euripides reflect political, societal, and rational crisis.

Plaies such as The Bacchae reflect the disintegration of common values of the

clip, while other plants criticized traditional faith or represented

fabulous figures as unheroic ( Segal 1 ) . Each Grecian play was likewise

structured: jobs were? presented by the chorus, and resolved in strictly

conventional & # 8211 ; but ever informative & # 8211 ; ways? ( Bur*censored* 18 ) . Topical comedies

reflected the heroic spirit, and jobs confronting Grecian society during

times of great alteration ( Henderson 2 ) . Meanwhile, the play of Socrates

radius about ethical and moral alteration, while Demosthenes? addresss hardened

Athenian resistance to Phillip of Macedon ( Henderson 2 ) . Similarly, the

Grecian playwright Aeschylus used his dramas as a? forum for deciding moral

struggles and showing a magnificence of idea!

and linguistic communication? ( Segal 1 ) . Because all societal categories of the community could

enjoy and understand the dramas, Grecian play was a major force in educating

the populace.

Following the oncoming of the 2nd century, considerable motion

took topographic point across Europe. Between 950 and 1350, the population of Western

Europe doubled ( Lindsay 26-33 ) . A deficit of instructors caused eager heads

to look elsewhere for instruction. Many of those going were instrumental

in distributing thoughts, narratives, and vocals across the countryside. A new sort

of entertainer, the folk singers, served as the new observers of the

twenty-four hours, successfully intermixing poetry and music. Their poesy was the first to

set about the witting creative activity of a literary address in the slang?

( Bogin 44 ) . In vocals called sirventes, the folk singers discussed current

personal businesss, political relations, personalities, and dirts ( Grunfield 25 ) . Many

troubadour vocals have texts mentioning to the Crusades of the fourteenth

century. Their crusading vocals, such as those doubtless connected with

the run against the Arabs in Spain, brought political agitation to the

attending of the mean citizen ( Lindsay 61 ) . Rog!

Er II, nevertheless, protected Arab-speaking poets who rubbed shoulders with

his ain Latin authors ( Lindsay 44 ) . Bertrand de Born became celebrated for

composing warmongering vocals that? stirred up barons and aggravated male monarchs into

& lt ;< p>traveling to war? ( Grunfield 25 ) . Walther von der Vogelwiede attained a unique

place among folk singers by transforming? the short verse form of proverbial

wisdom into a political arm of sarcasm and nationalism? ( Hering 1 ) .

Rolling folk singers sang most frequently approximately courtly love, but used their

alone signifier of amusement to show concerns sing societal and

political subjects to the general populace.

Entertainers of the 12th century besides informed the populace of

the rules of subjects such as gallantry and faith. Troubadour Guilhem

de Poitou caused a esthesis among friends and courtiers after composing

approximately love in a manner that became the codification for gallantry ( Bogin 37-39 ) . He

subsequently spent a twelvemonth among people of Antioch larning Arabic vocals of Syria,

which he brought back to France ( Lindsay 4 ) . Poet Gerbert made

parts to geometry, music theory, and arithmetic in his plants which

customarily valued doctrine over supplication ( Lindsay 45 ) . The spiritual

vocals of Martin Luther forced poets and bookmans to take sides during the

Religious struggle of the Reformation ( Hering 2 ) . Luther? s chorale? Ein?

feste Burge? became a national anthem during the reformation of the Catholic

church, promoting followings to contend to idolize in their ain linguistic communications,

non the universally used Latin texts ( Young 66 ) . While the folk singers

were viewed chiefly as entertainers who wandered aimless!

ly about the countryside singing about the virtuousnesss of courtly love, their

part as pedagogues to the populace can non be mistaken.

As the folk singers easy began to vanish, new sorts of

entertainers took their topographic point, go oning to inform the general populace

through different mediums. The meistersinger replaced the folk singer in

the late 14th century ( Sebastian 2 ) . Middle and lower category

meistersingers established schools for the cultivation of their trade,

guaranting a more structured signifier of amusement than that of the

rolling folk singers ( Sebastian 3 ) . A celebrated early fifteenth-century

manuscript at the University of Heidelberg contains 100s verse forms by the

most celebrated meistersingers every bit good as illustrations which are? as

entertaining as they are informative? ( Young 44 ) . John Wilbye represented

another new signifier of entertainer, the madrigalist, and provided surveies of

English landscapes in the words and music of his madrigals ( Young 71 ) .

Again, there is a wealth of grounds to demo that music was used

extensively to back up the spread of spiritual belief. For illustration, King

David in the Cante!

rbury Psalter tells that? musical plangencies? were introduced into the

service of the church ( Young 46 ) . Monteverdi? s opera L? Incoronazions di

Poppea educated audiences with its historical context and characters

( Young 77 ) . The popularity of music remained dominant throughout the

Middle Ages, although authors began to entertain through the usage of

written poesy every bit good.

European authors of the Middle Ages continued to notice on ethical motives

and acceptable behaviour through their plants as their predecessors did

about 2,000 old ages earlier. Hroswitha von Gandersheim, the first known

adult female author, was a nun who used the Roman playwright Terence as a theoretical account

for her morality dramas ( Hering 1 ) . Dutch author Jacob new wave Maerlant wrote

verse forms that showcased gallantry ( Flaxman 1 ) . Spanish dramatist Lope de Vega

encouraged national nationalism and award in his plants that dealt with

dramatic struggles and combined tragic and comedy elements ( Gasset 3 ) .

Calderon besides stresses the Spanish codification of award in his chef-d’oeuvre The

Mayor of Zalamea ( Gasset 3 ) . Later Francisco Gomez de Quevedo Y Villegas

wrote moral plants in which he explored the degeneracy of Spain ( Gasset 3 ) .

Social concerns inspired the Hagiographas of Italian reformist Pietro Verri,

whose misanthropic reading of history established a new scientific


( Alvaro 1 ) . His equal Leon Battista Alberti published On the Family, which

reflected the concerns Italians for societal and ethical subjects ( Alvaro 1 ) .

Still, other writers such as Prince Juan Manuel of Spain wrote such

apparently simple narratives as? The Emperor? s New Clothes, ? from which reader

could pull out the moral lessons ( Gasset 3 ) . During this epoch, Europeans

were invariably discoursing political relations and societal issues, prompted by the

sentiments of authors who commented on the topics.

Entertainers throughout history have doubtless served as

pedagogues to the populace, in add-on to their conventional functions as

instrumentalists or authors merely. While a few performing artists sought merely to divert

with their Acts of the Apostless, the bulk of entertainers have crafted their art with

a deeper intent in head. Each who chose to turn to society? s jobs and

speak to the general community through their art is as worthy an pedagogue

as a contemporary college professor. Because many of the plants of these

great creative persons were recorded on paper or passed down from coevals to

coevals through unwritten history, the insightful ideas of these

entertainers continue to educate the populace in the 21st century.

Jennifer Bender

AP English 4

November 22, 1996

Mr. Kile

The Role of Entertainers as Educators

Bender 9


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