The Lucifer Effect Critical Reflections for The Lucifer Effect I am an incrementalist-situationalist because I believe that it is a combination of both inner traits, whether latent or not, and external pressure and situations that cause people to become evil, or turn to doing evil deeds. Dehumanization, anonymity, and the other ways the book describes that make evil things easier to do are ways to cope with this combination of pressures that pushes one onto the wrong side of the moral spectrum. The pledges are punished simply for wanting in, and they can fail. There are many possible factors besides authority that may influence us to do so.
It possesses few virtuoso elements. Liu had lovely phrasing was expressive and a skillful use of finger legato rather than the pedal.
The orchestra and its amateur nature is really beginning to depress me in the introduction to the second movement. The Allegretto is good humoured and rather delicate. Liu was rather musically sensitive here.
In the final Allegro assai the concerto indulged the operatic idiom once again with jolly humorous exchanges between soloist and orchestra — very high spirited. Exuberant in a word. There are outbursts of bravura playing, however I felt there was not a great deal of musical meaning extracted by the pianist considering the enormous contrapuntal skill Mozart employs in this irresistible movement.
Less brilliant music for the soloist and toned down orchestration compared to many other concertos but poignant. However she improved as the movement moved on. Excellent phrasing but I felt it could still benefit from less restrained expression.
The Allegro rhythmically bounces along again with operatic shadows. Mozart leaves a pianist so exposed it is a real test in any competition. The conclusion was not transparent enough for me, but perhaps that is because of my experience playing fortepiano which has hammers covered in deerskin and not felt.
The sound could not be more different. Clearly Panfilov has had experience playing with orchestras perhaps even this concerto. The Adagio had scarcely any sense of pathos, grief or tragedy — prosaic in a word. The Allegro assai revealed the fairly poor instrumentalists in this orchestra — under-rehearsed as a band.
The gay operatic tune had a certain springy rhythm and a higher degree of elegance and style compared to what had preceded it. However repeated phrases were repeated in exactly the same way with no variation. So little expression and too heavy by half. The pianist came onstage wearing a stunning red sheath dress that did wonders for audience interest in the proceedings.
Even the conductor came to life! All the opening phrases were so eloquent and full of subtle and theatrical gesture. Such a stylish player who communicates well with the audience and orchestra in quite an intimate way.
The heartbreaking Adagio was poetic and eloquent but tasteful and not indulgent yet tragic and laden with grief — a remarkable balancing act of sensibility. The explosion of joy and exuberance in the final Allegro assai was all the more forceful because of this.
Again operatic in its colorfulfestive and energetic close. Is she in danger of becoming over-theatrical? Probably with her temperamentvoll personality — but we love such warmth and sheer joy in playing the piano all the same! The opening Allegro should be dark with premonition in the dramatic spirit of the threatening Commendatore from Don Giovanni.
The Romanze was pleasant enough I suppose. Bies is a naturally good communicator and excellent pianist. He really tried with this orchestra — the conductor even resorted to conducting the pianist on occasion — intolerable.
I felt sure Bies felt frustrated with the lot of them. The sonata rondo of the finale was all rather perfunctory to my ear. In his intelligent way he dovetailed the tonality directly into the opening of the Liszt B-minor Sonata.
I think this was a mistake as the opening of the B minor is a dramatic beginning that should emerge from silence for its full dramatic effect.The Lucifer Effect is organized in Mini Chapters to structure Zambardo’s writing. In the beginning of the essay, Zambardo states the Lucifer Effect is his way to understand what happens in the time a good person does an evil act.
Zambardo would like to know what happens in this transformation of a regular civilian to turn dark and dangerous. The Lucifer Effect is organized in Mini Chapters to structure Zambardo’s writing. In the beginning of the essay, Zambardo states the Lucifer Effect is his way to understand what happens in the time a good person does an evil act.
Zambardo would like to know what happens in this transformation of a regular civilian to turn dark and dangerous. (Boston University Studies in Philosophy and Religion) M. David Eckel_ Bradley L.
Herling-Deliver Us From Evil-Continuum () This volume in the Boston University Studies in Philosophy and Religion series In contrast to Dante’s image of Lucifer impotently trapped in the pit of hell.
College and Career Readiness Anchor Standards for Reading. KEY IDEAS AND DETAILS 1. Read closely to determine what the text says explicitly and to make logical inferences from it;5/5(1).
The Lucifer Effect presents how good people turn evil. It involves understanding what powerful dynamic factors come into play during the human character metamorphosis within different circumstances. The Lucifer Effect is organized in Mini Chapters to structure Zambardo’s writing.
In the beginning of the essay, Zambardo states the Lucifer Effect is his way to understand what happens in the time a good person does an evil act.