illiam Carlos illiams comments on the brutal persistence of patriarchy in "The Raper from Passenack." The title immediately conjures the imagery of rape, and the title fuses into the first line of the poem. "The Raper from Passenack" is written in a narrative format, describing a scene in which the titular character is driving home the nameless girl who he just violated. Most of the narrative takes place inside the girl's head, and the story is told from her point-of-view. This allows the reader to empathize with the girl, and see how the rape symbolizes the structure of patriarchy and its oppression. However, embedded in "The Raper from Passenack" is an equally disturbing theme of possible complicity of women in the patriarchal structure. illiams' poem "The Raper from Passenack" conveys a sense of moral ambiguity because it has imagery of murder, ample irony, and an ambiguous ending.
Moral ambiguity permeates "The…...
William Carlos Williams' "Pastoral" and "Proletarian Portrait"
William Carlos Williams' poem "Pastoral" is narrated in an introspective, confessional voice that describes the narrator's attitude toward the streets in which he was raised. There is very little plot in the poem, and it consists mainly of details concerning the street locale. Given the minimal plot that occurs, the details assume great significance. The reader must therefore be cognizant of how the details inform the meaning, as well as the poem's expressive use of diacritical marks, and the words that begin and end each line. It is significant that the term "ashes," which ends line ten, is followed by a comma and then "furniture," which begins line 11. Ashes are a dirty aspect of street living, while furniture is used by bourgeois members of society, thereby showing how far removed the proletariat is from bourgeois society. Moreover, one of the central tensions of…...
Proletarian Portrait" is a poem by illiam Carlos illiams that presents a brief snapshot of a working class woman, a proletarian. She is bogged down by two stigmas: class and gender. Because the reader has no other cues of the woman's identity, it is also possible that she is not white, either. Being of the non-dominant culture would make the woman an emblem of the underclass, presuming the setting is in North America or Europe. illiams's poetic portrait depicts the harrowing effects of labor in the capitalist system, sending a strong Marxist message warning about problems such as alienation. illiams uses poetic devices including irony and imagery, in order make strong social commentary about alienation and class conflict. The capitalist wage structure has beaten the dignity out of the woman featured in "Proletarian Portrait." A sense of heaviness, loneliness and sadness pervades the imagery in "Proletarian Portrait," allowing illiams…...
684).
Arguably the first line in which Williams introduces an aesthetic sensation, "glazed with rain water" lends itself to a bit of a play on words. Water is redundant after the word rain, but rain modifies water as well. Easterbrook writes of Williams as being a poet unique in his ability to "present imagistic pictures." The whole poem "The ed Wheelbarrow," the title itself, and the line "glazed with rain water" presents a reader with "a miniature painting" (1994,p. 27). a.K. Weatherhead wrote in 1967 of Williams' characteristic Imagism, and his subsequent well-established influence on the said historical poetic movement (as cited in Easterbrook, 1994, p. 29-30), that was attributed to Williams' contrived attention to "thinginess," to objects named -- the wheel barrow, the glaze, the rain, the water, et al. "Glaze-ness," for example, is not merely a quality of the rain or the wheelbarrow, but exists independently in "Platonic…...
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References
Rizzo, S. (2005). Remembering Race: Extra-Poetical Contexts and the Racial Other in "The Red Wheelbarrow." Journal of Modern Literature, Vol. 29 (No. 1), 34-54.
Easterbrook, N. (1994). Somehow Disturbed at the Core: Words and Things in William Carlos Williams. South Central Review, Vol. 11 (No. 3), 25-44
Morgan, F. (1947). William Carlos Williams: Imagery, Rhythm, Form. The Sewanee Review, Vol. 55 (No. 4), 675-690.
Tract" by William Carlos Williams
Throughout the poem, Williams uses free verse, which results in "Tract" reading more like prose than traditional poetry. This is one of the main concerns Williams an other modern poets had with creating their work. They were concerned with creating new forms of creating art an poetry. A sense of poetic evolution is at the heart of this type of art. In his essay, William Carlos Williams speaks of "dissimilarity to all other things" that should be pervasive in all new forms of poetry for it to have any value beyond imitating existing forms (Williams, p. 347).
This is then also Williams' ideal in using the element of fragmentation. In the first stanza of "Tract," the speaker begins logically enough, with an apparent wish to teach the townspeople about conducting funerals. Then, suddenly, he refers to a troop of artists. After this line, the second-last line…...
E.E. cummings's "she being Brand/-new" appears to be, at its surface, a poem about a man taking his car for a spin and learning the nuances of his new vehicle. The imagery and descriptions cummings uses allows the reader to understand the various things that need to be broken in. The poem's narrator freely admits the car was "consequently a little stiff," which can be further seen in how the narrator felt the need to "oil the universal joint" and test the gas, and made sure the radiator was in good condition. The ritual the narrator employs allows the reader to see how he takes great care to make sure that the not only are his needs met, but also that he does not do any damage to the car. The narrator also comments that he was impressed by the first ride and the results of his approach to breaking…...
Force:
Symbolic rape in illiam Carlos illiam's short story
illiam Carlos illiam's "The Use of Force" is a strange, uncomfortable short story to read about a seemingly very simple subject. A doctor is trying to force a resistant young girl to open her mouth so he can see if she has diphtheria. The girl, not knowing the doctor is trying to help her, bravely but foolishly resists him and he must act forcibly towards her, ostensibly to save her life. There is an uncomfortable suggestion of rape in this act of physical violation on a symbolic level, even though on a literal level the reader can likely relate to the struggles the doctor is undergoing with a young child unwilling to do something for his or her own good. The use of force, the story suggests, is a complex issue, and cannot merely be construed as good or bad. On one…...
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Works Cited
"Procne and Philomena." Timeless Myths. 1999. [22 Sept 2012]
Not all humans exhibit the same jealously levels, behaviors, etc.); and, 2. Today, instinct theory has a more biological emphasis for specific motives and not all (like aggression and sex). but, there is still a strong instinct perspective in the study of animals (ethology) (p. 2).
Notwithstanding this lack of consensus, there have been much attention directed to the relationship between instinct theory and the various dimensions of the human experience, which are discussed further below.
elationship of Instinct Theory to Dimensions of Human Experience.
A) Paradoxes in Human Experience. Indeed, in their book, Psychologies of 1925: Powell Lectures in Psychological Theory, Madison Bentley (1928) asked early on, "By what theory can it be explained how it comes about that an individual can exhibit so many and such extreme and even seemingly paradoxical phases, or alterations of his character, and such contrasting contradictory traits and behavior?" (p. 259). The duality of the…...
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References
Adler, a., Bentley, Boring, E.G. et al. (1930). Psychologies of 1930. Worcester, MA: Clark University Press.
Alic, M. (2001). McDougall, William (1871-1938). In Gale encyclopedia of psychology, 2nd ed. Gale Group.
Alvarado, C.S. (2003). Reflections on Being a Parapsychologist. The Journal of Parapsychology, 67(2), 211.
Arieti, S. (1974). The foundations of psychiatry. New York: Basic Books.
Landscape ith the Fall of Icarus
illiam Carlos illiams was an American poet well-known for his unique writing style and subject matter. A renowned imagist writer, illiams offers a curt description of Pieter Brueghel's painting "Landscape with the Fall of Icarus." illiams' interpretation of Breughel's painting is quite different from the lush, descriptive writing of .H. Auden who also referred to Breughel's "Landscape with the Fall of Icarus" in his poem "Musee des Beaux Arts." In the poem "Landscape with the Fall of Icarus," illiams relies on allusion to express his interpretation and perspective of Breughel's painting.
One of the most interesting things about illiams' "Landscape with the Fall of Icarus," is the use of allusion, as it has to be applied at several levels. The primary level at which allusion is applied is from Breughel's perspective. In "The Fall of Icarus," Breughel depicts a peasant plowing his fields, which overlook an…...
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Works Cited
Breughel, Pieter. "Landscape with the Fall of Icarus." 1560s. ArtArchive.com. Web. 3 September
2012.
Williams, William Carlos. "Landscape with the Fall of Icarus." Collected Poems: 1939-1962,
Volume II. New Directions Publishing Corp, 1962. Web. 3 September 2012.
Frost's Poetry And Landscape
The Rise of Modernist Poetry
Between the years of 1912 and 1914 the entire temper of the American arts changed. America's cultural coming-of-age occurred and writing in the U.S. moved from a period entitled traditional to modernized. It seems as though everywhere, in that Year of 1913, barriers went down and People reached each other who had never been in touch before; there were all sorts of new ways to communicate as well as new communications. The new spirit was abroad and swept us all together. These changes engaged an America of rising intellectual opportunities and intensifying artistic preoccupation.
With the changing of the century, the old styles were considered increasingly obsolete, and the greatest impact was on American arts. The changes went deep, suggesting ending the narrowness that had seemed to limit the free development of American culture for so long. That mood was not to last. American…...
Papa's Waltz," the speaker mentions the booze on his father's breath, strong enough to make a "small boy dizzy," (Line 2). Theodore Roetke then opts to use the word "death" in the third line, creating instantly a tone of despair. The titular waltzing refers to the child having to dance around his father's abuse. He is also "waltzed off to bed," (Line 15). The irony of using the term "waltz" throughout adds complexity to the poem's tone. Waltzing is an odd choice of metaphor, because waltzing is dancing: something that is inherently joyful or happy. The "beating time" is not actually beating time to music but beating a child (Line 15). By using the metaphor of waltzing to discuss domestic violence, the poet draws even greater attention to the serious nature of the subject.
Simile and metaphor allow Sharon Olds to discuss sexuality and emotional intimacy. The first simile that…...
hile illiams writes of the "tingling" of the new year, the "tingling" is not merely natural, not simply the world sprouting into rebirth. It is a very human, manufactured kind of celebration of the world's bounty.
Thus to read the painting as a kind of a mockery of Icarus and the artist's desire for transcendence may not be entirely fair. Brueghel, after all could have just shown Icarus falling into the hungry sea, unnoticed by nature. The key to a more nuanced interpretation of the painting is evident in Brueghel's deliberate choice of a perspective. According to David Cole, this is a "crucial aspect" of understanding the poem (Cole 2000). "The landscape and the action are seen from above -- from the viewpoint, in other words, of Daedalus. The force of the picture is thus, I think, to move the viewer not only to recognize the unconcern for catastrophe inherent…...
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Works Cited
Cole, David. "William Carlos Williams." The Explicator, 58.3 (Spring 2000).
American Lit
Definition of Modernism and Three Examples
Indeed, creating a true and solid definition of modernism is exceptionally difficult, and even most of the more scholarly critical accounts of the so-called modernist movement tend to divide the category into more or less two different movements, being what is known as "high modernism," which reflected the erudition and scholarly experimentalism of Eliot, Joyce, and Pound, and the so-called "low modernism" of later American practitioners, such as William Carlos Williams. Nonetheless, despite the problems of reification involved with such a task, I will attempt to invoke a definitions of at least some traits of modernism, as culled from the Princeton Encyclopedia of Poetry and Poetics:
First, [in modernism] "realization" had to replace description, so that instead of copying the external world the work could render it in an image insisting on its own forms of reality... [and] Second, the poets develop collage techniques for…...
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Bibliography
Preminger, Alex and Brogan T.V.F. The Princeton Encyclopedia of Poetry and Poetics.
Imagist poetry is in many ways the essence of what poetry strives to be -- it is concise, concrete, and creates a visual image through carefully selected language. As a poetic movement, Imagism began around 1912 with poetry by Amy Lowell, Ezra Pound, and Hilda Doolittle (usually written H.D.), among others, and the movement carried on into the twentieth century to produce some very popular and highly expressive works. The Imagists produced four anthologies of their work -- Des Imagistes, 1914; Some Imagists, 1915, 1916, 1917; and the magazines Poetry (from 1912) and The Egoist (from 1914); and these included the work of a dozen or more Imagist poets. It has been some time since a strong collection of Imagist poetry has been made, and this anthology is intended to present some of the works that help define this poetic movement.
The approach is largely chronological, carrying the reader from early…...
Bellows uses a very vigorous slashing brushwork throughout this painting, this technique creates very dynamic lines which add to the surreal yet energetic nature of this painting. For Eakins, his painting used much softer lines and this is evident in the detail of the painting. By using softer lines he accomplishes his purpose of creating a very happy and uplifting picture that seems to calm and soothe rather than cause stark attention as in Bellows' painting.
A b) Both the subject within these two paintings is nude boys, for George Bellow, the painting of these kids represented a depiction of the natural body but also of the commonplace. His purpose is to show the stimulation he has received from his new environment in New York City, where he moved from Ohio. It also reveals the excitement of a new century, and the piece is meant to a celebration of energy,…...
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