Rousseau, Douglass, both prose writers; Whitman, ennyson and Wordsworth, all three, poets. What bind them together, what is their common denominator? Nationalism, democracy, love for the common man, singing praises for the ordinary man on the street, fighting for the rights of the poor, seeking the liberation of the downtrodden from oppression, glorifying the human being - man! hese are elements that are common to them.
Jean Jacques Rousseau

Consider Jean-Jacques Rousseau who according to Lillian Hornstein of New York University. (he Reader's Companion to World Literature. New York: Dryden Press, 1956), was not even a thinker nor a writer at the beginning but ending up writing words that inspired worlds. It is bandied around, that the totality of the theme of his writing is man and his role in society. Many ideas about modern democracy came from his writings. He powered the Romantic Movement. He could and did express certain hidden…...

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The Dryden Press, 1956.

Van Nostrand, Albert D. "A Preface to Leaves of Grass." Literary Criticism in America.

NewYork: The Liberal Arts Press. 1957.

Some, of course, believe that art is a uniquely personal and emotional experience for the individual, and that what we bring based on past knowledge and taste. Thus, art is an extremely personal experience, one that is unique and emotional. Different art speaks differently to the individual based on their own interpretation or likes/dislikes. For some, art was supposed to tell a story (e.g. The romantics); for others, art told the story, but in a more general, societal manner; and yet still others peel away the emotion of art and say that art is compositional, and it is not about how the art makes one feel, as much as it is as to how art expresses parts of the society in question
For this writer, art is experimental; it maybe formal or informal, but it is about the emotional quality of a piece of music, a sculpture, a poem, a…...

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Bibliography

Barnett, S. A Short Guide to Writing About Art. New York: Longman, 2003.

Sylvia Barnett, A Short Guide to Writing About Art. (New York: Longman, 2003), 95.

Barnet, Guide, 98.

They have their own style/voice. When one reads a sentence or a paragraph constructed by Kafka or Barthelme or Beckett, he/she knows almost right away who the writer is, just like when one hears The Police on the radio.
To bear witness to this phenomenon, one should consider the following paragraph from Barthelme's short story, "Indian Uprising."

"The girls of my quarter wore long blue mufflers that reached to their knees. Sometimes the girls hid Comanches in their rooms, the blue mufflers together in a room creating a great blue fog. Block opened the door. He was carrying weapons, flowers, loaves of bread. And he was friendly, kind, enthusiastic, so I related a little of the history of torture, reviewing the technical literature quoting the best modern sources, French, German, and American, and point out the flies which had gathered in anticipation of some new, cool color."

This is a very discursive…...

Old English poem Beowulf offers a number of contrasts in telling the story of the hero Beowulf and his fight to save a community not his own first from the monster Grendel and then from Grendel's mother. Later in the poem, Beowulf also fights a dragon. These monsters fight from different motives, from the relatively petty pique of Grendel to the desire for vengeance from Grendel's mother and the desire for revenge against a wrong from the dragon. In each case, the attack produces a response from Beowulf that shows aspects of his character, makes it possible for him to show his prowess, and suggests the values that shape the society of his time.
The monster Grendel attacks Hrothgar's army in Heorot, and the motivations given in the poem begin with the fact that the creature is simply unhappy and does not like to see human beings happy. The army…...

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Works Cited

Donaldson, E. Talbot. Beowulf: A New Prose Translation. New York: W.W. Norton, 1966.

"Six hundred thousand dollars" lie dead beside him, a considerable sum in that day and age (69). The power of film is undercut by the superior power of violence, although ironically the viewer is watching a film, and is being taken into the foreign world of the Mafia through the medium that oltz controls.
To live by power outside the law flouts the American dream: "It meant you couldn't do what you wanted with your own money, with the companies you owned, the power you had to give orders. It was ten times worse than communism. It had to be smashed. It must never be allowed," states oltz explicitly, voicing his own thoughts and the reader's likely thoughts. (69) of course, the Don's ultimate aim in both the film and the book is that his flesh and 'blood' -- Michael -- will participate in legal, official society and wield power…...

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Works Cited

The Godfather." Directed by Francis Ford Coppola. 1972.

Organized Crime Research." Informational webpage. 2006.  http://www.organized-crime.de/index.html 

Puzo, Mario. The Godfather. New York: Fawcett, 1969.

Technical Communication
The prose and poem descriptions of fog are very different and help illuminate the differences between the two types of writing. The prose description of fog is descriptive. Not only does it explain what a fog is, which is a cloud touching the earth, but also goes on to explain how fog forms and how fog is both similar to and different from other weather conditions (Nationmaster, 2014). In addition, it describes the impact of fog, the fact that fog is very damp, and that fog impair visibility, which can make driving conditions very difficult (Nationmaster, 2014). The poem does conveys the feeling of fog, but does not provide the same type of descriptors. The poem describes the fog as silent, and as moving "on little cat feet" (Sandburg, 1919). This helps convey the fact that the moisture of fog helps muffle the transmission of sound, something that…...

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References

Nationmaster. (2014). Fog. Retrieved September 2, 2014 from Nationmaster website:

 http://www.nationmaster.com/encyclopedia/Fog 

Sandberg, C. (1919). Fog.

art and music but also with prose and poetry in some way. It looks at how individuals know whether something is good or bad. In general, the main point of the article is that good and bad when looking at artistic merit and value are only in the eye of the person who is looking at the piece of art, or only in the ear of the person who is listening to the piece of music. The article also points out that it is very important to be willing to speak up for what someone thinks is good or bad but also to be aware of the fact that it is possible that sometime in the future the person who said that something was good or bad may change his or her mind and have to admit to the fact that he or she was wrong. This is one…...

In the work Half Humankind, Katherine Usher Henderson and Barbara McManus explore writings that deal with much anti-woman rhetoric and stereotypes of the day. In Jane nger's Her Protection of Women, women are exalted as being "made of better stuff" than men: " . . .we allure their hearts to us [ . . . ] we woo them with our virtues, as they wed us with vanities . . ." (http://www.pinn.net/~sunshine/book-sum/anger1.html). This stereotype certainly persists today; our culture largely ranks women as "classy" and guys as, well . . . "guys"-base, even a little "dirty," under the excuse of "that's how guys are." It's a hard stereotype to overcome in many instances-like the "guy" who studies ballet!
In the same essay, we find the stereotype of women's self-sacrifice for men's sake: "Our good toward them is the destruction…...

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Anger, Jane. "Her Protection for Women." Sunshine for Women. Sunshine, 1996. .

Munda, Constantia. "The Worming of a Mad Dog." The Woman Controversy.

Hit-Him-home, Jane, and Tattlewell, Mary. "The Woman's Sharp Revenge." Sunshine for Women. Sunshine, 1999.. .

Henderson, Katherine Usher, and McManus, Barbara F. Half Humankind: Contexts and Texts of the Controversy about Women in England, 1540-1640. Urbana and Chicago: University of Illinois Press, 1985.

This is why wars are fought with bloodletting, why torture takes place, and why neither violence nor war is limited to the physical carnage of the battlefield.
Nordstrom 59)

The early death of Clifton's mother, as a result of having to powerlessly rely on a liar and a letch who could not provide for his family, is the ultimate example of self-inflicted violence, as is Gillman's character resorting to an expression of madness to resist her powerlessness. It was only slightly more "appropriate" for a women to realize madness as it was for her to throw herself from a three story window.

orks Cited

Clifton, Lucille "forgiving my father" in Schilb, John & Clifford, John. Making Literature Matter 3rd Edition. New York: Bedford, St. Martin's, 2005, 314.

Gelfant, Blanche H., and Lawrence Graver, eds. The Columbia Companion to the Twentieth-Century American Short Story. New York: Columbia University Press, 2000.

Gillman, Charlotte Perkins "The Yellow allpaper"…...

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Works Cited

Clifton, Lucille "forgiving my father" in Schilb, John & Clifford, John. Making Literature Matter 3rd Edition. New York: Bedford, St. Martin's, 2005, 314.

Gelfant, Blanche H., and Lawrence Graver, eds. The Columbia Companion to the Twentieth-Century American Short Story. New York: Columbia University Press, 2000.

Gillman, Charlotte Perkins "The Yellow Wallpaper" in Schilb, John & Clifford, John. Making Literature Matter 3rd Edition. New York: Bedford, St. Martin's, 2005, 917-925.

Herndl, Diane Price. Invalid Women: Figuring Feminine Illness in American Fiction and Culture, 1840-1940. Chapel Hill, NC: University of North Carolina Press, 1993.

King asks his readers to consider the authority of the author. For minority groups, especially those who have suffered the degree of persecution that native groups have, there are complex questions about who has the right to speak for others in the community. Especially for authors like King, whose ancestry is so mixed (as is the case for so many American Indian and First Nations writers, artists, and activists), there is always the question of whose story precisely he is telling.

Mistry, an Indian writer from Asia, takes up many of the same themes as does King, for both are the inheritors of fractured heritages, the scions of peoples who have been displaced and damaged by history. Mistry, a member of a religious minority that has been threatened by Islam, also addresses the question of what it means to belong.

"Squatter" presents a story within a story as the narrator tells two…...

Victorian Prose and Poetry, by Lionel Trilling and Harold Bloom. Specifically, it will discuss ealism and compromise in Victorian Literature. How do Victorian writers search for realistic compromises with the world around them?
VICTOIAN LITEATUE

In Victorian literature, ealism followed the age of omanticism, and ealism quickly evolved into Naturalism, practiced by many authors of the time, including Jack London, Mark Twain, Charles Dickens, Jane Austen, and Sinclair Lewis. "There was a time when the intellectual and spiritual life of Europe as a whole was dominated by neo-classicism; it was dominated in the next era by omanticism; and then it was dominated by ealism, which developed into Naturalism" (Baker 58). ealism in literature attempted to portray things as they really were, scientifically and without emotion, placing man in balance with nature.

The task of realism, Howells felt, was to defend "the people" against its adversaries. The realist, he wrote, "feels in every…...

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References

Baker, Joseph E., ed. The Reinterpretation of Victorian Literature. Princeton, NJ: Princeton University Press, 1950. Borus, Daniel H. Writing Realism: Howells, James, and Norris in the Mass Market. Chapel Hill, NC: University of North Carolina Press, 1989.

Decker, Clarence R. The Victorian Conscience. New York: Twayne Publishers, 1952.

Stedman, Edmund Clarence, ed. A Victorian Anthology, 1837-1895; Selections Illustrating the Editor's Critical Review of British Poetry in the Reign of Victoria. Boston; New York: Houghton Mifflin Company, 1895.

Trilling, Lionel and Bloom, Harold, eds. Victorian Prose and Poetry. New York: Oxford University Press, 1973.

Emma likes the type of pulp, romantic and sentimental fiction condemned by Nabokov, the 19th century version of Harlequin Romances. Emma is not an artist of prose like her creator, she is a consumer of written culture in a very literal as well as a metaphorical sense, just as she consumes all sorts of material goods in her futile quest for fulfillment, and dies by consuming poison at the end of the novel.
his is what makes Emma so fascinating as a character. She engages in the same project of interpretation and authorship as her reader, even if it is a failed project. "But what interests me most in Madame Bovary is the heroine's fondness for reading. She dies because she has attempted to make her life into a novel -- and it is the foolishness of that quest that Flaubert's clinical style mocks." (Jong, 1997) Emma essentially dies of…...

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The paradox of Flaubert's project of writing to satirize reading is clear, through Jong's interpretation of his most famous work. "A novelist mocking a heroine besotted by novels? Then this must be a writer mocking himself! And indeed, Flaubert memorably said that he had drawn Madame Bovary from life -- and after himself. 'I have dissected myself to the quick,' he wrote." (Jong, 1997) This acts as an important reminder that Flaubert did not merely carefully observe and record the mundane details of the world he saw around him, but also engaged in rigorous psychological self-scrutiny to produce a sense of realism within the pages of Bovary. Emma's interior life, however focused it may be centered on shallow objects and pursuits, is what makes her stand apart from the depicted heroines of pulp novels. Flaubert's prose is not merely descriptive and realistic. It also is psychologically full of nuance and more detailed than authors of sensationalist novels, whose heroines do not have a clear, discernable motivation for why they transgress sexual norms.

Although Jong's own fiction is often described as feminist, Jong points out that Emma's sense of discontent with her life is not merely connected to the fact that her feminine role as a housewife is frustrating. Emma does not seek a more useful life, Emma seeks "ecstasy and transcendence" that is in short supply in her rural French community. Jong's stress upon the spirituality of Emma's quest is an important reminder of the fact that Emma begins her education in a convent, and actually seems to show a superficial aptitude for the life of a nun. Emma later brings her fervor for gracious living to her life as a wife, then a mistress. Emma's inner life may seem to be centered around the pursuit of empty things, like beautiful home goods, dresses, and beautiful love affairs, but she is located squarely within a society that valorizes such objects and offers them as the only secular solution to ennui. "Emma's drama is the gap between illusion and reality, the distance between desire and its fulfillment." (Jong, 1997)

Jong says: "her search for ecstasy is ours," in short, Emma is a uniquely modern heroine, for we all seek transcendence, all of us who read, and life invariably falls short. This is the final paradox of Bovary -- a novel that critiques itself and a genre likely to be very dear to the heart of a reader is so successful, and still feels modern today. Although Jong's essay does not offer an extensive, deep interpretation of the entire novel, it acts as an important reminder of critical aspects of the work that may be overlooked, like the role of religion in the novel, and the importance of reading to Emma's interior life.

All without distinction were branded as fanatics and phantasts; not only those, whose wild and exorbitant imaginations had actually engendered only extravagant and grotesque phantasms, and whose productions were, for the most part, poor copies and gross caricatures of genuine inspiration; but the truly inspired likewise, the originals themselves. And this for no other reason, but because they were the unlearned, men of humble and obscure occupations. (Coleridge iographia IX)
To a certain extent, Coleridge's polemical point here is consistent with his early radical politics, and his emergence from the lively intellectual community of London's "dissenting academies" at a time when religious non-conformists (like the Unitarian Coleridge) were not permitted to attend Oxford or Cambridge: he is correct that science and philosophy were more active among "humble and obscure" persons, like Joseph Priestley or Anna Letitia arbauld, who had emerged from the dissenting academies because barred (by religion or gender)…...

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By mid-century, however, these forces in the use of grotesque in prose were fully integrated as a matter of style. We can contrast two convenient examples from mid-century England, in Dickens's 1850 novel David Copperfield, compared with Carlyle's notorious essay originally published in 1849 under the title "Occasional Discourse on the Negro Question." Dickens is, of course, the great master of the grotesque in the Victorian novel. Most of Dickens' villains -- the villainous dwarf Quilp in The Old Curiosity Shop, the hunchback Flintwinch in Little Dorrit, the junkshop-proprietor Krook who perishes of spontaneous combustion in Bleak House -- have names and physical characteristics that signpost them as near-perfect examples of the grotesque. The notion that this grotesquerie is, in some way, related to the streak of social criticism in Dickens' fiction is somewhat attractive, because even the social problems in these novels are configured in ways that recall the grotesque, like the Circumlocution Office in Little Dorrit, Boffin's mammoth dust-heap in Our Mutual Friend, or the philanthropist and negligent mother Mrs. Jellaby in Bleak House who proves Dickens' polemical point about charity beginning at home by being rather grotesquely eaten by the cannibals of Borrioboola-Gha. We can see Dickens' grotesque in a less outlandish form, but still recognizable as grotesque, in the introduction of the villainous Uriah Heep in Chapter 15 of David Copperfield:

When the pony-chaise stopped at the door, and my eyes were intent upon the house, I saw a cadaverous face appear at a small window on the ground floor (in a little round tower that formed one side of the house), and quickly disappear. The low arched door then opened, and the face came out. It was quite as cadaverous as it had looked in the window, though in the grain of it there was that tinge of red which is sometimes to be observed in the skins of red-haired people. It belonged to a red-haired person -- a youth of fifteen, as I take it now, but looking much older -- whose hair was cropped as close as the closest stubble; who had hardly any eyebrows, and no eyelashes, and eyes of a red-brown, so unsheltered and unshaded, that I remember wondering how he went to sleep. He was high-shouldered and bony; dressed in decent black, with a white wisp of a neckcloth; buttoned up to the throat; and had a long, lank, skeleton hand, which particularly attracted my attention, as he stood at the pony's head, rubbing his chin with it, and looking up at us in the chaise. (Dickens, Chapter 15)

We may note the classic elements of

Orthodoxy G.K. Chesterton
The most prudent way to analyze a work of literature that is as diverse and as complicated (as well as unconventional) as G.K. Chesterton's Orthodoxy is to do so from a two-fold perspective in which one considers both the form of this narrative and its effect upon the content. Part of the inherent difficulty in undertaking this body of work lies in the incongruities that exist between both of these elements of Orthodoxy. On the one hand, this is a work of non-fiction that is based on the pious and austere subject of religion, and on Christianity in particular. Yet at the same time, the author writes fairly freely in a transformative tone that vacillates between both poetry and prose, and makes a number of salient points while utilizing the former of these. Despite this contradiction between his topic and the way he chooses to address it,…...

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Works Cited

Chesterton, Gilbert.. Orthodoxy. Catholicfirst.com 1908. Print. http://www.catholicfirst.com/thefaith/catholicclassics/chesterton/orthodoxy/orthodoxy.html

Weingart, Philip. "Orthodoxy G.K. Chesterton." Scholarscorner.com. 2012. Web.  http://scholarscorner.com/bookreviews/orthodoxy

The most important structural changes in this second draft are the removal of passive voice and the creation of a complete these, so the paragraph stands alone, as an introduction.
Draft 3

Poetry can be quickly developed and then easily smuggled out of any situation in the coat pocket of the writer or even written years later in memory of an event where life and/or liberty had been lost. This power is left the poet; to recount atrocity and build ideas associated with awareness for social change. The reader can then respond emotionally or even actively, by envisioning and challenging the ideas in the work or by taking action to change them in the future. It can remind the reader of a needed demand for social and political change and an expression of the debasement of individual rights, that can be applied to other situations. The images that poetry conveys are…...

Criminal investigation is a broad field of study that covers any and all of the elements that go into solving a crime and building a legal case against the suspects.  Considered one of the applied sciences, there are actually several career paths for the criminal investigator.  Likewise, people from different disciplines may find themselves doing criminal investigative work.  For example, as science has evolved, the role of geneticists and genetic genealogists in criminal investigation and forensic science has really explored. 

When writing your paper, you have two distinct approaches you can take.  You can write a....

Teen pregnancy is a complex topic that can relate to a variety of other topics, making it possible to include body paragraphs that touch on everything from child sexual abuse to educational attainment by teen mothers.  That is because teen pregnancy does not generally exist in a vacuum, but is the result of a combination of varied social factors including race, socioeconomic status, religious affiliation, educational level, and residency.

Some topics that you could include in a body paragraph in a teen pregnancy essay include:

1. The relationship between religious practices and teen pregnancy rates; are teenage girls....

Genre theory refers to the use of familiar themes and ideas as a way of signaling to the audience what to expect from a work of fiction. Genre theory can be used in various types of fiction and is often discussed when talking about both literature and movies. Genre theory can provide a good springboard for analysis of a particular work, because works can exemplify genres, deviate from genres, or even flip genres completely upside down.  As fictional works have developed, genres have become more specific.  Genres were initially very broad, both....

Creating a 900-word essay on global warming is a substantial task. However, we can certainly help you get started with an outline, key points, and some sources that you can use to expand your essay.

Title:

"Global Warming: Understanding the Crisis and Seeking Solutions"

Introduction (Approx. 150 words):

• Definition of global warming.
• Brief overview of how global warming has become a critical issue in the 21st century.
• Thesis statement: This essay explores the causes, impacts, and potential solutions to global warming.

Causes of Global Warming (Approx. 250 words):

1. Greenhouse Gas Emissions: Explain how carbon dioxide, methane, and....