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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…
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…
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…
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…
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…
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…
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 of…
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 of our selves" (http://www.pinn.net/~sunshine/book-sum/anger1.html). In some parts of our culture, women…
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,…
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…
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…
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…
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)…
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
The man and his son are so demonstrably complex in this story, even if their survival motives are simple and clear. Particularly, even as they endure a world of cannibalism and tribalism, the two struggle mightily to maintain a sense of moral turpitude, even to the point of impracticality.
This is perhaps the most tangibly real element of McCarthy's text, which focuses significant attention to the scorched landscape and its implications. In the passage where McCarthy introduces us to this landscape, he describes the man in a state of observation, telling that "when it was light enough to use the binoculars he glassed the valley below. Everything paling away into thte murk. The soft ask blowing in loose swirls over the blacktop. He studied what he could see. The segments of road down there among the dead trees. Looking for anything of color. Any movement. Any trace of standing smoke."…
Works Cited
Auster, P. (1988). The Invention of Solitude: A Memoir. Penguin.
McCarthy, C. (2006). The Road. Knopf.
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,…
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…
Clown in illiam Shakespeare's The Tragedy Of Othello:
Comic relief and symbolism
The Elizabethan playwright illiam Shakespeare is the author of some of the most famous tragedies every written. The Tragedy of Othello is one of the rawest of all of his works, given that it is a romantic drama that hinges upon one of the most primal emotions of all human beings -- the sensation of jealousy. The jealousy of Iago for the great Moorish general Othello, and Othello's debilitating fear that his young wife Desdemona has been unfaithful is frustrating for the audience to watch, given the unjustified nature of both Iago's and Othello's emotions. However, as he does with all of his dramas, Shakespeare uses humor to provide comic relief during tense situations. This can also be seen in the character of the gravedigger in Hamlet and the use of the Porter in Macbeth. In Othello Shakespeare…
Work Cited
Shakespeare, William. The Tragedy of Othello. MIT Shakespeare Homepage. March 6, 2011.
http://shakespeare.mit.edu/othello/othello.4.1.html
Thus, the authors introduce the second theme: the duality. Er-kishi is double. He aspires to a Godless existence and tries to topple God, thinking he is better than God, but he receives his punishment soon enough and is thrown into the depths of the earth. On the other hand, the authors are masterfully explaining the idea that the earth was the result of a revolt. In this myth, God is not perfect, he forgets, fears, needs a female creature in the water to remind him of his creative capabilities and offer him a solution to the loneliness he feared. In this myth, the earth originates from water, since is made from the dirt brought from the bottom of the water. It also involved God, the symbol of light, Er-Kishi the symbol of darkness and k-ana, the female creature who reminded God of her existence and thus of his creative power.…
Altaic Languages: Encyclopedia. About.com. Retrieved: Oct 20, 2009. Available at: http://en.allexperts.com/e/a/al/altaic_languages.htm
Altaic. Encyclopedia Iranica. Retrieved: Oct 20, 2009. Available at: http://www.iranica.com/newsite/index.isc?Article=http://www.iranica.com/newsite/articles/v1f9/v1f9a004.html
Migrations, Racial Mixing and the Evolution of Cultures. Retrieved: Oct 20, 2009. Available at: http://www.angelfire.com/ca2/kushana/Migrations.html
Now, while the setting may be in a constant state of flux (between the details the reader creates and the details the narrator gives the reader), there are certain aspects of the story that are concrete and critical to what Le Guin is asking the reader to do. One of those constants within this story is the caged boy mired in his on filth. Another is the almost shameless resignation the townsfolk have regarding the poor boy. These two points are integral to some of the philosophical questions the story posits, is the undeserved and intense suffering of one justified if it ensures the happiness of many? In what ways does our own reality reflect this dilemma? The ones that leave Omelas, why are they headed to an indescribable place?
To answer this questions completely would take pages and pages of text and prose and, intertextual analysis from many different…
However, in general the author relies on strong nouns and verbs to tell the story.
B. Composition
1. Verb choices are particularly strong and vibrant: the author uses words like "prompted," "wrapped," and "poured," which makes for a compelling and dramatic narrative and corresponds with the suspenseful atmosphere.
2. The author uses many complex sentences consisting of both dependent and independent clauses, but the author uses varied sentence structure to create rhythm.
3. The author uses subtle repetition: "not just my feet but my hands and my head as well," (John 13: 9).
4. The author uses parallelism also to create rhythm. For example, "he got up from the meal, took off his outer clothing, and wrapped a towel around his waist," (John 13:4).
5. Foreshadowing is one of the hallmarks of this passage. For example, "Jesus knew that the time had come for him to leave this world and…
traditional Japanese literature interests ? How element/aspect important? How, hypothetically, justify weight? Here topic I picked: relationship nature natural world Traditional Japanese literature.
The relationship between nature and the natural world in Traditional Japanese literature
Nature has often been considered to represent one of the most important sources of inspiration for national cultural heritage throughout the world. It is present in some of the world's most impressive past civilizations as well as part of the most modern cultures nowadays. From the perspective of the Japanese culture, nature has been the constant source of inspiration in many areas, from ceramics to crafting, to literature.
Japanese literature is from this point-of-view one of the most important cultural expressions in terms of dealing with nature as a source of inspiration. This can largely be resulted from a clear affection for nature from a religious as well as historical point-of-view. At the same time…
Works cited:
Culler, Jonathan. Literary Theory: a Very Short Introduction. New York, NY: Oxford
University. 1997. Print.
"Gossamer Journal." Classical Japanese Prose: an Anthology. Ed. Helen
McCullough. Stanford, CA: Stanford University. 1990. 256-63. Print.
New America
alt hitman's Vision
hitman's favorite subject was most likely America, as well as the various concepts he believed that it embodied. He was radical in the sense that he used prose that was an example of free verse that had didn't fit in any pre-made template. I his poem "I Hear America Singing" he portrayed his transcendent beliefs about the people and work[footnoteRef:1]. [1: (hitman, N.d.)]
I hear America singing, the varied carols I hear,
Those of mechanics, each one singing his as it should be blithe and strong, The carpenter singing his as he measures his plank or beam,
The mason singing his as he makes ready for work, or leaves off work,
The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck,
The shoemaker singing as he sits on his bench, the hatter singing as he stands, The wood-cutter's…
Works Cited
McHugh, H. (N.d.). What He Thought. Retrieved from Poets.org: http://www.poets.org/viewmedia.php/prmMID/15450
Whitman, W. (N.d.). I Hear America Singing. Retrieved from Poets.org: http://www.poets.org/viewmedia.php/prmMID/15752
Anna Quindlen's "The Name is Mine," the author uses a personal anecdote to convey her experiences grappling with battling patriarchy. Marge Piercy presents a much more pessimistic view of female empowerment in "Barbie Doll," a poem in which the central subject is completely consumed by the catastrophic effects of a sexist society. Both these works of literature make powerful social commentary about the source and nature of sexism and patriarchy. However, Quindlen and Piercy use dramatically different literary strategies to achieve their respective, unitary goals. In "The Name is Mine," Quindlen uses the first person point-of-view and a straightforward narrative prose. In "Barbie Doll," Piercy uses a poem written in third person. In "The Name is Mine," Quindlen's tone is lively and upbeat, ultimately optimistic and encouraging. On the contrary, Piercy's tone in "Barbie Doll" is bitter, scathing, and righteously angry. Their tone and point-of-view might be different but both…
Japanese Literature
The stories of traditional Japanese literature contributed to the creation of Japan's cultural identity, just as all national literature contributes to the country of their origin. There are specific characteristics of a nation which influence and are influence by the psychological and sociological setting in which they were created. In the Japanese culture, there is a high emphasis placed both on nature and the natural world. hat is granted to humanity by a higher power must be protected, preserved, and appreciated. This love and care for the natural world is evident in many pieces of Japanese literature, particularly in the short stories "The Lady who Admired Vermin" and "The Tale of the Bamboo Cutter."
In the story "The Lady ho Admired Vermin," the main character is interested in vermin, rather than butterflies or flowers as other young women care about. The reason for this is that she finds…
Works Cited:
Abe, Hajime. "The View of Nature in Japanese Literature." Nagareyama, Chiba, Japan: Toyo
Culler, Jonathan. Literary Theory: a Very Short Introduction. New York, NY: Oxford
University. 1997. Print.
"The Lady Who Admired Vermin." Classical Japanese Prose: an Anthology. Ed. Helen
Your answer should be at least five sentences long.
The Legend of Arthur
Lesson 1 Journal Entry # 9 of 16
Journal Exercise 1.7A: Honor and Loyalty
1. Consider how Arthur's actions and personality agree with or challenge your definition of honor. Write a few sentences comparing your definition (from Journal 1.6A) with Arthur's actions and personality.
2. Write a brief paragraph explaining the importance or unimportance of loyalty in being honorable.
Lesson 1 Journal Entry # 10 of 16
Journal Exercise 1.7B: Combining Sentences
Complete the Practice Activity on page 202 of your text. After completing this activity, read over your Essay Assessment or another journal activity you've completed.
* Identify three passages that could be improved by combining two or more sentences with coordinating or subordinating conjunctions. Below the practice activity in your journal, write the original passages and the revised sentences you've created.
* Be sure to…
The lives of others and the humanity of others become clearer as we approach our ultimate destination at the end of life. Only at the end of life, with the inner stillness that we achieve, can we appreciate the subjectivity of others and the impermanence of our own existence.
The atmosphere of the poem is almost Zen-like in stress upon how human beings need to achieve a sense of calmness and quiet within themselves to appreciate life. It also suggests that the purpose of life is reflective: to see things, like the leaves and the clouds, as they truly are, rather than to obscure them in light of our own personal obsessions and interests. A rushing stream is not a good mirror, but still water reveals the texture of the leaves: just as 'reflection' is the ultimate, higher purpose of the stream, so reflection is the purpose of human life.…
Then again, even the sites that allow for such commentary often don't receive any. PwC IFS hasn't received any comments in the past month on any of its articles, for instance, though it does provide accurate and fairly up-to-date information. Part of the reason for this could be the fact that this blog, like many others in the accounting world, are run by large firms -- Price Waterhouse Coopers, in this case. Though this does not mean there is necessarily a bias at work in the blog, and indeed certain differing opinions are allowed, the fact that the information on such blogs is so directly under the control of a single for-profit entity means it must be regarded as at least slightly suspect. As these resources are also free, however, there is no harm in regularly browsing them.
eferences
Accounting and Business esearch. Accessed via EBSCO 8 October 2009.
Accounting…
References
Accounting and Business Research. Accessed via EBSCO 8 October 2009.
Accounting Historian's Journal. Accessed via EBSCO 8 October 2009.
Accounting and the Public Interest. Accessed via EBSCO 8 October 2009.
Accounting Today. Daily print periodical. 2009 issues reviewed.
"All those ascetics and brahmins who construct systems about the past or the future, or both, who hold theories about both, and who make various assertions about the past and future, are all caught in this net of sixty-two subjects. There they are, though they plunge and plunge about. There they are caught in the net, though they plunge and plunge about." The apparent elaborateness of the scheme becomes clearer when it is analysed. The views fall into two classes, speculations about the past and about the future:
I. There are those who hold views about the beginnings of things in eighteen ways: (1) Some hold in four ways 2 that the self or soul (?tman) and the universe (loka) are eternal. (2) Some hold in four ways that the self and universe are in some respects eternal and in some not.(3) Some hold that the universe is finite, or…
Works Cited
Miller, F.M. editor Davis, T.W.Rhys Translator Sacred Books of the Buddhists, Sutta Pitaka, Digha Nikaya, Brahmajala Sutta, 1956, [electronic version, ND] http://metta.lk/tipitaka/2Sutta-Pitaka/1Digha-Nikaya/Digha1/01-brahmajala-e.html#q-001
Morgan, Kenneth W., ed. The Path of the Buddha Buddhism Interpreted by Buddhists. New York: Ronald Press, 1956.
Thomas, Edward J. The History of Buddhist Thought. London: Kegan Paul, Trench, Trubner, 1933.
Braziller, 1973
Serious Morning (Yes! Capra Chapbook Series; no. 9), Capra Press, 1973
Necrocorrida, Panjundrum Press, 1980
Diapers on the Snow, Crowfoot Press, 1981
Selected Poems: 1970-1980, 1983, Sun Books
Comrade Past and Mister Present, Coffee House Press, 1986
Belligerence: New Poems, Coffee House Press, 1991
Alien Candor: Selected Poems, 1970-1995, Black Sparrow Press, 1993
Candoare str
: Poeme alese, 1970-1996, Editura Funda-iei Culturale Romane, 1997
License to Carry a Gun, Carnegie-Mellon University Press, 1998
It was Today, Coffee House Press, 2003
Editing
American Poetry Since 1970: Up Late, Four alls Eight indows, 1988
The Stiffest of the Corpse: An Exquisite Corpse Reader, Consortium Book Sales & Dist., 1989
American Poets Say Goodbye to the Twentieth Century, co-edited with Laura Rosenthal, Four alls Eight indows, 1996
Thus Spake the Corpse: An Exquisite Corpse Reader 1988-1998. Volume 1, Poetry & Essays, co-edited with Laura Rosenthal, Black Sparrow Books, 1999
Thus Spake…
Works Cited
Andrei Codrescu Bio." 2007. April 21, 2007. http://www.codrescu.com/bio/index.html.
Codrescu, Andrei. "The Iconography of Hell and Our Guilt." Jewish World Review Insight (12 Sept 2005). April 22, 2007. http://www.jewishworldreview.com/0905/codrescu091205.php3 .
Codrescu, Andrei, "Liberal Help for Iran." Downtown Express 19(34)(January 5, 2007). April 22, 2007. http://www.downtownexpress.com/de_191/thepennypost.html.
Codrescu, Andrei, "A Moving Moment for Me and My Books." The Villager 75(49)(April 26, 2006). April 22, 2007. http://www.thevillager.com/villager_156/amovingmomentforme.html .
Crown Cork Seal Case
complete 2 pages. Use bullet points make points lengthy prose. Crown Cork & Seal Case Questions 1. You asked Avery analyze industry Crown Cork Seal competes. What industries analysis -- list . 2.
You have been asked by Avery to analyze the industry that Crown Cork Seal competes in. What are the possible industries that you could consider for analysis -- please list them.
The metal container industry as a whole
Beverage cans
Aerosol cans
Now apply the Five Forces model (please refer to pages 69-77 in Grant textbook for Five Forces model and the Porter article) to analyze the metal container industry. Summarize your analysis with the Five Forces model.
Threat of new entrants: The threat of new entrants is fairly low, given the high costs associated with starting an efficient manufacturing firm producing metal cans. (Weak)
Threat of substitutes: In specific market sectors, such…
Most individuals fail to appreciate life to the fullest because they concentrate on being remembered as some of the greatest humans who ever lives. This makes it difficult for them to enjoy the simple pleasures in life, considering that they waste most of their time trying to put across ideas that are appealing to the masses. While many did not manage to produce ideas that survived more than them, others succeeded and actually produced thinking that remained in society for a long period of time consequent to their death.
Creativity is generally regarded as one of the most important concepts in society, considering that it generally induces intense feelings in individuals. It is responsible for progress and for the fact that humanity managed to produce a series of ideas that dominated society's thinking through time. In order for someone to create a concept that will live longer than him or…
" On its in inception, Canby reviewed it. He said that the story lines were undeveloped and gags having no payoff. He described it to be unreal. Kael at the opposing end commented that she never got to understood Canby's comedy sense. Kael suggested that the comedy was perfectly normal and had charms. She rated it to be far more entertaining than most of the films. The film's director remarked later on that the film only required a degree of word expression that only a review like that of Kael could generate. His famous contributions and famous woks included fiction writing, like Living Quarters of 1975 and Unnatural Scenery of 1979.
Canby wrote, produced and directed plays like "End of the ar" in New York City 1984 at Ensemble Studio Theatre. Canby is remembered for his famous reviews at New York Times. After reviewing the movie "Monsters in the Morrow,"…
Work cited
Buttsworth, Sara, and Maartje M. Abbenhuis. Monsters in the Mirror: Representations of Nazism in Post-War Popular Culture. Santa Barbara, Calif: Praeger, 2010. Print.
Haberski, Raymond J. Freedom to Offend: How New York Remade Movie Culture. Lexington, Ky: Univ. Press of Kentucky, 2007. Print.
Melnick, Ross, and Andreas Fuchs. Cinema Treasures: A New Look at Classic Movie Theaters. St. Paul, MN: MBI, 2004. Print.
Newman, Michael Z. Indie: An American Film Culture. New York: Columbia University Press, 2011. Print.
medieval romance has inspired literature for generations. The magic of the Arthurian romance can be traced to Celtic origins, which adds to it appeal when we look at it through the prism of post-medieval literature. The revival of the medieval romance can be viewed as an opposition against modern and intellectual movement that became vogue in modern Europe. These romances often emphasized the human emotions rather than the human intellect and a return to more classical traditions. Poets and writers in the eighteenth and nineteenth centuries did not want to feel the oppression from the constraints of their time. Instead, they looked beyond the intellectual to a more mystical and emotional realm. They wanted to achieve another level in their writing -- one that allowed them to stretch their imaginations and their knowledge. The medieval aspects that we find in literature from this era accentuates a different type of thinking…
Works Cited
Carlyle, Thomas. "Past and Present." The Norton Anthology of English Literature. Vol. II
New York W.W. Norton and Company. 1986. pp. 157-70.
Carl Woodring, "The Eve of St. Agnes: Overview." Reference Guide to English Literature.
2nd ed. 1991. Gale Resource Database. Site Accessed April 20, 2005.
Millions of dollars are spent on test-prep manuals, books, computer programs and worksheets (Gluckman, 2002). Static/captive learning can help teachers around the nation prepare their students for standardized testing.
Significance of the Study to Leadership
A principal is the leader of the campus. The challenge for the principal is to know his or her district's mandated curriculum and make sure teachers are able to deliver it (Shipman & Murphy, 2001). As the key decision-maker for the use of time and space, principals must be aware of how the use of time and space affects instruction. Principals need to know how best to use assessment data based on relevant content standards with teachers, school communities. Improved student learning is always the focus of assessment.
ecause of high stakes testing, teachers are always assessing to monitor student progress and plan the scope and sequence of instruction. Principals can work to structure school…
Bibliography
Anglin, Gary J., Vaez, Hossein, and Cunningham, Kathryn L. (nd) Visual Representations and Learning: The Role of Static and Animated Graphics. Visualization and Learning. Online available at: http://www.aect.org/edtech/33.pdf
Arnold, T.C., & Dwyer, F.M. (1975). Realism in visualized instruction. Perceptual and Motor Skills, 40, 369 -- 370.
de Melo, H.T. (1981). Visual self-paced instruction and visual testing in biological science at the secondary level (Doctoral dissertation, Pennsylvania State University, 1980). Dissertation Abstracts International, 41, 4954A.
Dwyer, F.M. (1969). The effect of varying the amount of realistic detail in visual illustrations designed to complement programmed instruction. Programmed Learning and Educational Technology, 6, 147 -- 153.
"
Orwell presents a rather romantic picture of the life of a writer. A writer is someone who is driven internally, psychically, spiritually. The desire to write might initially be due to an admiration of a famous author, or a personal affection for the Harry Potter books. Or, the desire to write might be due to a want of recognition, fame, or even fortune. Writing can be used as a weapon as with bitter letters to politicians or ex-girlfriends.
Some writing is purely journalistic in tone, whereas other writing is all fluff. With his characteristic humor, Orwell takes a dig at journalists when he states, "Serious writers, I should say, are on the whole more vain and self-centered than journalists, though less interested in money." The essay "Why I Write" is an effective piece of prose because the author is credible, and bolsters his argument with humility as well as…
References
Orwell, George. Animal Farm. Signet, 1996.
Orwell, George. "Why I Write." Retrieved online: http://orwell.ru/library/essays/wiw/english/e_wiw
Fred D'Aguiar's surreal poems like "Mama Dot" and "Air Hall Iconography" stir up imagery of the African homeland and convey a sense of detachment from the modern world. This detachment is not apathetic, but rather, D'Aguiar poignantly portrays the plight of colonized Africans. The poet chooses to focus on the archetypal African matriarch in "Mama Dot." Like a creation story, Fred D'Aguiar's "Mama Dot" outlines the evolution of the titular Mama Dot by progressing through a seven-day week. Each symbolic day represents possible decades or centuries in historical, linear time. D'Aguiar's talent in "Mama Dot" is revealed through his ability to create a time-transcendent, abstract recreation of the tragedies of slavery and the sense of "otherness" that the descendents of slaves feel long after their ancestors were captured and sold.
orn on a Sunday / in the kingdom of Ashante," (lines 1-2) Mama Dot's beginnings feel regal, as the poet…
Bibliography
D'Aguiar, Fred. "Mama Dot." Other: British and Irish Poetry since 1970. Ed. Caddel, Richard and Quartermain. Hanover: Wesleyan University Press, 1999. 45.
D'Aguiar, Fred. "Airy Hall Iconography." Other: British and Irish Poetry since 1970. Ed. Caddel, Richard and Quartermain. Hanover: Wesleyan University Press, 1999. 48.
Leonard, Tom. "100 Differences Between Poetry and Prose." Other: British and Irish Poetry since 1970. Ed. Caddel, Richard and Quartermain. Hanover: Wesleyan University Press, 1999. 129.
Leonard, Tom. "The Evidence." Other: British and Irish Poetry since 1970. Ed. Caddel, Richard and Quartermain. Hanover: Wesleyan University Press, 1999. 130.
Some -- give trouble for half a year (Kipling)."
The above passage is clear and plain as it describes deaths by heart attacks that are sudden, accidents that are sudden and death by illness in which the person slowly dies.
In another passage Kipling illuminates the fact that just as there are many different personalities among the living, there are also many different personalities among the dying and how they choose to react to their impending death.
Some die quietly. Some abound
In loud self-pity. Others spread
Bad morale through the cots around...
This is a type that is better dead (Kipling). "
There is no question about what point Kipling seeks to make with his writing. He is clear and concise and there is no need to try and second guess any underlying meaning of his intent as one passes through the poems and stories of his career.
His…
References
Second-Rate Woman (Accessed 5-26-07) http://whitewolf.newcastle.edu.au/words/authors/K/KiplingRudyard/prose/UndertheDeodars/secondratewoman.html
Rudyard Kipling
Battles, Paul (1996) "The Mark of the Beast": Rudyard Kipling's apocalyptic vision of empire.
Studies in Short Fiction
Thus, the idea of a strong, female leader is created through conceptual blending, and the ultimately oxymoronic pairing of unlike words. Something new is created, through the use of cultural, political, religious, and historical references, and of the pairing of these two specific nouns together.
3. Explain what Fauconnier and Turner mean when they assert on page 15, in effect, that, "Metaphor is not just something derived from 'core meaning'?" Are they right? (Please refer to The Way We Think: Conceptual Blending and the Mind's Hidden Complexities by Gilles Fauconnier and Mark Tuner)
Because unlike the literary device or trope of simile, the use of metaphor deploys the verb 'is,' as in, 'hope is a thing with feathers,' in the famous poem of Emily Dickinson of this title, one is tempted to assume that metaphor accesses some core meaning of a word or concept. But as this example shows, the…
Nightwood
Djuna Barnes's 1938 novel Nightwood is a dark and evocative work of prose that reads like poetry. Barnes's diction includes words like "encomiums" as well as what were at the time new French imports like chic (p. 4). In fact, Barnes's writing style reflects the worldly spirit and life of both the author and her characters.
For Barnes in Nightwood, imagery and tone are more important than plot. The reader is emotionally imprinted after completing the novel; in the same way that completing a poem leaves lingering images in the mind like a dream. Barnes does create a dreamlike state in Nightwood, which is aptly titled. The night, and creatures of the night, feature prominently in the text. Many of the novel's chapters are titled with nocturnal mofits: "La Somnambule," "Nightwatch," and "Watchmen, What of the Night?" Under cover of darkness, individuals are free to be themselves, explore their…
"
After the advertisement is placed, then Liz, a lawyer, enters into the picture and poetry of John's life. Liz Donati attracts John by writing him two sonnets, and of course, the use of a personal advertisement as a meeting place provides even more evidence of how individuals still connect, even in the sterile and technical modern world, through prose. Even the most prosaic individuals such as Liz and John find ways to express their lust and then their love in the form of a verbally astute dance.
The other couple that dominates the text is Liz's brother, Ed. Ed is gay and is involved with John's old college roommate, Phil. The conflicts created by homosexuality destroy Ed and Phil's tryst, making their coupling in poetic terms the more traditional of the two that are depicted in the Golden Gate, in terms of the sonnet medium's frequent depiction of unhappy…
Works Cited
Seth, Vikram. The Golden Gate. New York: Vintage. First published 1986. Reissued 1991.
Eugene Onegin
The writing styles employed in Eugene Onegin, written by Alexander Pushkin, and in Crime and Punishment, authored by Fyodor Dostoevsky, are about as extremely different from one another as they can be. The former is a work of poetry written in the first person. The latter is a work of prose written by an omniscient, third-person narrator. These differences in writing styles duly affect the way that readers perceive each of these stories, adding to a degree of clarity and gravity to Dostoevsky's tale as opposed to ambiguity and levity evinced within Pushkin's.
Pushkin's usage of iambic pentameter in Onegin facilitates a steady rhyme scheme that delineates the vicissitudes incurred by the title character. This rhyme scheme, however, is frequently used to emphasize sarcasm and humor, which adds to a definite sense of light-heartedness that is prevalent for the duration of this tale. For instance, when describing Onegin's…
The message is further developed when he refuses to listen to her explanation about why she would work as an agent of suicide, explaining that "a woman's not a woman till the pills wear off." (41). Through these twists and turns, we can see Vonnegut's exploration of sex, sexiness, and age. He utilizes humor and irony to highlight social contradictions and, perhaps, to point out timeless truths about what makes us human.
Another of Vonnegut's trademark literary tools is the use of outright jokes. In this story, Billy the Poet woos his women with poetry, and most of the poems are lewd: "Soak yourself in Jergen's Lotion; Here comes the one man population explosion," (Vonnegut, 1968: 37). The use of humor contributes to Vonnegut's accessibility and helped him become a cult hero for thousands of readers over the years.
Conclusion
Vonnegut may be writing superficially light fiction, but no reader…
Works Cited
Allen, William Rodney. (1991). Understanding Kurt Vonnegut. University of South
Carolina Press: South Carolina.
Davis, Todd F. (2006). Kurt Vonnegut's Crusade: Or, How a Postmodern Harlequin
Preached a New Kind of Humanism. State University of New York Press:
That being said, it is quite difficult to be honest with oneself, even thought as we stand in front of the mirror, naked and bare, Didion says we remain "blind to our fatal weaknesses." One might think that being too self-critical would damage the ego, but for Didion, it is completely the opposite -- by knowing out flaws, accepting some and working towards the goal of solving others, we become more actualized and powerful. Without this realization, "one eventually discovers the final turn of the screw: one runs away to find oneself, and finds no one at home."
Both Didion and Walker focus on self-respect, self-actualization, and in a very real way, a pseudo-Marxian approach to alienation from society. There are several points in common for the authors: one's own approach to self; seeking and finding self-respect; and taking an active role in our own place in the universe. Conversely,…
Hooks, B. Rock My Soul: Black People and Self-Esteem. Washington Square Press, 2004.
Sanford, L. Women and Self-Esteem: Understanding and Improving the Way We Think
About Ourselves. Penguin, 1987.
"So ieland wrought a goodly store of rings alike to that his Swan-wife gave him, and strung them on a hempen cord against his wall: amongst them all she should not recognize her own" (agner 102). A king named Neiding (Envy)takes ieland captive, but eventually by making himself wings he sets himself free, and finds his beloved once again (agner 103). The theme of the lost ring of course recalls the Ring cycle, and the idea of an enchanted beloved reappears not only in the Ring but also Tristan and Parsifal. agner's great love of this myth also shows his fascination with 'quest' narratives, like the Ring and the Grail sagas.
Der Sieger
This planned Buddhist opera was said to be inspired upon Schopenhauer's writings which linked Christianity, Buddhism, and Brahmanism as sharing a lack of a 'will to live' along with heroic quest tales (Beckett 11). The plot revolves…
Works Cited
Beckett, Lucy. Parsifal. Cambridge University Press, 1981.
Maar, Michael. "Deadly potions: Kleist and Wagner." The New Left Review. July/August 2000.
Sadie, Stanley. "Richard Wagner." The Grove Encyclopedia of Music. First created 1996.
Updated 2000. Full e-text available at http://w3.rz-berlin.mpg.de/cmp/wagner.html
Never cold. an'fruit ever'place, an' people just bein' in the nicest places, little white houses in among the orange trees [...] an' the little fellas go out an' pick oranges right off the tree. They ain't gonna be able to stand it, they'll get to yellin' so."(Steinbeck, 95) Their conviction is enhanced by the stories they hear and by false advertisements they are sent. These false advertisements may very well stand for the archetype of contemporary commerce which is dependent on advertisement. California may moreover be a symbol for America itself, which was once seen as a heavenly continent, an unspotted, holy land. Steinbeck thus drafts at once a story of migration and tries to settle and capture the archetypes of the modern world. The story thus focuses on the fall of human life from wholeness into fragmentation: "Carbon is not a man, nor salt nor water nor calcium. He…
Works Cited
Kingston, Maxine. China Men. New York: Vintage, 2002.
Mukherjee, Bharati. Jasmine. New York: Grove Press, 1989
Steinbeck, John. The Grapes of Wrath. New York: Penguin Classics, 1992
The first independent clause begins in a strong active voice, with a strong decisive verb, (Graff, 2006).
This represents his shift from true passiveness to a form of non-violent action. Then, the dependent clause "realizing that except for Christmas," begins with a gerund. The verb to realize is transformed into a noun with the adding of a "-ing." This is aimed at showing the general modality of the speaker. The speaker and all involved had a previous knowledge of the realization involved in the process. Then King Jr. refers back to the object Easter with the subject and verb of "this is." This is a form of a relative clause which is therefore a form of adjective clause, (Lewis, 1986).
The next sentence continues the modality of the gerund verb. This sentence is a dependent attached to an independent clause first beginning with a gerund, "Knowing that a strong economic…
References
King, Martin Luther Jr. (1963). Letter from Birmingham jail. University of Pennsylvania. African Studies. 12 June. 2008. http://www.africa.upenn.edu/Articles_Gen/Letter_Birmingham.html
Lewis, Michaels. (1986). The English verb: an exploration of structure and meaning.
Language Teaching Publications.
Strunk, William & White, E.B. (1999). The elements of style. Longman Publishers.
From these examples there is a varied sense of the realism of Eliot in both her prose and her poems. The realism of Eliot demonstrates a reflection of the era. The naturalist and realism movements were ingrained in the Victorian 19th century and yet the descriptive nature of Eliot's works make them in many ways timeless. The characters are enveloped with the reader into the surroundings of events of human social drama.
orks Cited
Eliot, George. The Best-Known Novels of George Eliot: Adam Bede, the Mill on the Floss, Silas Marner, Romola. New York: Modern Library, 1940.
Eliot, George, Brother and Sister
http://rpo.library.utoronto.ca/poem/2696.html
Eliot, George, Two Lovers
http://rpo.library.utoronto.ca/poem/2696.html
Eliot, George in a London Drawingroom
http://rpo.library.utoronto.ca/poem/2696.html
Eliot, George, Mid my Gold-brown Curls
http://rpo.library.utoronto.ca/poem/2696.html
Eliot, George, Two Lovers, in Stevenson, Burton Egbert. The Home Book of Verse. At http://www.famouspoetsandpoems.com/poets/george_eliot/poems/3456
Pizer, Donald. Realism and Naturalism in Nineteenth-Century American Literature. Revised ed. Carbondale, IL:…
Works Cited
Eliot, George. The Best-Known Novels of George Eliot: Adam Bede, the Mill on the Floss, Silas Marner, Romola. New York: Modern Library, 1940.
Eliot, George, Brother and Sister
http://rpo.library.utoronto.ca/poem/2696.html
Eliot, George, Two Lovers
This also forms a connecting point between the works, where buildings are used not only to house those who praise God, but also as functioning works of praise themselves.
In short, Sinan uses prose and poetry first to praise God, and then progressing to his royal representatives on earth. Palladio, in turn, uses poetic prose to praise God, after which he progresses to a more practical focus on the history of temples as well as the dimensions of his proposed buildings.
Both architects are obviously deeply religious men who use their art and works in praise of the divinity that they regarded as their creator. Their writing clearly shows the respective cultural affiliations that both hold; with Palladio investigating the history of his country and its buildings to learn from and build upon. Sinan, on the other hand, regards both humanity and divinity as part and representative of each other.…
References
Crane, Howard and Esra Akin. Sinan's Autobiographies: Five Sixteenth-Century Texts. Leiden: 2006.
Glancey, J. The stonecutter who shook the world. The Guardian, Jan 5, 2009. Web. http://www.guardian.co.uk/artanddesign/2009/jan/05/architect-andrea-palladio
Palladio, Andrea. Four Books on Architecture. Translated by Robert Tavernor and Richard Schofield. Cambridge: 1997
Respect to Sinan Project. 2006. Web. http://www.sinanasaygi.org/en/icerik.asp?ID=3
But what better introduction is there to writing than to be judged solely upon one's critical writing? Although one does not interact personally with other student writers in the online class format, one does not have the ability to interact with the writers of the texts one reads, either. One judge a classical essayist based on his or her quality of prose, and in an Internet forum one can judge a fellow student opinion based on the same standard, the quality and fluidness of the prose and the soundness of the student's opinion. Also, without the pressures of personal interaction, one is likely to be more honest about one's opinions and to take more risks about expressing one's own, potentially risky thoughts about a controversial subject.
True, Internet classes don't offer the one-on-one human interaction that can make a class exiting for someone with a personality who enjoys social interaction.…
She gives an open invitation to ponder, a food for thought to her readers by questioning them: "Why did men drink wine and women water? Why was one sex so prosperous and the other so poor? What effect has poverty on fiction? What conditions are necessary for the creation of works of art?" These lines could be termed as the jist of her essay, plainly put, they cover her scrutiny, as she uses various styles and approaches to explain and weigh the reasons of women's creative inabilities.
Woolf's style however, switching-in and switching-out in her own playful way creates suavity and humor entwined together but not overlooking the pleasure of reading a fluid prose. Also added to the package is loaded sarcasm letting her readers plunge into deeper waters for better understanding of the implications impressed upon women, keeping them from impressing their mark in creative writing show ground. "if…
" (Gibbs 226) Alvardo de Campos is a naval engineer by profession and while his earlier writings are positive, his work develops characteristics of existential angst. Furthermore, what is intriguing is that all of these fictive authors created by Pessoa interact with one another and even translate each other's works. (Gibbs 226)
One critic notes that "Fernando Pessoa invented at least 72 fictive identities. "His jostling aliases...expressed his belief that the individual subject -- the core of European thought -- is an illusion." (Gray 52) This view goes to the heart of the matter, as will be discussed in the following sections of this paper; namely that the creation of these fictive identities emphasizes and highlights the modern crisis of identity and the existential and postmodern view that the self as a coherent and continuous entity is an illusion. The following extract emphasizes this central point and also allows for…
Bibliography
Cravens, Gwyneth. "Past Present." The Nation 13 Nov. 1989: 574+. Questia. Web. 22 July 2012.
Cullenberg, Stephen, Jack Amariglio, and David F. Ruccio. Postmodernism, Economics and Knowledge. London: Routledge, 2001.
Gabriel, Markus. "The Art of Skepticism and the Skepticism of Art." Philosophy Today 53.1 (2009): 58+. Questia. Web. 22 July 2012.
Gibbs, Raymond W. Intentions in the Experience of Meaning. Cambridge, England: Cambridge University Press, 1999.
The folkloric tradition was so popular because people were able to relate to it. Although Ferdowsi wrote his text with the intention that people of all backgrounds would be able to celebrate the history of the land, the folkloric tradition derived its appeal from the fact that everyone could relate with the characters in a very real, first-hand way. Most of the stories simply had stock characters, similar to the Commedia Del Arte theatrical tradition in Italy. These characters were archetypes rather than actual historical figures. Although the everyday events depicted in these stories were fictional and made up by the person who happened to be telling the story, the stories were used as a form of entertainment that would offer some form of momentary escape from the cares of their everyday lives. This context represents a major difference from the Shehmaneh, which generally attempts to represent history and actual…
Works Cited
Davis, Dick. "Introduction." The Shahnameh: The Persian Book of Kings. Trans. Dick Davis. Korea: Mage, 2004. 7-15.
Doostkhah, Jalil. "Shahnameh and the Oral Epic Traditions: A Brief Note." Iran and the Caucasus 5 (2001): 157-162.
Gay, David Elton. "The Oral Background of Persian Epics: Storytelling and Poetry, and: Sunset of Empire: Stories from the Shahnameh of Ferdowsi. Vol. 3." Journal of American Folklore 119.472 (2006): 243-245.
Karaomerlioglu, Asim. "The Peasants in Early Turkish Literature." East European Quarterly 36.2 (2002): 127-154.
Hughes' poems. Don't tell us about theme or how you relate to it. Tell us about the form of the poem. Name and define some of the elements of the form. Tell us about its attributes and history, what Hughes' influences were in this poem, and so on. Can you find Whitman's influence here, where and how?
Langston Hughes was one of the great artists of this period, and the themes of Black identity and frustration against slavery and discrimination can be seen in many of his poems as, for instance, the famous one of "Bound No'th Blues"
In the poem "Bound No'th Blues" (http://www.poemhunter.com/poem/bound-no-th-blues/), the rhythm supports the pome's theme of the woman's fatigue and loneliness. The poem reiterates: "Road, road, road, O!
Road, road…road…road, road!
Road, road, road, O!"
The road is ongoing and eternal; there is no end to this.
The words are truncated. The sentences are…
Sources
Wintz, C. Analysis and Assessment, 1940-1979 (Vol. 1) Taylor & Francis, 1996, p.84
Bio.classroom. Harlem Renaissance
http://www.biography.com/tv/classroom/harlem-renaissance
"Bound No'th Blues"
representation of Death and the impermanence in the short story "A Father's Story" by Andre Dubus, and the poem "Because I could not stop for Death" by Emily Dickinson. These two works were chosen because both speak of Death and impermanence, yet these authors employ different literary forms, characters, settings and plots. "A Father's Story" follows the format of a short story, being prose written in concise paragraphs with a main point or moral and portraying its characters by the way they speak. "Because I could not stop for Death" follows the form of poetry, being structured in shifted lines and using language to evoke imagination or emotion in the reader. In addition, the two writers substantively approach Death very differently. Comparison of these distinct forms shows how writers can make very different styles and statements about Death and impermanence through different devices, including but not limited to the short…
Works Cited
Academy of American Poets. (2013). Emily Dickinson. Retrieved from www.poets.org Web site: http://www.poets.org/poet.php/prmPID/155
Bodwell, J. (2008, July/August). The art of reading Andre Dubus: We don't have to live great lives. Retrieved from www.pw.org Web site: http://www.pw.org/content/art_reading_andre_dubus_we_don%E2%80%99t_have_live_great_lives-cmnt_all=1
Clugston, R.W. (2010). Journey into Literature. Retrieved from www.content.ashford.edu Web site: https://content.ashford.edu/books/AUENG125.10.2/sections/sec1.2
Clugston, R.W. (2010). Poems for comparison, Chapter 12, Journey into Literature. Retrieved from content.ashford.edu Web site:
Ledge Hall
Lawrence Sargent Hall's short story, The Ledge, is characterized by a devastating emotional pull, compelling prose, and vivid characterization. The Ledge won the O. Henry Award and been included in a number of anthologies. hile Hall's literary career was marked by great success of The Ledge and other writing, he also had successful academic, public service and naval careers.
Lawrence Sargent Hall's life was marked by his notable academic career, his services in the navy, and his writing career. Born in 1915 April 23, 1915, in Haverhill, Massachusetts, Hall graduated from Bowdoin College in Brunswick, Maine in 1936. He then went on to teach from 1935-1938 at Deerfield Academy at Deerfield, Massachusetts. After his tenure at Deerfield, Hall obtained his Ph.D. from Yale in 1941. He then taught at Yale in 1946, and in Ohio University in Athens from 1941-1942. In 1946, he became a professor of English…
Works Cited
Bernard, Andre. 2004. Best Stories of the Century? Not Quite, but Close Enough. New York Observer. |27 July 2004. http://www.newyorkobserver.com/pages/story.asp?ID=1159
Bowdoin Anthologies. Lawrence Sargent Hall Papers, 1938-1993. 27 July 2004. http://library.bowdoin.edu/arch/mss/lshg.shtml
May, Charles and Magill, Frank N. 2004. The Ledge. In: Masterplots II: Short Story Series, Volume 4. Salem Press, p. 2309.
Hall, Lawrence Sargent. The Ledge. Available online at http://www.bilinguist.com/data/hy03/messages/112644.html
One cannot build the right sort of house -- the houses are not really adequate, "Blinds, shutter, curtains, awnings, were all closed and drawn to keep out the star. Grant it but a chink or keyhole, and it shot in like a white-hot arrow." The stare here is the metonymic device -- we assume it is stranger, the outside vs. The inside, but for some reason, it is also the authority involved, and one that is able to ensure adequacy. In a similar vein, the "churches were freest from it," but they offer only an homage' to safety, and use their power to shut people out from the light that "made the eyes ache" and had been inhumanly oppressive. The prison, though, is "so repulsive a place that even the obtrusive star blinked at it and left it to such refuse of reflected light as could find." The stare is…
Labor in Little Dorrit." Journal of the Novel. 31 (1) 21+.
Young, Arlene. (1996). "Virtue Domesticated: Dickens and the Lower Middle
Class." Victorian Studies. 39 (4): 483+.
e. The value of sequenced writing assignments).As Moffett was won't to say:
It is stages, not ages that are important for sequence. What holds for different people is the order [of stages] regardless of the timing. (http://www.csun.edu/~rinstitute/Content/instructional_materials/Writing%)
In order to move from 'writer-based prose' to 'reader-based' prose, one has to help students develop their ability to produce, and interact with, increasingly complex modes of cognition and communication, and this was where Moffett's innovation lay: he followed innate cognitive developmental structure, and used that to teach the student how to convey his ideas most effectively in writing.
There are the four ascending levels of communication start6ing from the broadest, prsonal narrative, and proceeding in an ever more refined and demanding ascension through the tiers of drama, and exposition (analysis definition). The entire structure fits into one triangulated form that revolves around I (the speaker / writer), you (the reader / listener),…
References
Kemper, D. Developing a meaningful writing curriculum the open source. http://hmheducation.com/writesource/pdf/Developing_Curr.pdf
McCarter, M.M. (2010). James Moffet and James Croswhite. Associated Content. http://www.associatedcontent.com/article/2614581/james_moffett_and_james_crosswhite_pg2.html ?
Strong's Craft Assignments. Pdf. http://www.csun.edu/~rinstitute/Content/instructional_materials/Writing%20Assignments.pdf
First of all, through Luther's essential contribution in translating the ible into German, gives the word of God to ordinary Germans. However, even more than this, he empowers them to express themselves as well. According to Heine, this is the moment of rejuvenation for German language, which is literally not only the rebirth of the language itself, but of the language as a means of expression, as a means of freedom of speech. Finally, this is the freedom of speech in the ancient biblical sense of the word, the word as more than a simple means of expression, the word as the ultimate conscience of the German people. This is why Luther's literary role is also essential in creating the German national identity and of sustaining it throughout the centuries to follow.
y giving it the gluing substance it needed, Luther is able to present Germany to Europe as a…
Bibliography
1. Heine, Heinrich. The Prose of Heinrich Heine. Harvard University. 1887.
2. From. http://www.geocities.com/av1611kingjames/.Last retrieved on October 23, 2007
Heine, Heinrich. The Prose of Heinrich Heine. Harvard University. 1887. P.162.
Heine, Heinrich. The Prose of Heinrich Heine. Harvard University. 1887. P.163
Make much of little things, and make little of great things, and there lies the source of all happiness. Tea study does not have the danger of studying or drinking wine, even though a devotee might expend just as much energy to the perfection of tea.
Okakura's own prose, with its attitude of whimsy rather than worshipfulness: "hat a tempest in a tea cup...Perhaps I betray my own ignorance of the Tea Cult by being so outspoken," is in keeping with the principles of Teaism that he outlines. He makes delightful use of the religious nature of tea, poking fun at esterners who dislike tea, who call drinking tea a filthy custom as heretics. This lack of reverence towards tea is a key, ironic part of Japanese religiosity, he implies. By not taking things too seriously, the true ethos of tea is manifest. Tea is served with deliberation, but ultimately…
Works Cited
Okakura, Kazuko. "The Book of Tea." [20 Nov 2006] e-text available at http://www.sacred-texts.com/bud/tea.htm . a
Symbols of Hot and Cold
Symbolism: Hot and Cold
The feelings of hot and cold are ones that we often consider simple. We either are hot, or we either are cold and the state of being definitely impacts is capabilities for behavior in for action. Yet, literature often takes every day concept and in powers them with an additional sense of meaning that signifies deeper concepts and emotions. This is exactly what several short stories do, including "1/3, 1/3, 1/3" by ichard Brautigan, "The Amish Farmer" by Vance Bourjaily, "The Ledge" by Lawrence Sargent Hall, and finally "Weekend" by Ann Beattie. Each of the short stories creates an additional layer of meaning behind the connotations of hot and cold; often the heat represents a sense of livelihood and vivaciousness, while the image of cold represent misery and death.
The contemporary short story is often extremely realistic in its structure and…
References
Beattie, Ann. The New Yorker Stories. Simon and Schuster. 2011.
Bloom, Harold. The Anatomy of Influence: Literature as a Way of Life. Yale University Press, 2011.
Brautigan, Richard. Revenge of the Lawn. Houghton Mifflin Harcourt. 1995.
Gerke, Jeff. Plot vs. Character: A Balanced Approach to Writing Great Fiction. Writer's Digest Books. 2010.