«1. The Alarm. Number V is the last of a series of five topical essays published by Hampden, Pseudonym, in 1773. Each of the five essays was published in the month of October. Number V, like the prior Hampden essays, was published in New York,...» Document abstract
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Summary1. The Alarm. Number V is the last of a series of five topical essays published by Hampden, Pseudonym, in 1773. Each of the five essays was published in the month of October. Number V, like the prior Hampden essays, was published in New York, only once, and in only one edition. This is one of a number of pamphlets, folios, advertisements, and broadsides that were published in the Colonies prior to the culmination of the American Revolution. This publication comes after Great Britain’s imposed Proclamation of 1763, the Stamp Act (1765), the Declaratory Act (1766) and the Townshend Acts (1767) on the Colonies. As these Acts were issued by Great Britain, publications by authors—such as Benjamin Franklin, John Dickinson, and the Sons of Liberty—attempted to help repeal the Acts and spread awareness amongst the Americans in general.
Table of Contents- The Alarms were also published five months after the Tea Act, and two months before the Boston Tea Party
- The style of this piece is a very personal and similar to a sermon
- This document is both a persuasive and supportive text
- The larger aim of the document is to inculcate support among Colonists for repeals to the British taxation Acts
- Although the essay is at times very fervent, it is not ill-devised
- value the envied blessings you enjoy, purchased by the perillous [sic] toil and stern virtue of your ancestors
Masculine Physicians and Prescribers: Assignations for Women in Daisy Miller and “The Yellow Wall-paper”
«Both Henry James’ Daisy Miller and Charlotte Perkins Gilman’s “The Yellow Wall-paper” depict male characters that are unable to understand their female counter-points. In Daisy Miller, the suitor Winterbourne fails to comprehend Daisy’s true...» Document abstract
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SummaryBoth Henry James’ Daisy Miller and Charlotte Perkins Gilman’s “The Yellow Wall-paper” depict male characters that are unable to understand their female counter-points. In Daisy Miller, the suitor Winterbourne fails to comprehend Daisy’s true character, and in “The Yellow Wall-paper,” the husband John cannot understand his wife’s ailment. In these stories, the two male characters attempt to remedy the respective female’s “problem.” In Daisy Miller Winterbourne attempts to culture Daisy by giving her advice and trying to tell her how to act and what to do, and in “The Yellow Wall-paper” John attempts to cure the narrator’s illness by containing her in a room and setting absolute rules for her to abide. The two works share a common theme: the men in these stories attempt to authoritatively impress their ideals and expectations on the women, but prove to be ultimately inadequate at prescribing solutions to the female “problem.”
Table of Contents- In 'The Yellow Wall-paper,' the role of the male as physician and prescriber is a quite straightforward, more so than it is in Daisy Miller
- Despite the fact that she 'personally' disagrees with these prescriptions, she follows through with them anyway because it is what the men in her life dictate
- Daisy Miller, like Gilman's narrator, also values her independence from custom as a means of realizing her self
- It is, of course, Winterbourne's attempt to control her by prescribing his own ideals to her
- A lack of independence and a loss of self are the plight of the domesticated woman, as depicted in 'The Yellow Wall-paper.?
«Toni Morrison’s claim that “Canon debate . . . is the clash of cultures” rings true to me. This statement can be looked at in a few ways. One can look at it and say that Morrison is referring to a hypothetical debate between cultures on what works...» Document abstract
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SummaryToni Morrison’s claim that “Canon debate . . . is the clash of cultures” rings true to me. This statement can be looked at in a few ways. One can look at it and say that Morrison is referring to a hypothetical debate between cultures on what works should be included in a canon. However this can also be read, to use a theme inherent in “Unspeakable Things Unspoken,” as a debate that takes place in only one culture—the majority—about one culture’s works, effectively excluding voices from other cultures. So canon debate, whether all cultures are actually involved in the debate or not, is always a clash of cultures.
Table of Contents- Race and canon subversion
- In Baldwin's 'Going to Meet the Man,' this culture clash between blacks and whites is obvious
- I cannot help pointing out the phallic pun in 'canon defense' and its great relevancy to 'Going to Meet the Man.?
- American Beats
- For me, Ginsberg's poem is like a simultaneous exclamation of pride and anguish for America
«Donne’s poem “A Fever” is an elaborate blend of narrative designs. Donne uses the venerable poetic device of elegiac stanza to express mourning for the (anticipated) death of a lover from a fever. There is an explicit surface meaning to this poem...» Document abstract
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SummaryDonne’s poem “A Fever” is an elaborate blend of narrative designs. Donne uses the venerable poetic device of elegiac stanza to express mourning for the (anticipated) death of a lover from a fever. There is an explicit surface meaning to this poem as well as implicit sub-textual meanings. On the surface, Donne’s poem reads as a pre-elegy to the lover who suffers from this illness. It follows the traditional elegy format in which narration begins with death and rises at the end to alleviate the pain of death. However, due to a variety of elements, the poem twists into something more suggestive, and the fever becomes an analogy for sexual passion that is ultimately spent and lost. Thus, by combining elegy with innuendo of sexual desire, Donne’s “A Fever” is a sort of assault on or corruption of both the classic elegy form as well as the traditional idea of love itself.
Table of Contents- Generally, the aim of an elegy is not simply to mourn the dead, but ultimately to celebrate life
- In the last three stanzas of A Fever the speaker seems to have both an explicit spiritual concern for the woman and an implicit carnal desire
- In the seventh stanza, the speaker's corrupting love becomes more apparent
- Considering that the poem is the style of an elegy, it is interesting that, as the speaker states in the first stanza, he will not celebrate the woman's life
«In his essay Picture Theory on the relationship between photograph and text, W.J.T. Mitchell refers to concepts he coins as the “rhetoric of resistance” and the “rhetoric of exchange and cooperation” (Mitchell, 41). The terms “rhetoric of...» Document abstract
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SummaryIn his essay Picture Theory on the relationship between photograph and text, W.J.T. Mitchell refers to concepts he coins as the “rhetoric of resistance” and the “rhetoric of exchange and cooperation” (Mitchell, 41). The terms “rhetoric of resistance” and “rhetoric of exchange and cooperation” are perhaps best defined with Mitchell’s example of Walker Evans and James Agee’s photographic essay Let Us Now Praise Famous Men. In their essay, resistance signifies for Evans and Agee the “sabotaging of an effective surveillance and propaganda apparatus, one which creates easily manipulable images and narratives to support political agendas” (Mitchell, 41). Evans and Agee are able to sabotage this untruthful—and thus unethical—apparatus of exchange of (and cooperation with) political agendas by way of resisting conventional forms of image/text juxtapositions in forming their essays. Conventional forms might include adding photograph cutlines in an attempt to place the shot in time and history, or using angle techniques to embolden the subject. By resisting these conventional forms, photograph and text do not exchange meanings and cooperate with each other vis-à-vis or perpetuate political aims. Instead, Evans and Agee’s photographic essay is a work in which the nature of the photographs is not a given; it demands objectivity from a viewer, a viewer who can draw his or her own conclusions from what is offered.
Table of Contents- This essay will attempt to explore and decipher the essence of Mitchell's resistance/exchange concepts and their relevance in Edward Said and Jean Mohr's photographic essay
- When [our history] appears it is broken, often wayward and meandering in the extreme
- The rhetoric of resistance and of exchange in States then, applies to the reading and interpretation of the photo/text juxtapositions
- Perhaps, as Mitchell suggests, Said does not understand this rhetorical game of resistances and exchanges
«Before the Great War, "it had been almost fifty years since any major European power had attacked any similar country" (Childs 40). England did not remember what war was really like; the people knew nothing except for the romantic notion of war. ...» Document abstract
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SummaryBefore the Great War, "it had been almost fifty years since any major European power had attacked any similar country" (Childs 40). England did not remember what war was really like; the people knew nothing except for the romantic notion of war. They believed that to fight for one's country was not only noble but also one's duty as a citizen. Men and boys were excited about going to war and becoming heroes but were completely unprepared for the harsh realities that awaited them. The work of the WWI Soldier Poets reflects an entire generation's journey from innocence and optimism to horror and disillusionment.
Table of Contents- In his poem Disabled, Wilfred Owen, usually considered to be the best of the Soldier Poets, lists some common reasons why young men enlisted in the war
- In Disabled Owen writes of a boy who lost his legs in the war and is destined to spend the rest of his life miserable and lonely
- In Sassoon's On Passing the New Menin Gate the poet derides the gate, a memorial to the soldiers who died in the war
- Owen's poem Greater Love compares romantic love with his love for his fellow soldiers and their love for their country and each other
«Shakespeare is known for creating memorable characters, and his villains are often especially intriguing. Aaron and Iago are both villains in revenge tragedies by Shakespeare. In Titus Andronicus, which is believed to be Shakespeare’s first...» Document abstract
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SummaryShakespeare is known for creating memorable characters, and his villains are often especially intriguing. Aaron and Iago are both villains in revenge tragedies by Shakespeare. In Titus Andronicus, which is believed to be Shakespeare’s first tragedy, even though most of the characters are far from admirable, Aaron is the main evildoer. Iago is the main antagonist in Othello, a later tragedy. Although there are a few differences between them, Aaron and Iago are quite similar.
Table of Contents- The most noticeable difference between them may be the motivation for their villainy
- Another important aspect in which Aaron and Iago differ is in the believability and complexity of their characters
- As previously mentioned, Shakespeare gives both Aaron and Iago soliloquies in their respective plays
- Quite a few similarities exist between Iago and his predecessor Aaron
- Neither Aaron nor Iago care for anyone other than themselves, and they both realize it
- Possibly the largest similarity between Aaron and Iago is the methods they use to achieve their goals
- Although Aaron and Iago are quite similar, they are not completely alike
«"The Eolian Harp" and "Ode to the West Wind," both poems by two of the most celebrated poets of their time, each fall under the category of the "greater romantic lyric," as termed by M. H. Abrams (77). Both are written in the first person and are...» Document abstract
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Summary"The Eolian Harp" and "Ode to the West Wind," both poems by two of the most celebrated poets of their time, each fall under the category of the "greater romantic lyric," as termed by M. H. Abrams (77). Both are written in the first person and are about the same length; Shelley's is six lines longer with a line count of seventy. Yet, the most striking similarity between these two poems is that they both focus on the same major concepts: the wind as inspiration, or what Abrams calls the "correspondent breeze" in his book by the same name, the universal soul, and the wind harp. The poems remain distinct, though, because each poet has different ideas regarding these basic notions. For instance, Coleridge sees the wind as gentle and beautiful, while Shelley sees it as powerful and violent. Shelley focuses on the destructive and creative powers of the correspondent breeze as well as its connective powers, while Coleridge focuses only on the connective aspects. Most importantly, Coleridge abandons the whole idea of the correspondent breeze because it conflicts with his religious beliefs, while Shelley continues to embrace it wholeheartedly.
Table of Contents- Coleridge abandons the whole idea of the correspondent breeze because it conflicts with his religious beliefs
- Some of the imagery used in The Eolian Harp and Ode to the West Wind is also similar
- Moreover, both poems include wind as a key image
- Closely related to the image of the wind-harp is the concept of a universal spirit or oversoul
- These aspects, along with tone, are the most obvious differences in technical features
- The main discrepancy in these poems is in how each poet develops the underlying concept of the correspondent breeze
- . The most significant difference, though, is that Coleridge abandons the theory of the correspondent breeze and the universal soul because of religious conflict, while Shelley continues to embrace it
«In Edwin Arlington Robinson's short poem "Richard Cory," the speaker tells of a rich gentleman who, to the collective shock of the community, commits suicide for unknown reasons. The poem begins by describing this gentleman, Richard Cory, as slim,...» Document abstract
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SummaryIn Edwin Arlington Robinson's short poem "Richard Cory," the speaker tells of a rich gentleman who, to the collective shock of the community, commits suicide for unknown reasons. The poem begins by describing this gentleman, Richard Cory, as slim, graceful, and friendly. Even though he is much richer than the rest of the community, he is always personable and speaks nicely to the common townspeople. The speaker describes Cory as nicely but humbly dressed; however he still has some innate quality about him that makes him appear to sparkle in the eyes of the town. Because of this, the townsfolk always watch him with awe whenever they see him. Cory is obviously well liked and admired by the whole community, who apparently think he has the perfect life. They envy him so much, in fact, that they come to resent their own situations in life; they work long hard hours, but they still cannot even afford to buy decent food for their families. Cory's suicide is told at the very end of the poem in only two lines, and is as much of a shock to the reader as it must have been to the town.
Table of Contents- On the surface, the speaker seems to simply be one of the poor, working-class townspeople.
- The speaker's tone in Richard Cory is calm and unemotional, while at the same time ironic, reflective and possibly even regretful
- Several words and phrases in this poem carry more meaning than their definitions denote
- Another revealing phrase appears in the second line of the third stanza, where Cory is said to be admirably schooled in every grace
- Wording is also important at the very end of the poem when the speaker describes Cory's death
- Although it is relatively short, containing only four quatrains, Robinson's Richard Cory is a powerful poem
«According to Elizabeth MacAndrew, author of The Gothic Tradition in Fiction, the gothic novel is “[. . .] a literature of nightmare. Among its conventions are found dream landscapes and figures of the subconscious imagination” (3). Maggie Kilgour,...» Document abstract
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SummaryAccording to Elizabeth MacAndrew, author of The Gothic Tradition in Fiction, the gothic novel is “[. . .] a literature of nightmare. Among its conventions are found dream landscapes and figures of the subconscious imagination” (3). Maggie Kilgour, author of The Rise of the Gothic Novel, agrees that dreams and nightmares are a “classic source of gothic inspiration [. . .]” (191-192). In fact, a dream was the initial inspiration for the first gothic novel ever, Horace Walpole’s The Castle of Otranto. One night in June 1764, Walpole “dreamt of ‘an ancient castle’ and a ‘gigantic hand in armour,’and so he attempted to give his dream fictional form,” writes George Haggerty in his book Gothic Fiction/Gothic Form (3). E. J. Clery, in the introduction to the Oxford World’s Classic version of the book, notes that “there have also been attempts to apply Freud’s methods and analyse Otranto as a dream rather than as a work of literature [. . .]” (viii). Walpole’s story is, indeed, very similar to a nightmare. It contains such nightmare-like qualities as frightening imagery, the appearance of the supernatural, and a number of uncanny occurances.
Table of Contents- Obviouisly, Otranto possesses 'the terrifying aspect of a nightmare?
- Much of the terror in the novel is provided by the fantastic, or supernatural
- The nightmare world of Otranto is full of the supernatural
- The Gothic supernatural appears particularly real, disturbing, and uncanny
- Another type of uncanny occurence the story of Otranto illustrates is the doppelgänger
- Amazingly, The Castle of Otranto is even more saturated with examples of determinism than it is with doubles
- Certainly, The Castle of Otranto, the first gothic novel, has much in common with dreams, and more specifically, nightmares
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