«Ernest Hemingway’s first collection of stories, In Our Time, published in 1925, was heavily influenced by his then friend Sherwood Anderson’s 1919 collection Winesburg, Ohio. The most notable difference in the times in which the stories are set is...» Document abstract
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SummaryErnest Hemingway’s first collection of stories, In Our Time, published in 1925, was heavily influenced by his then friend Sherwood Anderson’s 1919 collection Winesburg, Ohio. The most notable difference in the times in which the stories are set is Winesburg, Ohio is set before World War I, and In Our Time is set just after. The result of this is a feeling of potential in Anderson’s work, and a feeling of hopelessness in Hemingway’s. Anderson’s characters are amusing in their ridiculous grotesqueness, such as Alice Hindman’s drastic naked run through the streets to cure her loneliness, or Elmer Cowley’s sudden unexplainable violent outbursts to show the world he “ain’t so queer”. Though these stories are tragic, they are not as tragic as Hemingway’s which take the innocence of youth and break it down before the readers eyes, directly through tragedy, in which the final result is the death of that innocence. Both collections feature different stories about different characters, but they also keep coming back to a central character, George Willard in Winesburg, Ohio, and Nick Adams in Our Time.
Table of Contents
- The parental figures in Winesburg, Ohio are what Anderson refers to as grotesques.
- What they ultimately want, Elizabeth to escape and Tom to become more important is why they try to push George to.
- The idea of the child fulfilling the dreams of the parents does not appear again in Winesburg, Ohio.
- She is essentially failing in her duties as a parent, believing in a very set pattern of scolding.
- Ernest Hemingway's family dynamics have a distinctively different aim than Anderson?s.
- His attempt to look away is Nick trying to hold on to that safe level of ignorance that all children have their innocence.
- The father seems reluctant at first to pull the wool from his son's eyes.
- When Krebs and his mother talk about the war, it is clear that the atrocities he has witnessed have come between them.
«In books 5 and 6 of Plato’s Republic, the issue of who should rule society is addressed. Through out the dialogue, the character Socrates makes several arguments for the intelligence, virtue and worth of philosophers as people and as potential...» Document abstract
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SummaryIn books 5 and 6 of Plato’s Republic, the issue of who should rule society is addressed. Through out the dialogue, the character Socrates makes several arguments for the intelligence, virtue and worth of philosophers as people and as potential rulers. In this paper I will examine his arguments for granting “philosopher kings” ruler ship of society. I will provide criticisms for these arguments and examine those criticisms by reapplying the ideas of Plato. I will conclude with my arguments for and against the theory of kings as philosophers and philosophers as kings.
Keywords: Glaucon, guardians of the city
Keywords: Glaucon, guardians of the city
Table of Contents
- Socrates states that in order to understand justice, it is first necessary to see it at work in the city.
- Glaucon asks Socrates to defend this argument.
- Socrates explains that the true philosophers are indeed the epitome of virtue as well as knowledge.
- Socrates goes state that there are so few people who actually 'consort with philosophy in a way that is worthy of her.?
- Socrates returns to the idea of the guardians of the city.
- Socrates goes to great lengths to explain the supreme value of the philosophic nature, or the philosophic soul.
- Socrates states that philosophers do not opine, they know.
- The conditioning of the citizens from birth would also play a role in preventing corruption.
- The issue of whether or not philosophers are more easily corrupted than most people can only be evaluated under hypothetical circumstances.
«Throughout the 19th century, the Irish were leaving Ireland by the thousands in hope of a better life in America. During the famine the numbers intensified, bringing large amounts of poor and destitute families over to the growing American cities of...» Document abstract
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SummaryThroughout the 19th century, the Irish were leaving Ireland by the thousands in hope of a better life in America. During the famine the numbers intensified, bringing large amounts of poor and destitute families over to the growing American cities of New York, Philadelphia, Boston and Chicago. But in the years following the famine, a change in the demographic of Irish emigrants occurred: over the years female Irish emigrants began to outnumber male emigrants. Young women arrived on American shores looking for employment, the opportunities to start families and an overall better life for themselves. In this paper I address the questions of women’s lives after emigration. Were women’s lives generally improved after starting over in America, or were the challenges more numerous than the benefits and improvements?
Table of Contents
- Debate over the initial reasons for the mass emigration of women following the great famine of the 1840s.
- Female emigration from Ireland exceeded male emigration by 82,000 between the years of 1880 and 1920.
- In Diner's book, she tends to argue that women left Ireland chiefly for economic reasons.
- America and its cities certainly did offer employment to young Irish women.
- Miller's paper, 'over 70% of employed Irish born women in the United States were engaged in domestic or personal service.?
- The majority of young women that immigrated to America in the 19th century found good jobs and husbands.
- Alcoholism was also a problem for Irish women and men alike.
- The social problems of Irish women in America were great.
«The past can be a daunting thing. From personal memory to history at large, the past has the power to bury those unable to establish a healthy relationship with it. One can easily become trapped – paralyzed – in the past through guilt, regret, or...» Document abstract
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SummaryThe past can be a daunting thing. From personal memory to history at large, the past has the power to bury those unable to establish a healthy relationship with it. One can easily become trapped – paralyzed – in the past through guilt, regret, or nostalgia, emotions generated based upon socially-constructed ideological frameworks of absolutes. James Joyce's novel, Ulysses, represents an ideal relationship with the past in its narrative, its structure, and its form, a relationship in which history acts as a base from which to build a future. By presenting the paralyzing dangers of becoming trapped in history and highlighting how one might grow towards the future while maintaining a relationship with the past through the character of Leopold Bloom, his relationship with Stephen Dedalus, and the experimental, multi-styled form of the novel itself, Ulysses combines numerous elements which add up to something radically new, but something deeply grounded in the work and history of the past.
Table of Contents
- The novel opens on Stephen Dedalus, protagonist of Portrait of the Artist as a Young Man.
- The novel of Ulysses goes to great lengths to portray absolute value systems.
- The novel also looks down upon a complete ignorance of the past and a lack of any sort of regret.
- Besides his strong relationship with the past, Bloom is also an extremely forward-thinking individual.
- More than just the narrative of Ulysses , however, presents this ideal relationship with the past.
- Joyce wrote and came of age in the time of the Irish Literary Revival.
«The adage “history repeats itself,” like many adages, sometimes seem disingenuous; they are neatly packaged concepts that lack any definitive details that would give one a context to consider them properly. In Corregidora, there is an expansion of...» Document abstract
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SummaryThe adage “history repeats itself,” like many adages, sometimes seem disingenuous; they are neatly packaged concepts that lack any definitive details that would give one a context to consider them properly. In Corregidora, there is an expansion of this idea of history and repetition. Gayl Jones uses a variety of catalysts to examine how the past manifests and affects characters in the present. These catalysts – the historical, biological, and reproductive contexts – tend to focus on the unwanted and uncalculated consequences of internalization.
Keywords: Ursa, Ann duCille, Ethical Ambiguities, Living the Legacy
Keywords: Ursa, Ann duCille, Ethical Ambiguities, Living the Legacy
Table of Contents
- Early in the story Ursa discovers the nature of internalization of the past.
- That is not to say that she is not justified in wanting to have a record of Corregidora's tyranny.
- Further in the text Ursa has dreams that hybridize the Corregidora stories and events in her life.
- The historical phantoms emerge first with Mutt, and their sexual encounters.
- I had originally thought it a falsehood to draw relationships between rape/torture/slavery and Ursa's so-called consensual encounters.
- The repetition of the historical phantoms in Corregidora shows the traumatic effects of forced internalization.
«The nature of the data from the Hall was very fluid; there are no definitive guidelines with which employees can maintain a productive working atmosphere, or with which I could make sense of the “policies” in place there; all policies and...» Document abstract
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SummaryThe nature of the data from the Hall was very fluid; there are no definitive guidelines with which employees can maintain a productive working atmosphere, or with which I could make sense of the “policies” in place there; all policies and instructions are not written, but verbal. The ideology given by the owner of the company, as well as repeated by the managerial staff was, “the Hall is not a hierarchy… everyone who is employed [there] is equal.” Though the owner and managers would like to present the catering Hall as a body of workers without hierarchal tiers -- in context of the data collected during my ethnography -- it is apparent that a hierarchy exists at the Hall, and the owner and managers maintain it.
Table of Contents
- Introduction.
- Literature Review.
- Methodology.
- Data Gathering: (Participant Observation), Interviews.
- Analysis.
- Conclusion.
«Paulo Freire’s “problem-posing” instructional method in his essay “The ‘Banking’ Concept of Education” is an essential educational technique. Freire’s proposed approach to education not only calls for change in educational practices, it also holds...» Document abstract
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SummaryPaulo Freire’s “problem-posing” instructional method in his essay “The ‘Banking’ Concept of Education” is an essential educational technique. Freire’s proposed approach to education not only calls for change in educational practices, it also holds greater sociopolitical implications. The anticipated result of Freire’s educational concept is the empowerment of the minority class through reality-based instruction. And Freire’s problem-posing concept is ultimately crucial for oppressed classes to achieve “their ontological vocation to be more fully human” (Freire, 76).
Table of Contents
- Freire bases his argument in favor of problem-posing education in part.
- Niebuhr again describes how disadvantaged humans are molded into manageable creatures by the privileged authority.
- Most insistent upon peace within the nation are most easily provoked to join issue in martial combat with other nations.
- In order for questions such as these to be regarded seriously educational practices must focus on students.
«In 1790, with the beginning of the National Revival, the Czechs worked to create a Czech state, which required the forming of a national consciousness that did not hitherto exist. The Czech people fashioned this identity using legend and myth and...» Document abstract
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SummaryIn 1790, with the beginning of the National Revival, the Czechs worked to create a Czech state, which required the forming of a national consciousness that did not hitherto exist. The Czech people fashioned this identity using legend and myth and largely by contrasting themselves with their Habsburg rulers of the Austro-Hungarian Empire as Slav rather than German. This caused them to turn rather to Russia for inspiration and to past figures, such as Jan Hus, and events to serve as models for Czech rebellion and independence.
Keywords: Alphonse Maria, Wilhelm Kray, panneaux décoratifs, Sarah Bernhardt, Serfdom in Russia, The Hotel Central, Art Nouveau buildings,St. Vitus cathedral
Keywords: Alphonse Maria, Wilhelm Kray, panneaux décoratifs, Sarah Bernhardt, Serfdom in Russia, The Hotel Central, Art Nouveau buildings,St. Vitus cathedral
Table of Contents
- Alphonse Maria Mucha was born on July 24, 1860 in the small town in Ivan'ice in Southern Moravia.
- Alphonse left at the age of nineteen to become an assistant stage designer for the firm Kautsky-Briochi-Burghardt in Vienna.
- His talent was soon discovered by a local landowner.
- He also worked on illustration for the Scènes et episodes de l'histoire d'Allemagne by the famous historian Charles Seignobos.
- Mucha was quickly in demand, he was signed on to make posters for companies such as Lefèvre-Utile, Nestle, Job cigarette papers, Moët and Chandon.
- Finally, to escape the frivolities of Paris society and in search of funding for his dream of The Slav Epic, Mucha left for America in 1904.
- By 1928 when Mucha finally presented the complete series to the city of Prague, this feeling had intensified.
«Emile Zola and Kate Chopin both present texts that depict the fall of a heroine. Nana and Edna Pontellier Naturalistically represent archetypal women of the late 19th century; Nana, as a courtesan, represents the rising lower class, and Edna...» Document abstract
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SummaryEmile Zola and Kate Chopin both present texts that depict the fall of a heroine. Nana and Edna Pontellier Naturalistically represent archetypal women of the late 19th century; Nana, as a courtesan, represents the rising lower class, and Edna representing the upper-middle class. Despite the cultural gap between Nana and Edna, their archetypal nature assures that the fundamental aspects of the texts that they appear in follow the formulaic representation of the “Other.” They are outcast women of the 19th century in pursuit of the financial and the personal – that is, they both desire independence from dominance, and the means to do so.
Table of Contents
- Otherness exists in both Nana and 'The Awakening?.
- The position of being an Other is shown to be a contaminant of sorts.
- This balancing between excess and insufficiency shows that the formula presented by Reisz.
- Nana's uneven awakening is characterized by her inability to maintain sexual and financial prudence.
- Edna's encounter with her Other is more subtle.
- Edna's uneven awakening is characterized by her inability to completely remove the gender bias surrounding her.
- Nana is also unsuccessful in her attempts to remove the masculine influence from her life.
- Emile Zola and Kate Chopin create texts that attempt to explain the struggle of the emancipation of the female mind, body, and soul.
«“Otherness” describes a person engaging in the reflexive act of defining their identity in reference to another person. In this way, Otherness is a definitive means of exploring the relationships between social castes and gender relationships. In...» Document abstract
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Summary“Otherness” describes a person engaging in the reflexive act of defining their identity in reference to another person. In this way, Otherness is a definitive means of exploring the relationships between social castes and gender relationships. In Hard Times, these two types of Otherness – social and gender relations – not only exist, but appear in a hybridized and utterly complex way character of Charles Dickens’ work.
Keywords: Tamise Van Pelt, Gradgrind, Louisa
Keywords: Tamise Van Pelt, Gradgrind, Louisa
Table of Contents
- For the purposes of analyzing Hard Times, I will use the term 'Other' as described by Tamise Van Pelt.
- The environment that produces Louisa is shown to be one of calculated reason early in the text.
- Louisa's initial interactions with Bounderby in Hard Times are marked by coldness.
- Stephen Blackpool shares the same self-destructive fate in his own loveless marriage.
- In Hard Times, Charles Dickens presents a text that exemplifies Tamise Van Pelt's representation of the 'Other,?.
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