...Fathers?”: How it is created by Literary Devices and Devices of Emphasis In the essay by Helen H. Gordon, Gordon illustrates that her father is the primary cause of her despair. It is a reflective essay that shows how the relationship of Gordon to her father suffers from his beating of the mother. She expresses her haunting despair through the use of diction, parallelism, and allusion. The choice of words that Gordon uses paint an image of her despair. “What my sister and I have not been able to reconcile, is Dad’s treatment of Mother—gentle, loving Mother, who lived for her family and adored her husband, the quintessential traditional woman, domestic and submissive even to the point of martyrdom” (par. 5). She describes her mother as the very essence of a traditional woman. An image of a warm, gentle loving woman is seen. In contrast, Gordon describes the last act of violence of the father against the mother: “We watched in terror as Dad pushed Mother down two flights of stairs and pummeled her crumpled body as we ran, barefooted and nightgowned, for help” (par. 9) An image of an evil, violent man is seen breaking the very being of the mother. A young girl seeing her warm, loving mother being broken mentally is traumatizing. Gordon alludes to popular literary works of fiction to express her despair. In the beginning of the essay while picking out a Father’s Day card, she thinks of what Cordelia says to King Lear, “I love you according to my bond” (par. 1). Like Cordelia,...
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... A Blender of Ideas In 1999, the year it came out, the movie “The Matrix” directed by the Wachovski brothers was considered by many as one of the best action movies in the film industry in decades. It was understandable after the success it had at the box office, and its success among viewers, which was not only local but global also. The structure of the journey of the hero, Neo, is nothing new. In fact, it starts and it ends like all the other journeys that preceded it, with the advantage of being rich in thought-provoking themes in comparison to the other movies of the genre. In order to help in the development of those themes, the Wachovski brothers use a lot of allusions, references from religions, myths, philosophy, literature, without changing the pattern of their hero’s journey which is clearly the same as the one represented in Joseph Campbell’s hero’s journey. Using the latter, it would possible to understand the use of certain figures of imagery, camera movements, and other tools by the Washovski brothers in the making of this film. 1- Departure Just like any other hero’s journey, the story of the matrix starts with the departure, which is comprised of five steps: a) The call to adventure b) Refusal of the Call Fotso 2 c) Supernatural Aid d) The Crossing of the first threshold e) The Belly of the Whale During this first stage of the journey, the hero has to separate from the world he knows, and in the movie “The Matrix” there are lots of symbols, motifs with connections...
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...Essay on “The End of Men” Since the beginning of time, men have been the dominant gender. The so-called patriarchy has been oppressing females and violating their human rights. The late 20th century however has been characterized by the redstockings movement and feminism in general. Now in the 21st century the world is finally starting to meet the demands of the feminists. In her article “The End of Men” from July/August 2010 in ‘The Atlantic’ Hanna Rosin addresses how the world is adjusting to the wave of dominating feminists, and how a matriarchy could be starting to occur. But could this change in the end be “The End of Men”? Rosin sets of her article with statistical facts stating that for every 2 men that achieves a college education, 3 women achieve the same. She uses these facts to prove with logos that equality for women is actually starting to come through, after saying this she asks the rhetorical question: “But what if equality isn’t the end point? What if modern, postindustrial society is simply better suited to women?”(p.1 ,ll 4-5). This rhetorical question could have been the question in Rosin’s head that made her write this article, because the article keeps coming back to this issue. By putting this rhetorical somewhat provoking statement in the beginning of the article, she also catches the reader and set the agenda for the article. Moving on she introduces the reader to the male chauvinist Ronald Ericsson. As Rosin states, Ericsson was the biologist that...
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...Gay language Have you experienced being near two gays who were talking in quite a different language altogether? And were you not surprised that you could understand some of the words they were saying? Yes. It is gayspeak, that wonderful lingo, argot, or jargon, which Filipino gays in general seamlessly switch into when they are gathered together or most immediately when they are around other people in order perhaps to “cloak” their intimate conversations, the better to protect the “virgin” ears of those around them. Historically though, it is known as swardspeak, a word coinage in the 1970s attributed by Jose Javier Reyes to columnist and movie critic Nestor Torre. Reyes himself devoted a book on the subject titled Swardspeak: A Preliminary Study. No other term has replaced swardspeak in local usage since the 70s but Ronald Baytan (in his essay “Language, Sex, and Insults: Notes on Garcia and Remoto’s The Gay Dict”) opines that the term sward these days has become anachronistic, making it improper to call the language of the gay people as “swardspeak” preferring instead to term it gayspeak. Consciously or unconsciously, even straights or heterosexuals have peppered their vocabulary with words traceable to gayspeak. Mention the word anech (from “ano” or “what” in English with anesh, anik, anikla as varieties) to anyone in the metropolitan area and in all likelihood, the person being spoken to will reply as casually. There are also the familiar words chika, chuva, and lafang...
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...during the war, and how after the war he came to lodge with Mrs Belander in Frenchtown where he lived as a boy. He visits the church and says prayers for various important people in his life; thus we are introduced to some major and minor characters: Enrico, his mother and father, whom we learn are dead, and Nicole Renard and Larry LaSalle. Tension is created- he states his intention of killing Larry, but at this stage we do not know why. A flashback to the war introduces the theme of heroism- Francis has a Silver Star Medal, although he refuses to believe himself heroic – and reveals his love for Nicole. Language use My name is Francis Joseph Cassavant and I have just returned to Frenchtown in Monument and the war is over and I have no face. – compound sentence – pared gives only what he considers as essentials metaphor ‘ I have no face’ why is this effective? simile ‘ my nostrils are like two small caves’ – why is this effective? Narration follows the patterns of speech – how? What do we need to be aware of with a first person narrative? Characters Francis – disfigured and hiding, ‘I am like the hunchback of Notredame, my face likee a gargoyle and the dufflebag like a lump on my back’ – why is this allusion effective? Mrs Belander – how do her actions show attitudes towards veterans at this time in America? Structure Starts with himself and full description; then hints at people and places giving small details about his past which we need to start to build...
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...parents being a major part in his life, he had gotten a lot of jokes, ideas, and more from them, his Mother being the “born comedian” and his dad secretly being the...
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...accurately portrays raw, masculine sexuality. The film’s direction concerning the interaction of sexuality with religion is modified to line up with religious ideals and the film’s forced nebulousness on homosexuality changes the narrative’s overall portrayal of sexuality. The film is limited in its portrayal of women using their bodies to control men through sexuality. In the play, it is clear that Blanche wants to ‘make [Mitch] want [her],‘ not because Blanche genuinely cares about him, but because she thinks he is her ticket to ‘leave [Elysian Fields] and not be anyone’s problem.’ While in the play, the fact that Blanche does not desire Mitch is cemented with the stage directions ‘knowing he cannot see her face… she rolls her eyes’, the movie has deleted any such detail that would directly frame Blanche as a Svengali. Instead, the film...
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...(hereafter AROO), a polemic, by Virginia Woolf and the play Who’s Afraid of Virginia Woolf (hereafter WAVW) by Edward Albee both address gender inequality and truth and illusion even though their contexts and form starkly contrast. An analysis of similar themes will provide a greater understanding of meanings and perceptions of the texts. AROO, written in the post-war period of the late 1920s, was composed in a time of great social change due to the destruction and turmoil of the War. Modernist writing highlights the absence of, and search for, meaning and features experiments with new forms. Loss and absence lie at the heart of Woolf’s art, resulting from the experience of loss as an adolescent – her half sister, father, brother and mother. Her refusal to give one single view of anything, offering instead multiple, often conflicting views which the reader has to balance and bring together is another modernist trait. In contrast, WAVW was written in a far more conservative context, and although Albee does challenge societal roles, he does it in a more blatant way. Written during a time of Cold War tension, where fear and instability was disguised beneath the facade of the Great American Dream, Albee is still able to paint a dystopian image of the stereotyped family unit. Post-modernist writing abandons all meaning and the Theatre of the Absurd, emerged at the time, as a theatrical technique used by Albee to reflect a post-modern world. Interestingly, AROO and WAVW are both...
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...good edition of Snorri Sturluson's Skáldskaparmál ------------------------------------------------- Source language abbreviations[edit] * OE - Old English * D - Danish | * G - Germanic * Ic - Old Icelandic * N - Norse * ON - Old Norse | * Nor - Norwegian * S - Swedish | ------------------------------------------------- List of Kennings[edit] Primary Meaning | Kenning Translated | Original Kenning | Explanation | Source Language | Example | axe | blood-ember | | | N | | battle | spear-din | | | N | Snorri SturlusonSkaldskaparmal | blood | slaughter-dew | | | N | | blood | battle-sweat | | One reference for this kenning comes from the epic poem, Beowulf. As Beowulf is in fierce combat withGrendel's Mother, he makes mention of shedding much battle-sweat. | N | Beowulf | blood | wound-sea | svarraði sárgymir | | N | Eyvindr SkáldaspillirHákonarmál 7). | chieftain or king | breaker of rings | | Alludes to a ruler breaking the golden rings upon his arm and using them to reward his followers. | OE | Beowulf | death | sleep of the sword | | | OE | Beowulf | death | flame-farewelled | | Implicitly honourable death | N | | fire | bane of wood | grand viðar | | ON | Snorri...
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...Nhkahsdsahkjdsakjxkasbxkajsbkjbxkajsbxakjb jbaskbkj j snka sjka s kaa a s asa sa s sa s a sas sa as as as as sa sds d sd sdThe following morning, the family treks into the woods. Hansel takes a slice of bread and leaves a trail of bread crumbs to follow home. However, after they are once again abandoned, the children find that birds have eaten the crumbs and they are lost in the woods. After days of wandering, they follow a beautiful white bird to a clearing in the woods and discover a large cottage built of gingerbread and cakes, with window panes of clear sugar. Hungry and tired, the children begin to eat the rooftop of the candy house, when the door opens and a "very old woman" emerges and lures them inside, with the promise of soft beds and delicious food. They comply, unaware that their hostess is a wicked witch who waylays children to cook and eat them. The next morning, the witch locks Hansel in an iron cage in the garden and forces Gretel into becoming a slave. The witch feeds Hansel regularly to fatten him up, but Hansel cleverly offers a bone he found in the cage (presumably a bone from the witch's previous captive) and the witch feels it, thinking it is his finger. Due to her blindness, she is fooled into thinking Hansel is still too thin to eat. After weeks of this, the witch grows impatient and decides to eat Hansel, "be he fat or lean." She prepares the oven for Hansel, but decides she is hungry enough to eat Gretel, too. She coaxes Gretel to the open the...
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...‘Little Miss Sunshine’ follows a dysfunctional family on a road trip while focusing on the concept of belonging to a family. The father and son bond between Grandpa and Richard closely emulates the bond shown in Skrzynecki’s poems between himself and his father. In the movie there is an obvious distance between Richard and his father as they are influenced by conflicting personal values. Grandpa is constantly expressing his opinion of the importance of trying and enjoying life, “A real loser is someone who’s so afraid of not winning that they don’t even try“. In contrast, his son Richard is opposing this idea with his own principle of success “Willing yourself to win. You've got to want it badder than anyone“ where he tells Olive that she will win simply because she is the most determined and part of a ‘winning’ family. This results in arguments and disconnectedness between Richard and his father. Similarly, Richard and Frank also have a distance in their relationship. Richard pushes Frank away due to his opposing...
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...through the operant and classical procedures (Carlson et al., 2010). Thorndikes’s investigation exemplifies operant conditioning, while Pavlov’s study highlights classical conditioning. Operant conditioning is a type of learning where responses are the result of consequences (Carlson et al., 2010). One example of the experiment placed a cat in a box where a latch was the only means to get out; whenever the cat successfully pulled the latch (the response), Thorndike rewarded it with food (eliciting stimulus). Through numerous observations Thorndike demonstrated that operant conditioning is achieved with a response preceding an eliciting stimulus (Carlson et al., 2010). A broader example to understand the operant procedure would be a mother rewarding her son for cleaning his room with a new toy; the boy associates the response of cleaning his room with the eliciting stimulus of the...
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...From How to Read Literature Like a Professor Thomas C. Foster Notes by Marti Nelson 1. Every Trip is a Quest (except when it’s not): a. A quester b. A place to go c. A stated reason to go there d. Challenges and trials e. The real reason to go—always self-knowledge 2. Nice to Eat With You: Acts of Communion a. Whenever people eat or drink together, it’s communion b. Not usually religious c. An act of sharing and peace d. A failed meal carries negative connotations 3. Nice to Eat You: Acts of Vampires a. Literal Vampirism: Nasty old man, attractive but evil, violates a young woman, leaves his mark, takes her innocence b. Sexual implications—a trait of 19th century literature to address sex indirectly c. Symbolic Vampirism: selfishness, exploitation, refusal to respect the autonomy of other people, using people to get what we want, placing our desires, particularly ugly ones, above the needs of another. 4. If It’s Square, It’s a Sonnet 5. Now, Where Have I Seen Her Before? a. There is no such thing as a wholly original work of literature—stories grow out of other stories, poems out of other poems. b. There is only one story—of humanity and human nature, endlessly repeated c. “Intertexuality”—recognizing the connections between one story and another deepens our appreciation and experience, brings multiple layers of meaning to the text, which we may not be conscious of. The more consciously...
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...MYTHOLOGY IN MODERN SOCIETY [pic] [pic] [pic] |Mythology is everywhere! Daily you run across instances of words, city names, companies, | |literary allusions - and even planets and constellations - that take their name or borrow | |their theme from myths. Because of your many requests, I've provided a couple of thousand | |excellent examples to help you get started in your research. Remember, you're surrounded | |by mythology in today's society, whether you realize it or not! | Mythological Influence on Modern... |[pic]Companies & Groups |[pic]Planets & Constellations | |[pic] Words & Expressions |[pic]Literary & Pop Culture | [pic]American Cities Named From Mythology [pic] COMPANIES & GROUPS |Mythology is everywhere! There are hundreds of companies, groups and corporations that take their name, logo or theme from ancient mythology. | |I've provided a variety of examples to help you in starting your research. Some are well-known international companies, others are of a more | |local nature. | |Aegis - Zeus and Athena's protective shield; modern group of insurance companies (The Aegis Group). | |Ajax - Greek warrior in the Trojan War, who "cleaned up" in...
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...Proverbs in various languages are found with a wide variety of grammatical structures.[21] In English, for example, we find the following structures (in addition to others): • Imperative, negative - Don't beat a dead horse. • Imperative, positive - Look before you leap. • Parallel phrases - Garbage in, garbage out. • Rhetorical question - Is the Pope Catholic? • Declarative sentence - Birds of a feather flock together. However, people will often quote only a fraction of a proverb to invoke an entire proverb, e.g. "All is fair" instead of "All is fair in love and war", and "A rolling stone" for "A rolling stone gathers no moss." The grammar of proverbs is not always the typical grammar of the spoken language, often elements are moved around, to achieve rhyme or focus Use in conversation[edit] Proverbs are used in conversation by adults more than children, partially because adults have learned more proverbs than children. Also, using proverbs well is a skill that is developed over years. Additionally, children have not mastered the patterns of metaphorical expression that are invoked in proverb use. Proverbs, because they are indirect, allow a speaker to disagree or give advice in a way that may be less offensive. Studying actual proverb use in conversation, however, is difficult since the researcher must wait for proverbs to happen.[23] An Ethiopian researcher, Tadesse Jaleta Jirata, made headway in such research by attending and taking notes...
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