...“I dwell in Possibility” by Emily Dickinson is a poem about all the opportunity poetry obtains. Throughout this poem, Dickinson elaborately compares poetry to an elegant house. It is noted that Dickinson is comparing the house to poetry in the second line where she stated “A fairer House than Prose” in which prose means the opposite of poetry. She states that she dwells in possibility meaning that she lives in all the possibility poetry has. The house has many windows which symbolizes the many visions and viewpoints that poems may acquire. She then goes off and talks about all the rooms the house has which shows the endless options and freedom there is. The house cannot be seen by eye, which helps support the idea of poetry being represented...
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...This poem demonstrates a wide array of interpretations of death as well as Dickinson’s uncertainty as to what may come after Death and her questioning of the existence of God. Dickinson sees death in a very physical way; she chooses not to concentrate on the spiritual aspect or the anticipated arrival of “the King”. This is best shown in the opening line of “I heard a Fly buzz”, where we are immediately provoked by thoughts of decay and rot. She chooses to focus on physical aspects of the mourners such as their “eyes” and “breaths”. This is perhaps to focus on the painless death of the woman, as Calvinists believed that if someone suffered a peaceful death they would enter the Kingdom of God. Her use of an oxymoron in “that last onset” shows how she acknowledges the religious importance of death to others, as in 19th century America Christians believed that the “last” of someone’s life on earth was the “onset” of their eternal life in heaven. Death is thought to bring revelations as with it comes an exalted male figure of “the King” to be “witnessed”, yet this expectation and sense of ritual is undercut by the juxtaposition of “in the Room” and furthermore so by “the fly” which interposes and is all that appears in place of God. Dickinson focuses on the harsh realities of death in the fact that the dying can only “will their Keepsakes” yet their souls and character will be lost forever. This is emphasized by the manner in which the mourners conduct themselves. They seem...
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...Although the poets Emily Dickinson and Walt Whitman were alive around the same time, they had different interpretations of death in their poems. Both of the poems, “I heard a fly buzz- when I died” from Emily Dickins and “Song of Myself” from Walt Whitman, express their disparate perspective about the theme of death. In the two poems, the poets also have diverse approaches of conveying their conception of death. Which is either optimistically or depressingly. Consequently, it accentuates the differences of the mood in both poem and style of the authors. Emily Dickinson is most famous for her gloomy poems that illustrate the concept of death. For example, her poem “I heard a fly buzz- when I died” and “After Great Pain, A Formal Feeling Comes”....
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...when I died” Emily Dickinson has a very intriguing manner of writing. Exploring her poems, I realize she conveys her own obsession with demise. Many of her writings on this subject depict death in different ways. It is represented as a gentle metaphor or as a hopeless distraction. Dickinson portrays these contrasting views of death in her poems: “Because I could not stop for Death” and “I heard a Fly buzz- when I died.” Kreidler, Michele L. "Emily Dickinson "Because I Could Not Stop For Death." Literary Contexts In Poetry: Emily Dickinson's 'Because I Could Not Stop For Death' (2009): 1. Literary Reference Center. Web. 29 May 2014. Meyer, Michael. "The Study of Emily Dickinson." The compact Bedford introduction to literature: reading, thinking, writing. 9th ed. Boston: Bedford/St. Martins, 2012. . Print Emily Dickinson’s poem “Because I could not stop for Death,” follows a woman’s passage from expiry into eternal life. The carriage that picks her up is a representation of immortality, while death is embodied as a gentleman that is taking a friend on a carriage ride. The driver “knew no haste” as they slowly drove. This personified version of death is kind and peaceful. As they continue on their trip, it is understood that death is a normal part of existence as they ride passed ordinary events of being; students playing, beautiful fields, and the setting sun. The conclusion of the poem is the speaker notes that since the coming of demise, centuries have passed and yet...
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...Born December 10, 1830 to a wealthy family in Amherst, Massachusetts, Emily Dickinson was a bright young girl who was beloved by all throughout her community. She received the highest of marks at Amherst Academy and showed a promising academic future. Upon completing her schooling at the academy, at the age of 15, Dickinson enrolled at the Mount Holyoke female seminary to achieve her educational ambition. She studied there for only one year, after finding herself conflicted with the strict Christian teachings. However, Dickinson would not give up on her intellectual abilities. Entering a life of seclusion, away from the eyes of the Christian community, Dickinson would go on to write some of the greatest poetry of American literature. It is through these masterpieces that we can gain a glimpse into the world of Emily Dickinson, and better understand the extent of her seclusion and the reasons why during a time that was heavily dominated by Christian belief. The first example given to us by Dickinson is entitled, “340” or “I felt a Funeral, in my Brain”. With an opening line such as that, immediately the reader can infer from this that the author losing a part of herself. In the first stanza, the speaker can, “feel a funeral, in her brain” prompting the reader to think perhaps a part of her has died. Reading the second stanza, “My Mind was going numb-” also brings forth the idea that she is losing touch with a certain aspect of her mind. Within the third stanza, the line, “Then...
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...Emily Dickinson’s short poem “I heard a Fly buzz – when I died” is, upon first glance, simultaneously mundane and complex. The speaker, for lack of much concrete evidence, it can be assumed is Dickinson herself. Very little is, in fact, revealed about the speaker; who is she? How old is she? How did she die? For the setting, the reader finds the speaker on her deathbed in her death throes surrounded by her friends and family. Where the speaker is exactly, and what time of day or year it is are not directly revealed. The audience is unclear; given that the speaker is speaking from beyond the grave – an unusual device that Dickinson uses in several of her poems, such as “Because I could not stop for Death”, in order imbue Death with an animate...
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...theme of death. Dickenson’s life was filled with multiple tragic deaths, which caused her to spend half of her life in sorrow. She experienced many deaths of people close to her, in which influenced her writing as a major reoccurring theme. Although Emily Dickinson wrote about death, she often times wrote about it in very odd ways such as death being eternal but also death as a state of life and this can be seen in her poems, “Because I could not stop for Death”, “I heard a Fly buzz”, and “I died for Beauty. Emily Dickinson writes the majority of her poetry during a period of stress because of the Civil War, which also influenced the depressing yet unique way of her poems. Her poem, “Because I could not stop for Death”, is an ironic allegory in which death is portrayed as a gentleman. In the first line she writes, “Because I could not stop for death/ He kindly stopped for me” (1-2) meaning that she is coming to meet death on his own terms. Usually death is shown as being unavoidable and all around evil, but Dickinson describes her carriage ride as, “I had put away/ My labor and my leisure too/ For His Civility,” (6-8). She describes death as being civil meaning that death was courteous and polite. The way that Dickinson capitalizes “His” gives that line a possible religious context as well because when writing about God, His name is always capitalized. The next line speaks of the many things she passes while riding in the carriage with death. “We passed the Fields of Gazing Grain—/...
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...THE FIRST FILIPINO Republie of the Philippines Department of Education & Culture NATIONAL HISTORICAL COMMISSION Manila FERDINAND E. MARCOS President Republic of the Philippines JUAN L. MANUEL Secretary of Education & Culture ESTEBAN A. DE OCAMPO Chairman DOMINGO ABELLA Member HORACIO DE LA COSTA, S. J. Member GODOFREDO L. ALCASID Ex-Oficio Member TEODORO A. AGONCILLO Member EMILIO AGUILAR CRUZ Member SERAFIN D. QUIASON Ex-Oficio Member FLORDELIZA K. MILITANTE Exccutive Director RAMON G. CONCEPCION Chief, Administrative Division BELEN V. FORTU Chief, Budget & Fiscal Division JOSE C. DAYRIT Chief, Research & Publications Division AVELINA M. CASTAÑEDA Chief, Special & Commemorative Events Division ROSAURO G. UNTIVERO Historical Researcher & Editor EULOGIO M. LEAÑO Chief Historical Writer-Translator & Publications Officer GENEROSO M. ILANO Auditor JOSE RIZAL (1861-1896) THE FIRST FILIPINO A Biography of José Rizal by LEÓN Ma. GUERRERO with an introduction by CARLOS QUI R INO ( Awarded First Prize in the Rizal Biography Contest held under the auspices of the José Rizal National Centennial Commission in 1961) NATIONAL HISTORICAL COMMISSION Manila 1974 First Printing 1963 Second Printing 1965 Third Printing 1969 Fourth Printing 1971 Fifth Printing 1974 This Book is dedicated by the Author to the other Filipinos Speak of me as I am; nothing extenuate, Nor set down aught in malice, Shakespeare: °the/Lo. Paint my picture truly like me, and not flatter me at all ; but...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...embarrass subside or moderate shorten renounce; give up (position, right, or responsibility) abnormal or deviant deviation from the normal; mental disorder assist usually in doing something wrong; encourage suspended action detest; hate Dwell; abide by: comply with; put up with; tolerate; Ex. abide by the rules; Ex. I can't abide rude people. (of a condition) wretched; as low as possible; lacking pride; very humble; showing lack of self-respect; Ex. abject apology renounce upon oath washing renunciation; self-sacrifice; self-abnegation dwelling place; home cancel; put an end to detestable; extremely unpleasant loathe; hate being the first of its kind in a region; primitive; native; indigenous; N. aborigine unsuccessful; fruitless rubbing away; tending to grind down condense or shorten abolish cutting off; separation depart secretly and hide complete; totally unlimited; having complete power; certain; not relative; Ex. absolute honesty/ruler; CF. absolutism pardon (an offense) refrain; withhold from participation; intentionally not use one's vote; abstemious abstinence abstract abstruse abusive abut abysmal abyss academic accede accelerate accessible accessory acclaim acclimate acclivity accolade accommodate accomplice accord accost accoutre accretion accrue acerbity acetic acidulous sparing in eating and drinking; temperate restraint from pleasant things, esp. eating or drinking; CF. abstention: act of abstaining from vote theoretical; not concrete; nonrepresentational...
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...1984 George Orwell 1949 Chapter 1 It was a bright cold day in April, and the clocks were striking thirteen. Winston Smith, his chin nuzzled into his breast in an effort to escape the vile wind, slipped quickly through the glass doors of Victory Mansions, though not quickly enough to prevent a swirl of gritty dust from entering along with him. The hallway smelt of boiled cabbage and old rag mats. At one end of it a coloured poster, too large for indoor display, had been tacked to the wall. It depicted simply an enormous face, more than a metre wide: the face of a man of about forty-five, with a heavy black moustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours. It was part of the economy drive in preparation for Hate Week. The flat was seven flights up, and Winston, who was thirty-nine and had a varicose ulcer above his right ankle, went slowly, resting several times on the way. On each landing, opposite the lift-shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran. Inside the flat a fruity voice was reading out a list of figures which had something to do with the production of pig-iron. The voice came from an oblong metal plaque like a dulled mirror which...
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...1984 By George Orwell Download free eBooks of classic literature, books and novels at Planet eBook. Subscribe to our free eBooks blog and email newsletter. Part One 1984 Chapter 1 I t was a bright cold day in April, and the clocks were striking thirteen. Winston Smith, his chin nuzzled into his breast in an effort to escape the vile wind, slipped quickly through the glass doors of Victory Mansions, though not quickly enough to prevent a swirl of gritty dust from entering along with him. The hallway smelt of boiled cabbage and old rag mats. At one end of it a coloured poster, too large for indoor display, had been tacked to the wall. It depicted simply an enormous face, more than a metre wide: the face of a man of about forty-five, with a heavy black moustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours. It was part of the economy drive in preparation for Hate Week. The flat was seven flights up, and Winston, who was thirty-nine and had a varicose ulcer above his right ankle, went slowly, resting several times on the way. On each landing, opposite the lift-shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran. Inside the flat a fruity...
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