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Jeffrey Kirkman

Literary Criticism #2 - 0 views

www.u.arizona.edu/...wellspro.html

The Time Machine- Scientific Romance

shared by Jeffrey Kirkman on 20 Jan 11 - No Cached
  • Jeffrey Kirkman on 20 Jan 11
     
    Beresford states that The Time Machine is a romance, and he uses the time machine as a literary device in order to prove that time travel is possible. Beresford argues that Wells uses the future to criticize the social status of England of his era. The Eloi and Morlocks represented the haves and have-nots. Also further into future the earth is degrading and the question arises, whether the human race had a major impact in the decline of the earth, or if the earth had reached its end of existence. Beresford argues that The Time Machine lacked certain aspects of imagination and style, but it was a brilliant fantasy. The novella represents Wells' views on the world during his time and his experiments with the improbable. It uses the improbable and imaginative to create a satire of the social system in his time.
Ashley Cox

My Name Was Salmon, Like the Fish': Understanding Death, Grief, and Redemption in Alice... - 0 views

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Alice Sebold lovely bones Kenneth Womack

shared by Ashley Cox on 28 Jan 11 - No Cached
  • As with so many other works of contemporary fiction and film, Alice Sebold's bestselling novel The Lovely Bones (2002) fulfills our fundamental and indelibly human desires for establishing vital interconnections with the lost friends and loved ones who adorn our personal pasts.
  • Time and time again, the most cherished works of our literary and popular culture reflect this abiding need to seek out our lost siblings, parents, and grandparents.
  • we long for the opportunity to wade back into the recesses of time in order to enjoy impossible reunions with the people who left their imprints upon our very souls
  • ...29 more annotations...
  • By narrating the events surrounding the Salmon family's tragic dislocation and heart-wrenching reunion, The Lovely Bones deftly taps into our yearnings to eclipse the laws of space and time. Even more powerfully, the novel depicts the many ways in which interpersonal tragedy possesses the capacity for tearing survivors' lives apart at the very moment in which they need familial companionship the most. The parlance of family systems therapy--with its accent upon the interpersonal dynamics that shape literary works as well as our own senses of self--provides us with a useful lens for understanding the Salmon family's trials and tribulations in The Lovely Bones.
  • as an inherently open system, the family must at once provide support for its individual members' integration into a solid family unit, as well as their differentiation, or emotional and psychological separation, into relatively autonomous selves. This mutual developmental process possesses the capacity for producing functional and dysfunctional families. In functional families, individual members evolve into fully realized selves that allow them to act, think, and feel for themselves. In dysfunctional families, however, family members develop pseudo-selves--often fostered by fear and anxiety within the system--and thus, such individuals frequently remain unable to maintain any real equilibrium between their inner feelings and their outward behavior
  • In the novel, Susie can only watch in horror as her family devolves from a functional system into a dysfunctional shadow of its former self. Family therapists describe the fashion in which the Salmons maintain their systemic dysfunctionality as a psychological state of homeostasis, which Barnard and Corrales define as a family's tendency
  • "In order to perceive change in one's life--to experience one's life as progressing--and in order to perceive oneself changing one's life, a person requires mechanisms that assist her to plot the events of her life within the context of coherent sequences across time--through the past, present, and future" (35). These mechanisms--works of narrative therapy--offer cogent methodologies that assist clients (or readers) in simultaneously identifying with and separating from the dilemmas that plague their lived experiences.
  • At the beginning of the novel, the Salmons' interpersonal relationship exists as a functional family system. Jack and Abigail Salmon enjoy a busy, albeit satisfying family life in eastern Pennsylvania, where they raise their three children--fourteen-year-old Susie, her younger sister Lindsey, and their four-year-old brother Buckley. After Susie's rape, murder, and dismemberment in December 1973, the family lapses into a dysfunctional spiral as they attempt to cope with a stultifying sense of grief. The effect of Susie's untimely death is rendered even more painful by the disappearance of her body save for a stray elbow, as well as by Jack's suspicions that a reclusive neighbor, George Harvey, is responsible for her demise.
  • "The reflective awareness of one's personal narrative provides the realization that past events are not meaningful in themselves but are given significance by the configuration of one's narrative," Polkinghorne observes. "This realization can release people from the control of past interpretations they have attached to events and open up the possibility of renewal and freedom for change" (182-83).
  • Told entirely from Susie's perspective, the novel details the post-traumatic experiences of her family as they attempt to make their various ways among the living. Existing in a form of atemporal limbo that she describes as a kind of heaven, Susie observes her family and friends as they try to understand her loss in terms of their own survivorship. In addition to her significant role as witness, Susie must also contend with her own anxieties about her untimely separation from her family unit, as well as her severance from the young life that she was only just beginning to comprehend.
  • "There is no question," they write, "that families devote considerable energy to maintain a certain amount of order and stability. Security," they add, "seems to be tied with a certain amount of stability and predictability"
  • In The Lovely Bones, Susie composes her narrative in an explicit attempt to make sense of her family's dysfunctionality and to explode the homeostasis of her former family system, thus allowing them to effect their own "new levels of functioning." Although feelings of morphogenesis for Susie will always be tempered by the finality of her death, she intuitively realizes that the sublimation of her family's homeostasis will allow both herself and her family to continue their progress toward selfhood--although obviously in decidedly different locales and through highly disparate states of being.
  • The particular manner in which Susie sorts through the tragic events of her family's post-traumatic experiences can be usefully understood by interpreting her act of narrative therapy in terms of the five "attitudes" toward death that Kübler-Ross postulates in On Death and Dying. These attitudes--which themselves mirror the five stages of dying that terminally ill patients undergo--include denial and isolation, anger, bargaining, depression, and acceptance. "The one thing that usually persists through all these stages is hope," Kübler-Ross writes. "It is the feeling that all this must have some meaning, will pay off eventually if they can only endure it for a little while longer" (139).
  • Abigail isolates herself by delving into the workaday world of the suburban housewife. Her obsession with the preparation of the family's meals and her daily chores allows the time to pass more quickly, thus limiting her ability to reflect upon her daughter's ordeal.
  • In The Lovely Bones, the first portion of Susie's narrative highlights the narrator and her family's struggle with denial and isolation as they simultaneously come to grips with and attempt to disavow the unsettling reality of her murder.4 Their feelings of denial and isolation function as "coping mechanisms," according to Kübler-Ross, as well as the result of the "inability of [clients] to look at their situations realistically" (37, 41). Unable to make sense of Susie's sudden disappearance from their lives, the Salmons initially cleave to each other, hoping against hope that somehow she will return to their midst. After the police report to the family that Susie must be dead, given that so much blood had been found at the scene of the crime, they begin the difficult work of having to confront her fate, as well as their own. Like her family, Susie finds herself unable to accept her passing: "I hadn't yet let myself miss my mother and father, my sister and brother," she reports. "That way of missing would mean that I had accepted that I would never be with them again; it might sound silly but I didn't believe it, would not believe it" (27).
  • While her father purposefully refuses to allow himself to cry for her loss--to do so, he reasons, would make Susie's death seem all the more real--Jack copes by attempting to establish normalcy in the Salmon household within only a few scant days of her disappearance.
  • Meanwhile, Lindsey and Buckley act as their father's accomplices in his efforts to trap Susie's killer. In one particularly harrowing instance, Lindsey slips into Mr. Harvey's house in order to search for evidence. She narrowly escapes from his clutches, ultimately becoming the object of Mr. Harvey's sociopathic fantasies herself. In each instance, the family members' behaviors serve to exacerbate their ability to come to terms with their grief, rather than to sate their enduring despair.
  • In this fashion, Jack, Abigail, and Lindsey each develop pseudo-selves in order to quell their devastating senses of anxiety and pain. As the youngest member of the family, little Buckley can hardly begin to comprehend his sister's fate. He only begins to understand the extent of her absence from his life during a game of Monopoly, when he realizes that there is no one to play with the shoe, Susie's favorite game piece. Unable to cope with the significance of the moment, Buckley hides the shoe in his bedroom. As with the rest of his family, Buckley can only consider the depth of her absence in isolation from the rest of the unit. To do anymore, it seems, would force them to contend with the awful reality of a world in which Susie simply no longer exists.
  • In the second stage of their confrontation with Susie's death and the slow, almost imperceptible collapse of their family system, the Salmons experience the anger about which Kübler-Ross remarks in On Death and Dying. "When the first stage of denial cannot be maintained any longer," she writes, "it is replaced by feelings of anger, rage, envy, and resentment." According to Kübler-Ross, people in such situations often find it difficult to control their anger or to differentiate logically between the various objects of their animus. "The reason for this," Kübler-Ross observes, "is the fact that this anger is displaced in all directions and projected onto the environment at times almost random" (50).5 In The Lovely Bones, the family's anger takes many
  • forms. Susie's own anger reaches a fever-pitch when she learns the maddening extent of her killer's depravity. As she recognizes that her own death was just the latest in a series of unsolved homicides, Susie seethes as she realizes that Mr. Harvey's house exists as a "town of floating graves, cold and whipped by the wind, where the victims of murder went in the minds of the living. I could see his other victims as they occupied his house--those trace memories left behind before they fled this Earth" (182).
  • While Susie's anger rages in heaven, her father's inability to come to terms with her death pushes the Salmon household to the brink of psychological disaster. His suspicions about his daughter's killer begin to emerge after he visits Mr. Harvey's home and assists his reclusive neighbor in the construction of a backyard bridal tent. Mr. Harvey's bizarre behavior--including his odd remark that "the neighbors saw us. We're friends now"--culminates in Jack's nearly round-the-clock surveillance of the murderer's behavior. Egged on by another neighbor's advice that he should find a covert way of avenging his daughter's homicide, Jack begins casing the cornfield where his daughter died. After he mistakenly accosts a young couple in the field, an altercation ensues that nearly results in Jack's own death. "
  • I wanted my father's vigil," Susie reports, "but also I wanted him to go away and leave me be" (140).
  • Having sublimated her grief for so long and with her husband's increasingly risky behavior testing the boundaries of her patience, Abigail indulges in an extramarital affair--with the local homicide detective, no less--in order to stave off her guarded emotions.
  • Lindsey and Buckley respond to their mother's departure by rallying around their father, whose physical deterioration in the wake of his daughter's murder has rendered him into a shadow of his former, pre-trauma self. Yet by opting to become their father's protector and ally, Lindsey and Buckley also succeed in erecting complicated emotional walls between themselves and their estranged mother.
  • In the third stage of their post-traumatic experiences, the Salmons engage in the act of "bargaining," the grieving phenomenon that Kübler-Ross describes as the product of a given client's irrational fears about the future and his or her "attempt to postpone," if only temporarily, the inevitable processes of life and death
  • In the Salmons' case, the third stage involves very explicit efforts to delay their acceptance of the finality of Susie's death. In so doing, they postpone their capacity for achieving morphogenesis and become typecast in their familial roles.6 Such self-imposed constraints inevitably lead to identity diffusion.
  • Abigail, the overwhelming anxiety over her daughter's loss and the psychological disintegration of her surviving family prompt her to seek refuge by fleeing the Salmon household. When the first anniversary of Susie's death arrives, Abigail can simply no longer fathom the mind-numbing flow of the grieving process:
  • After spending the winter in her late father's cabin in New Hampshire, Abigail drives across the country to California, where she finds a job as a day laborer in a winery. As Denis Jonnes notes,
  • Abigail seeks to empower--or, perhaps more accurately, re-empower--herself by effecting her escape from the larger Salmon family system.7 Yet mere distance can hardly provide her with the emotional sustenance that she so desperately desires:
  • Lindsey attempts to lose herself in the business of living. Opting to go to school the first Monday after Susie's death, Lindsey begins steeling herself against the world. In class, Susie observes, "my sister did not look at Mrs. Dewitt when she speaking. She was perfecting the art of talking to someone while looking through them. That was my first clue that something would have to give" (30).
  • Buckley's youth is understandably complexified by his psychological over-identification with his father, and their intensely close relationship results in Abigail's triangulation after her return from the west coast.
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  • Ashley Cox on 28 Jan 11
     
    This article takes the coping mechanisms in the lovely bones and is connecting it to real life and gives more insight to why the acted the way they did and also how their different ways of coping lead to a divided family. 
Rizchel Dayao

Literary Reference Center - powered by EBSCOhost: Dramatic Intentions Diigo #3 - 0 views

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dramatic intention shakespeare literary

shared by Rizchel Dayao on 24 Jan 11 - No Cached
  • Rizchel Dayao on 24 Jan 11
     
    Argument: Shakespeare uses time as a factor to increase the dramatic intention of the play. Claim: Shakespeare's use of intertwining plots and misreadings dramaticize the intention of the play. Evidence: -"What Shakespeare is doing is to present, before our eyes, an unbroken series of events happening in 'short time', but to present them against a background, of events not presented but implied, which gives the needed impression of 'long time.'"
Taylor Collins

Walkley on "Man and Superman" by Shaw - 0 views

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Shaw Man and Superman Shakespeare

shared by Taylor Collins on 20 Jan 11 - No Cached
  • Walkley was an English drama critic for the London Star, the Speaker, and the Times from 1888 through 1902, and a major contributor to the Times Literary Supplement after it was founded in 1902. He has been noted for his disciplined, urbane literary tastes; in fact, his criticism is generally considered to have primarily a literary, and not a theatrical, basis. In the following excerpt from a review of Man and Superman—the play that Shaw dedicated to Walkley and claimed was inspired by his suggestion —Walkley regrets that while the play serves as an effective vehicle for “the Shavian philosophy and the Shavian talent,” it is imperfect as a theatrical work.
    • Taylor Collins
      Taylor Collins on 20 Jan 11
       
      Shaw wrote a letter to Walkley, describing his take on a suggestion Walkley made for Shaw to write a 'Don Juan'. Shaw ultimately flips the whole concept of a 'Cassinova' on its head with a modern, feminist twist, but still credits Walkley as providing him with the challenge. In the letter Shaw expresses his 'lukewarm admiration' of Shakespeare for the strength of his female characters in a maternalistic world. In this regard Shaw finds a fresh opinion of Shakespeare as a playwrite, and a connection to the women in his own plays. Though Shaw sees Shakespeare as having put his own 'tissue' around the plots and ideas of earlier, successful works (which, we can all admit, was true-) it seems that he could still have a respect for the unique and insightfulness played out in the roles of his female characters.
  • For Mr. Shaw and Shakespeare have at least one conspicuous bond of fraternal relationship; they both use the same stage technique.
  • liaison des scènes
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      Roughly, the idea that the stage should never be empty during an act or a scene.
  • ...18 more annotations...
  • Thus for the sake of something which may be very fine, but certainly is not drama, both dramatists cheerfully let the quintessential drama go hang.
  • We want a play that shall be a vehicle for the Shavian philosophy and the Shavian talent and, at the same time, a perfect play. Shall we ever get it? Probably not, in this imperfect world. We certainly do not get it in Man and Superman.
  • he is perpetually energizing outside the bounds of drama,
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      Since when does drama have bounds? Drama is not a formula, it is an art. Walkley says that there is a distinct form of art that he, and every other theater goer looks for in a play. Why, since Shaw's plays are entertaining, does it matter if this 'perfect' construction is not apparent? Is not a play perfect (as possible) if it is both entertaining and insightful? Literature is MEANT to convey ideas. No one creates works work taking note of unless he (or she) has something he (or she) wants to convey.
  • raison d'être
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      'reason for existence'
  • nexus
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      "1. a means of connection; tie; link. 2. a connected series or group. 3. the core or center, as of a matter or situation." -- Dictionary.com
  • the action-plot is well-nigh meaningless without the key of the idea-plot; that regarded as an independent entity it is often trivial and sometimes null; and that it is because of this parasitic nature of the action-plot, because of its weakness, its haphazardness, its unnaturalness, considered as a “thing in itself, ” that we find the play as a play unsatisfying.
  • We use the term action, of course, in its widest sense, so as to cover not merely the external incident but the psychologic and, more particularly, the emotional movement and “counterpoint” of the play.
  • The idea-plot we are not called upon to criticize. In the playhouse a dramatist's ideas are postulates not to be called in question. Theories of Schopenhauer about woman and the sex-instinct or of Nietzsche about a revised system of conduct are most assuredly open to discussion, but not by the dramatic critic. His business is, first and foremost, with the action-plot.
  • à propos de bottes
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      'For no apparent reason'
  • dans cette galère
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      'In this mess'
  • For Miss Ann is the new Don Juan, the huntress of men—no, of one man (that is to say, no Don Juan at all, but for the moment let that pass)
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      In the previously mentioned letter from Shaw to Walkley, Shaw begins by telling him that he has taken up his challenge- to write a 'Don Juan story'. But, in Shaw's terms, the Don Juan is the one being pursued, rather than the pursuer. Walkley knows very well what Don Juan is doing 'in this mess'.
  • Tanner lectures poor mild milksopish Octavius about the devastating egoism of the “artist man”—how the “artist man” is (apparently) the masculine of the “mother woman,” how they are twin creators, she of children, he of mind, and how they live only for that act of creation, so that there is the devil to pay (examples from literary history) when they happen to become man and wife.
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      These ideas are also included in the letter, noted by Shaw as being his "character's, and for a time, also [his] own".
  • The properly dramatic development would have thrown all the onus upon Ann—we should have seen Ann energizing as the “mother woman,” and nothing else—and would have kept Tanner's mouth shut.
  • If Mr. Shaw's play were a real play we should have no need to explain the action-plot by laborious reference to the idea-plot. The one would be the natural garment of the other; or rather the one would be the flesh of which the other was the bones.
  • Ann would exhibit Mr. Shaw 's thesis “on her own,” instead of by the help of Mr. Jack Tanner's lecture wand and gift of the gab.
  • the action-plot, being as we have said a mere parasite of the other, is bound very rapidly to give out.
  • We must not forget two subordinate characters —Ann's mother, middle-aged, querulous, helpless in her daughter 's hands, and the cockney chauffeur, the fine fleur of Board school education, Henry Straker. These two small parts, from the point of view of genuine and fresh observation, are among the best things in the play. In them Mr. Shaw has been content to reproduce, instead of deducing.
  • Mr. Shaw, as we have tried to show, has conceived Ann not as a character, but as a pure idea, a walking theory;
  • Taylor Collins on 21 Jan 11
     
    I'm having some issues with the website, but I do have the analysis saved if you end up needing a hard copy :)
Gina Awanis

Literary Analysis #3- Pride and Prejudice - 1 views

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Pride and Prejuidce jane Austen prejudice pride marriage society

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  • Gina Awanis on 24 Jan 11
     
    The author's ( Maureen Cutajar) purpose is to explain the irony and structure of Jane Austen's view on the society of her time and to explain Austen's purpose in Pride and Prejudice in terms of the romance in the novel. Cutajar writes on how Austen describes two ways of falling in love and how those reflect on the society of the time. The two ways to fall in love that Austen writes in her novel Pride and Prejudice, is that of instant meeting (or love at first sight) and the love that develops slowly over time as is the case with Elizabeth and Darcy. What Cutajar concludes then is that, "Nevertheless, it seems that the 'rational' choice is not based on how quickly one falls in love but rather on what grounds" (Cutajar). Also, according to Cutajar, she concludes that, "Love therefore is not enough on its own and does not lead to happiness if it goes against the social system" (Cutajar). As for my own thoughts, I am interested in Austen's views on society, especially pertaining to marriage and the social "norm" at the time, especially because Austen's novels mainly reflect the idea of society and marriage. It is also interesting to compare the norm when it comes to marriage then and now and see how they differ or relate.
Caleb Krolak

Little-known English History Comes Alive in Cornwell's 'Kingdom' Literary Criticism #2 - 0 views

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Bernard Cornwell the last kingdom

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  • Caleb Krolak on 20 Jan 11
     
    Bernard Cornwell is commonly revered for his outstanding ability to capture the true essence of the time periods in which his novels take place. Boston Globe Correspondent Michael Kenney proves this to the letter. "It is Cornwell's singular accomplishment in "The Last Kingdom" to have brought forward with a solid context and constant vitality those times and conflicts." Throughout all of Cornwell's novels, Cornwell has accomplished fantastic historical accuracy while still capturing the reader's attention. Kenney continuously praises Cornwell for this amazing trait. In "The Last Kingdom", Cornwell takes on a very complex time period with very little historical documentation. The 9th century was a time full of war and savagery. What better author to tackle this era? Kenney believes Cornwell has achieved success in this monumental feat. "But the Anglo-Saxon kingdoms of late ninth-century England and their fight against Danish invasions are unfamiliar, specialist territory." Bernard Cornwell is the perfect "Specialist" to conquer this unfamiliar territory and conquer it he did.
Jeffrey Kirkman

War of the Worlds - 0 views

www.challengingdestiny.com/...waroftheworlds.htm

War of the Worlds #2

shared by Jeffrey Kirkman on 26 Jan 11 - No Cached
  • Jeffrey Kirkman on 26 Jan 11
     
    The author calls H.G. Wells' novel a science fiction but focus' on the social aspects of the novel. The novel shows the social issues of the time and Wells' views on them. The novel focuses on the social issues of Wells' time, but is not a science fiction. The science behind his books is well thought, but it provided a setting for his novel and was a different way to portray his social views.
Mariah Love

Mythology Criticism - 0 views

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shared by Mariah Love on 25 Jan 11 - No Cached
  • Mariah Love on 25 Jan 11
     
    Mythology Genre Criticism Mythology, as being associated with belief and religion, is probably one of the oldest genres known to man. Because it is defined as stories all based upon a particular religion it can in fact encompass any religion and in doing so mythology has become a diverse and often utilized tool for writers especially. One of the more famous types of mythology is that of Greek Mythology. During the time of Ancient Greece most entertainment and even history were all based upon mythology. Homer, a well-known writer of that era encompassed and surrounded both The Odyssey and The Iliad with countless mythology references. Author John Holcombe argues in his unnamed article that mythology was utilized as more than just a past time, but it was in fact a way for people to connect and bond. "Myths are collective and communal, and so bring a sense of wholeness and togetherness to social life," (Holcombe). In times of limited resources of connection people would rely on word of mouth. Not only does Holcombe argue it as a way to connect but he also attempts to state that it is psychological and even a necessity for people to have created myths. He states that with the limited amount of knowledge possessed in ancient times people naturally concocted their own ideas and explanations for the unexplained. The overall organization of Holcombe's article is well thought out. It begins with history and background and then proceeds to his own views as to give his readers a sense of unbiased opinion. His focus is clear and is even stated in his thesis. He is clear in his assertion that mythology is more than just literature from the past, it is science and psychology as well.
Aubrey Haggarton

Research Paper Source #3 Woman Independence - 0 views

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Woman Independent Clark

shared by Aubrey Haggarton on 21 Jan 11 - No Cached
  • Aubrey Haggarton on 21 Jan 11
     
    Argument: As time continues to evolve, woman are becoming more and more independent in every aspect of their lives. Breaking away from their husbands and manly figures in their lives, they have become people of strong independence. Claim: In both novels by Mary Higgins Clark, the main character is a woman and has her own sort of independence, and that independence seems to get her out of dire situations. The Cradle Will Fall and A Cry in the Night are both mystery novels, and the way the woman are not killed at the end of the book is because they sought out their own independence and did not have to lean on their husband or boyfriend for support in any situation. In Ne-yo's song, Miss Independent, he talks about how an independent woman is a lady who takes control of herself and of her life. She does not need the support of others to aid her in any way, but can figure things out on her own. She is a bright, intelligent, hard working woman and can get through any situation by herself. Evidence: "Kinda woman that can do for herself" "Car and Crib, she['s] about to pay [th]em both off and her bills are pad on time" "Anything less she['s] telling them to get lost" "Her favorite thing to say 'don't worry I got it,' and everything she got best believe she bought it" 
Nicole Fayden

SparkNotes: Othello: Act V, scenes i-ii - 0 views

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relationship between the biblical text and othello

shared by Nicole Fayden on 24 Jan 11 - No Cached
  • Shakespeare repeatedly casts Othello as Christ
  • Iago as Judas (or, ironically, as Peter)
  • Nicole Fayden on 24 Jan 11
     
    1st claim= Othello is related to God, through the trials of the story, Othello is superior to others and is looked up to like God. 2nd claim= Iago is represented as Judas or Peter. He is looked upon as a constant secretive and mischievous evil. 3rd claim= christian culture ties in with the culture of Othello's time period. debate= Shakespeare is satirizing religion and culture. This concludes that Othello's time period and culture with religion is based on the biblical text in the bible text.
Aubrey Arrowood

Henrik Ibsen Literary Analysis - 3 views

Aubrey Arrowood Mrs. Sejkora AP Literature-0 20 February 2011 Henrik Ibsen Views on Societal Issues throughout His Plays The Norwegian play writer, Henrik Ibsen, illustrated societal flaws as the ...

started by Aubrey Arrowood on 23 Feb 11 no follow-up yet
Matt McLaughlin

Literary Reference Center - The Time Machine: An Invention: A Critical Text of the 1895... - 2 views

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Wells Totalitarianism Critique

shared by Matt McLaughlin on 07 Dec 10 - No Cached
  • Matt McLaughlin on 07 Dec 10
     
    Argument: H.G. Wells writes about science fiction, more specifically, a higher power or a powerful controller in his books War of the Worlds and The Time Machine. Claim: Wells was a Totalitarianist who beleived one ruler would benefit mankind. And also during the Industrial Revolution, the world was changing more than ever. Evidence: "(Wells) eagerly awaited the global catastrophe that would destroy civilization as we know it and allow...technocrats to enslace hapless humanity."
Angie Pena

Article Analysis #2 - 0 views

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A Clockwork Orange violence epidemic Burgess

shared by Angie Pena on 20 Jan 11 - No Cached
  • A Clockwork Orange registers Burgess's deeply felt conflict about the need to control violence while at the same time respecting the freedom of the individual to choose goodness over evil.
  • Angie Pena on 20 Jan 11
     
    Argument: In her article, "Anthony Burgess: An Overview," Mary Lowe-Evans asserts that in A Clockwork Orange Burgess displayed his deep concern for the epidemic of violence and freedom to choose between write and wrong. She forms her argument by mentioning unethical studies that influenced Burgess' writing in A Clockwork Orange. She also refers to the Nadsat language in the novel, stating that Burgess revealed his feelings towards free-will, good and evil through the main character, Alex.Evidence: "More troubling for Burgess was the failure of Skinner's behavior modification strategies to recognize the importance of free will (a primary tenet of Catholic theology) in a properly functioning human being." "Our pockets were full of deng, so there was no real need from the point of view of crasting any more pretty polly to tolchock some old veck in an alley and viddy him swim in his blood while we counted the takings and divided by four, nor to do the ultra violent on some shivering starry grey-haired ptitsa in a shop and go smecking off with the till's guts," (Burgess).Thoughts: The citations Mary Lowe-Evans uses further support her assertions; by demonstrating concerns the time period she adds another dimension towards Burgess' motive in writing. Her argument is coherent and organized, maintaining a logical explanation of Anthony Burgess' beliefs shown throughout his work. 
Kianna Gregory

Criticism on the language of Jane Austen - 0 views

www.jasna.org/...dinkler.html

shared by Kianna Gregory on 20 Jan 11 - No Cached
  • Kianna Gregory on 20 Jan 11
     
    Argument: The argument of the critism on the language of Jane Austen, and the women of the time period, is that language and speech was used as a weapon. The critic also claims that although Austen speaks out about language as a manipulative tool, her female characters often use it that way. Language was used as a weapon by women because they were seen lower than men in the society of Austen's time. Language and speech were the only way to counteract male dominance, and allowed the women to have some influence. Not only speech was used, but also silence. The Critic claims that women used Language to manipulate and get their way. Evidence: "Female speech "veiled Warfare" " the female characters in Sense and Sensibility language- or the absence of it to manipulate those around them, as well as Austen's clear commentary on such manipulations of power." "Play games with language." The critic gives many examples of when Austen's characters in Sense and Sensibility use language to manipulate, and get what they want. He also shows the power Austen has with language. Thoughts: Michal Beth Dinkler, makes a strong argument, with good examples, on Austen's use of language. His critism also shows the social standing and mind set of women in Austen's day. Her books make women seem more intelligent and stronger than the men of that time period. This is because of Austen's masterful use of the English language.
Gisela Ortiz

Critique on the Representation of Each Individual Character in The Heart is a Lonely Hu... - 0 views

www.helium.com/...lonely-hunter-carson-mccullers

Representation Characters The Heart is a Lonely Hunter

shared by Gisela Ortiz on 28 Jan 11 - No Cached
  • Segregation, isolation and inclusion are not conditions of the past alone, they are in our present and they will be in our future.
    • Gisela Ortiz
      Gisela Ortiz on 28 Jan 11
       
      Themes found in The Heart is a Lonely Hunter, being left alone, etc.
  • McCullers explores the idea that all people feel a need to create some sort of guiding principle or god.
    • Gisela Ortiz
      Gisela Ortiz on 28 Jan 11
       
      Singer is this "guiding principle god" that everybody needs in their life. Everyone needs somebody to hear their problems, even though they won't be able to talk back (Singer's case) they just need someone to confide in and talk to.
  • they believe he has endless wisdom about many things and they turn to him in times of turmoil, always asking him to help them accomplish their goals and comfort them during times of doubt.
  • ...2 more annotations...
  • They each create a different idol in Singer. For Mick, he is a man who feels similarly about music as she does. For Doctor Copeland, he is the only white man who understands his passion to achieve justice for black people. Blout finds that Singer is just as deeply concerned about socialism as he is and for Biff, he represents all that Biff sees in himself; a quiet, shrewd spectator of the human state.
    • Gisela Ortiz
      Gisela Ortiz on 28 Jan 11
       
      What each character represents in this novel. What importance and relation they have to Singer.
  • Each character is longing for something. Each character is to some extent, suffering with delusion. Each character is isolated. Yet all of them are so similar, similar in their suffering, yet still so entirely different.
    • Gisela Ortiz
      Gisela Ortiz on 28 Jan 11
       
      "John Singer cannot communicate with people because he cannot speak. Mick Kelly cannot communicate with anyone because her family do not share her ambition. Biff Brannon is left alone when his wife dies and Dr Copeland is isolated from his family and other black people in the community because of his intelligence and opinionated viewpoints. Similarly, Jake Blout is alone in his radical social notions and this only detaches him further."
  • Gisela Ortiz on 28 Jan 11
     
    Argument: Nancy Boland, as well as I do, believes that each character, in The Heart is a Lonely Hunter, represent something different towards the main character, Singer. She also states that each character suffers something different and they suffer delusion, but each character is different from one another. Nancy also argues, "Segregation, isolation and inclusion are not conditions of the past alone, they are in our present and they will be in our future." Evidence: "They each create a different idol in Singer. For Mick, he is a man who feels similarly about music as she does. For Doctor Copeland, he is the only white man who understands his passion to achieve justice for black people. Blout finds that Singer is just as deeply concerned about socialism as he is and for Biff, he represents all that Biff sees in himself; a quiet, shrewd spectator of the human state." "There is hope. The character of John Singer also reminds us that there are kind, generous people out there, lending an ear to fellow human beings when they are most afraid of going unheard." Thoughts: Before reading this review, I planned on finding out what each character meant in the book and I was having a hard time figuring that out on my own; but after reading this, each character's explanation made more sense, when comparing them to Singer. Boland believes that every person needs to be heard in this world and that everybody should have that one person that they confide in with everything. I think that this statement is both true, and false. I believe that it is true because, for example, I confide in my best friend with all of my secrets and whenever I have a problem, I know that she will always be there when I need her; but then again, I don't tell her every single detail in my life just so I can keep something's to myself. Also, some people aren't that open to others and they don't have somebody that they confide in so they keep everything bottled up. Some people just have different ways of "
Maryam Abdul

Literary Analysis: Dred - 2 views

go.galegroup.com.lib.chandleraz.gov/...retrieve.do

Dred Frank harriet beecher stowe Maryam slavery antislavery proslavery history

shared by Maryam Abdul on 25 Jan 11 - No Cached
  • Maryam Abdul on 25 Jan 11
     
    In the critique by richard Boyd on Dred: A Tale of the Great Dismal Swamp there is little to be said due to his wealth of analsysis of this story. Not only does he put the story in some historical contexts happening at the time, he analyzes the demenors of a range of characters, most frequently, the character Frank Russel. The ingnorant biggot of a character contends time and time again that the factor of freedom is a small one indeed. He is proslavery and believes that slavery will only end in violence.
Brie Graziano

Books: The Strength on One - 1 views

www.time.com/...0,9171,939072,00.html

Ken Kesey

shared by Brie Graziano on 26 Jan 11 - No Cached
  • Brie Graziano on 26 Jan 11
     
    TIME Magazine's "Books: The Strength of One" draws similarities between Kesey's McMurphy from One Flew Over the Cuckoo's Nest and Hank Stamper from Sometimes a Great Notion. Both characters possess strength not often seen in one person and characteristics that could categorize them as antiheros. They are rough and tough and seek to stand up against what the feel is wrong and will use force to do so. This article presents the theme of Sometimes a Great Notion to be "the weakness of the strong and the persistent tensility of the weak". The townspeople within the novel can't stand to see Stamper win in the final "battle", but they are confused when he begins to lose. Kesey understands that intolerable as a good man may be to men, his defeat is even more so. This is the major paradox presented within the novel and explains the prominence of strength captured in both books. This article presents strong ideas that are tied in with the plot very well, however the author did not include quotes, which would have provided more support for the conclusions. The connections to the author included in the article suggest that the author has thorough knowledge into Kesey's background and his motives for writing each novel. It was almost as if the author was in Kesey's mind while writing this piece. The author drew parallels between Kesey's works and Greek mythology that posed interesting thoughts for the reader. Overall, Ken Kesey's ideas are transferred well in this article and are analyzed with a fresh outlook.
Matt McLaughlin

Literary Reference Center - H. G. Wells - 0 views

web.ebscohost.com.lib.chandleraz.gov/...detail

Wells Socialist Race

shared by Matt McLaughlin on 07 Dec 10 - No Cached
  • Matt McLaughlin on 07 Dec 10
     
    Argument: H.G. Wells writes about science fiction, more specifically, a higher power or a powerful controller in his books War of the Worlds and The Time Machine. Claim: His Socialistic views rely heavily on his thoughts about the human race Evidence: "Wells felt that the (Socialist) party should take on a morea ctive role in changing the world". " (Wells) was an inventive futurist and was deeply concerned for the human race."
Scott Boisvert

Literary Reference Center - powered by EBSCOhost: Introduction - 3 views

web.ebscohost.com.lib.chandleraz.gov/...detail

literary criticism; 1984; George Orwell; Societal Relevance

shared by Scott Boisvert on 08 Dec 10 - No Cached
  • Scott Boisvert on 08 Dec 10
     
    Argument: 1984 is a bad book, but will survive because it will always have relevance to society. Claims: 1984 has moral force as an early political warning; it is the Uncle Tom's Cabin of our time. Overall though, the book is poorly written with only the parody of the political slogans being decent aspects. Evidence: -1984's biggest reason for success is because society is moving towards the society portrayed in the book. -"Uncle Tom is a more interesting martyr than Orwell's failed martyr, the drab Winston Smith" -"Wyndham Lewis sensibly compared Orwell as a writer to H.G. Wells, but Wells was consistently more inventive and entertaining" -"A great pamphleteer, like Jonathan Swift, is a master of irony and satire. Here again, Orwell plainly is deficient. His literalness defeats his wit" -"He was a moral and political essayist who had the instincts of a pamphleteer" http://search.ebscohost.com.lib.chandleraz.gov/login.aspx?direct=true&db=lfh&AN=16405585&site=lrc-live
Nicholas Jensen

The Good Soldier - Where Men Win Glory Criticism - 0 views

go.galegroup.com.lib.chandleraz.gov/...retrieve.do

criticism literary jon krakauer where men win glory into the wild pat tillman

shared by Nicholas Jensen on 10 Dec 10 - No Cached
  • Nicholas Jensen on 10 Dec 10
     
    Argument: Dexter Filkins, of the New York Times Book Review, delivers a tough critique of Where Men Win Glory by Jon Krakauer. Filkins believes that "This would have been a better book had it been a hundred pages shorter." Claim: Much of the background about Pat Tillman's life is unnecessary. Also, the tiny details that Krakauer recounts are "banal and inconsequential." Evidence: "Tillman doesn't arrive in Afghanistan until Page 230." The book is supposed to be about the death of Pat Tillman, and the ensuing cover-up, but Krakauer talks too much about Tillman's early life and the NFL. However, once Tillman reaches Afghanistan and Krakauer starts telling the story he promised, the book takes a turn for the better. Filkins writes "The death of Tillman is handled deftly" and that "Krakauer performs a valuable service by bringing them [facts] all together". http://go.galegroup.com.lib.chandleraz.gov/ps/i.do?id=GALE|A207732676&v=2.1&u=chandler_main&it=r&p=LitRC&sw=w
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