2A VISUAL ARTS ~ ART APPRECIATION Kate Rumney 1-Howard Arkley’s oil on canvas painting completed in 1994 depicts a stylized scene of our modern society and the influence mankind has over the world. Arkley has created an abstract piece with unrealistic coloring to show the forever changing land we live on with the buildings we have created on top of the environment we are destroying. 2- The painting shows a stylized view of the Cahill Expressway tunnel and approach road, with a single man shown at the side of the image. The painting shows the alienation many feel when faced with the infrastructure of large freeways, especially when closely juxtaposed with pedestrian scale areas. 3- The shapes used in Arkley’s work are solid shapes and vary mainly between rectangles and cylinders, this being as the painting is of a factory site, the smoke coming from the top of the chimneys is created using solid black lines.
Which reflects the all-pervading and negative influence of consumerism in satirical comment on his nuclear family; in the last stanza the mortician adding a healthy tan he’d never had before the nice ride out of the underground metropolis adding a sardonic tone which gives an adding depth of meaning. This had
In The Great Gatsby, the tone of the “Valley of Ashes” scene can be best described as solemn. Fitzgerald uses imagery and symbolism in order to display the way that the Valley is full of empty hopes and dreams. Fitzgerald uses imagery to give a picture of the desolate wasteland that is the Valley of Ashes. He explains that the valley is a “fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens.” This tells us that everything in the valley is really nothing more than ashes, and it is all worthless. The people who are eternally bound to the valley are described as “moving dimly and already crumbling through the powdery air.” This gives us a picture that these people, who are essentially dirt poor, move
But now, he is confronted to the monotony of pumping gas the small town where he was born. Updike does not take "good or bad" judgement on Flick's situation. He only uses some images to portray a dark, dingy world of the present and contrast it with the bright, shining glory of Flick's past. Some poets can made wrong judgements about the character of a story but John Updike doesn’t do that and that is why I loved this story The imagery is evident in the first two lines of the poem, where the avenue "bends with the trolley tracks and stops, cut off." We already can see that Flick's future has been cut short.
English 1010 The two poems “The New Colossus” and “The Unguarded Gates” are considerably the same in that they are explaining how immigrants are coming to the “enchanted” land. But as Emma Lazarus writes “sunset gates shall stand”, Thomas Bailey Aldrich writes “ is it well to leave the gates unguarded” exclaiming how he is weary of letting immigrants trample over the land he considers pure. Thomas Bailey Aldrich’s poem “The Unguarded Gates” gives off that he is a white supremacy. In the second stanza he says “Oh liberty white goddess, is it well to leave the gates unguarded?” worrying that immigration will only bring “unknown rites and gods” into his pure land. To me this sounds as if the land he is used to is only of white people set in their own ways and he doesn’t want poor and non-whites in to “trample” on their customs.
But now, he is confronted to the monotony of pumping gas in the small town where he was born. John Updike does not take "good or bad" judgement on Flick's situation. He only uses some images to portray a dark, the world of the present and contrast it with the bright, shining glory of Flick's past. Some poets can made wrong judgements about the character of a story but John Updike doesn’t do that and that is why I loved this story. Those images are evident in the first two lines of the poem, where the avenue "bends with the trolley tracks and stops, cut off."
In the article "Poetic Exposures of the Shallow and Tawdry", Margaret Saltau states that “Bruce Dawe draws a fine line between the ordinary but valuable, and the simply inconsequential.” This statement is backed up by his poems; “Enter without so much as knocking”; “Homo Suburbiensis”; and “The victims”, and his use of Themes, Language/Techniques, Purpose, Context and Structure. In the poem “Enter without so much as knocking”, Dawe writes about the life of an ordinary and insignificant man of the working class. The poem dives into realism, the mundane and the life’s experiences. ; It shows the ordinary and inconsequential aspects of life such as experiencing a car ride through the eyes of a child, passing signs and imperatives “WALK. DON'T WALK.
Yet, the use of the simile “caught the 414 bus/ like a foreign tourist” undercuts any sense of comfort and creates a sense of alienation in this setting good! Again, Skryxnecki uses the structure of the poem for emphasis, positioning the adjective at the beginning of the next line foregrounds the persona's sense of confusion, “Uncertain of my destination/ Everytime I got off”. Here, the enjambment allows the emphasis to fall heavily on “everytime” highlighting that this was not an irregular
The City Planners Cruising these residential Sunday streets in dry August sunlight: what offends us is the sanities: the houses in pedantic rows, the planted sanitary trees, assert levelness of surface like a rebuke to the dent in our car door. No shouting here, or shatter of glass; nothing more abrupt than the rational whine of a power mower cutting a straight swath in the discouraged grass. But though the driveways neatly sidestep hysteria by being even, the roofs all display the same slant of avoidance to the hot sky, certain things: the smell of spilled oil a faint sickness lingering in the garages, a splash of paint on brick surprising as a bruise, a plastic hose poised in a vicious coil; even the too-fixed stare of the wide windows give momentary access to the landscape behind or under the future cracks in the plaster when the houses, capsized, will slide obliquely into the clay seas, gradual as glaciers that right now nobody notices. That is where the City Planners with the insane faces of political conspirators are scattered over unsurveyed territories, concealed from each other, each in his own private blizzard; guessing directions, they sketch transitory lines rigid as wooden borders on a wall in the white vanishing air tracing the panic of suburb order in a bland madness of snows Margaret Atwood Summer Farm Straws like tame lightnings lie about the grass And hang zigzag on hedges. Green as glass The water in the horse-trough shines.
The poem “London” describes Blake’s dislike of London and how he views it as the downfall of modern society; he continually repeats the word “Chartered” and sees the city as fake, regulated and unnatural. Wordsworth, on the other hand, expresses his feelings towards London in the form of a sonnet. This – along with his admiring language such as “Majesty” and “Splendour”- make it clear to see that he adores the city. The moods created in the two poems vary greatly, from dismal and hopeless in Blake’s, to proud and ecstatic in Wordsworth’s rendition. In the following essay I will explore in greater detail the emotions and romantic aspects of the poems, and the opinions of the writers and audiences.