Perspectives within a literary text tend to be depicted in different ways in order to confront the responder, challenge perceptions and promote a varied perception of the human condition. This depiction of conflicting perspectives creates a makeup of the entire construction of the text, as it effectively creates a cause for conflict; the protagonist of a story very rarely does not have a differing perspective on an issue to the antagonist of the story, inevitably leading to conflict, and therefore, a story line. This notion of conflicting perspectives is powerfully expressed through various textural forms, as shown through William Shakespeare’s 1399 dramatic text, Julius Caesar, Mark Haddon’s 2003 novel, The Curious Incident of the Dog in the Night-Time, and Sylvia Plath’s 1966 poem Morning Song. Throughout Julius Caesar, Shakespeare effectively utilises textual form to shape the responder’s understanding of the conflicting perspectives surrounding the personality of Marcus Brutus. Throughout the dramatic literature medium, Brutus experiences many different forms of conflicting perspectives relating to his own sense of identity as well as his relationships to those around him.
Which difference(s) can we observe in the ways he deals with them? In considering the antagonism of the concept of fellowship that naturally comes from the very concept of The Canterbury Tales and the issues of isolation and loneliness developed inside them, one can wonder about which purposes Geoffrey Chaucer intended to reach; what did he may intend to reveal by dealing with those subjects? To answer these questions, an exposé divided in two fields of analysis will be proposed with a first part introducing the various cases reporting situations of isolation and loneliness that appear in The Canterbury Tales*. Then, a second part will provide possible propositions to interpret the way Chaucer decided to deal with these themes in his work. As mentioned in the introduction, the concepts of isolation and loneliness are expressed through different forms in the tales.
By analysing the two poems and their complex structures, the reader discovers a similarity on the subject, of spiritual journeys, however a difference in the context of the journey. The difference of representation in each subject is conveyed in different styles and voices, leading to differences and similarities within the style of each poem. The first poem, (Ione, Dead The Long Year), written by Ezra Pound, is composed in a way where the poem portrays the thoughts of the character – the reader receives a ‘head-on’ perspective of the character, thus evoking deep emotion within. Pound’s use of patterns of imagery are used to create a tone and to suggest rather than state, the poet’s theme; his use of personification in describing the flowers, portray his feeling of loss and how that seems to also be reflecting on his surroundings, “And the flowers, Bend over with heavy heads. They bend in vain”.
How does it shift your understanding of the story to look at the story from this particular lens? By looking at the story from the formalism criticism approach, I eventually understand the writer’s intentions of the poem.
[pic] Frederick Douglass Paragraph Writing Category (35%) 18 points Paragraph prompt: What is Douglass’s purpose in writing this narrative, and does he achieve this purpose? Find examples 3 quotations from the text to prove that he does or does not achieve his purpose; one of these quotations should be the examination of a figure of speech (metaphor, simile, etc.) and how that contributes to his purpose. Also consider looking at Douglass’s style and tone, including his objectivity and restraint in describing painful incidents. Respond in a paragraph that: 1.
Within Emily Dickinson’s poetry, she expresses her own perceptions of what is within the package of an individual’s yearning to belong in society’s game. This positions us to shape our own notions and understanding of what belonging entails with Dickinson’s insights as an initial framework. In the area of belonging, being accepted or gaining a sense of affiliation by someone or a group of people may require you to alter something about you and what you are about. Similarly, where there is an opportunity of belonging or a sense of placement there is always the possibility of loss and neglect. Within Dickinson’s poem I died for beauty.. beauty and truth underpin the essence of her message of sacrificing yourself in the name you desire to be recognised as.
Like Candide, Pangloss is not a tenable character; rather, he is a distorted, hyperbolized representation of a philosopher whose beliefs and perspective is considerable linked to his philosophy. Voltaire illustrates two major quandaries intrinsical in Pangloss’s philosophy. First, his philosophy confronts inundating evidence from the authentic world. Pangloss is ravaged by syphilis, proximately hanged, proximately dissected, and confined, yet he perpetuates to espouse optimism. He sticks to his positive views even at the cessation of the novel, when he himself admits that he has reservations in believing some of it.
Conflict can arise when those involved perceive a threat to their needs, interests or concerns. It is what evokes conflict that reflects who we are and our individual values. The texts “Othello” by William Shakespeare and “Tri” by Frances Echins explore the concept that conflict is a result of our underlying desires which specifically relate to our individual values. This is often fuelled by strong emotions, desires and goals at any cost. Individuals routinely filter their responses and reactions to conflict on the basis of their values, cultural beliefs, personal experiences and other variables.
Habermas critiques Gadamer’s thought by questioning the overall concept and the central role of tradition, arguing the possibilities of certain sub-conscious interests and specific authorial forces that distort tradition. In order to accurately explore the thoughts and beliefs of Gadamer and Habermas surrounding that of the concept of “tradition”, one must first establish the basic foundation of hermeneutics upon which these ideas are to be centred. Heidegger offers an effective ground on which to base the majority of these philosophical positions for that of classical hermeneutics by initially revealing hidden meanings in hermeneutical texts, exploring authoritative objectives and developing a clearer overall understanding of them. A later shift in focus in hermeneutics during the 20th century brought about an apparent lean toward specifically “epistemological foundations… or the methodological principles which lead to objective knowledge in the human sciences” (Ormiston, G & Schrift, A, 1990), thus encouraging the questioning of knowledge to be centred upon that of “truth” and “Being”. To Heidegger, it is the former understanding which leads to a solid basis of
This essay weighs on both sides of the scale, and it is generally concluded that rights are not universal even though they have been efforts to promote its universality. ESSAY: ARE RIGHTS UNIVERSAL? The universality of the concept sparks a highly debatable discussion. Notably, due to the nature of rights which is extremely diverse; for instance it ranges from natural rights to legal rights. One of the glaring statements that has often been made is the possibility of generalizing human rights without taking into consideration the difference in culture, tradition, religion more importantly human nature itself which vary from each one to another.