“Do I Dare Disturb the Universe” “Lingering in ‘The Love Song of J. Alfred Prufrock’” T.S Eliot’s obsession with the negative aspects of western society is prevalent in his poetry, but the question is, why? In order to understand T.S. Eliot’s mind frame in a world entering WWI, it is beneficial to take a look at one of his earlier works, “The Love Song of J. Alfred Prufrock.” By taking a new historical approach to interpreting Eliot’s constant use and allusion to the word “linger” in “The Love Song of J. Alfred Prufrock” we can gain a better understanding of Eliot’s disappointment with the state of his world. Progression is so nonexistent that Eliot also writes the poem in the form of a dramatic monologue to accentuate humanity’s inability to move onward. Through the plight of the “everyman” Prufrock, Eliot captures the stagnation of the western civilized world, and calls into question the modern man’s lack of development.
Nonetheless, both articles are idealistic. In another phrase, they are morally wrong. To get a true understanding of what an essay is saying we must concern ourselves with is what the author is truly trying to convey. There are often hidden messages in writing that inexperienced readers often look over and take for granted. This is the issue that is at stake with both readings of “A Modest Proposal” by Jonathan Swift and Garret Hardin’s “Lifeboat Ethics.” Hardin’s essay that is serious in tone, while Swift’s offers similar views appears to be poking fun by starting at in a serious tone at first glance but in reality is far from it.
The movie has shades of comedy, film noir, horror and also other film categories. This movie is known to be a postmodernist film. The elements or shades of Barton Fink highlight the veneer of postmodernism. The movie uses many stylish conventions to accentuate the story’s mood and give visual emphasis to particular themes. The movie begins with and keeps moving
Minor crises lead to major confrontation followed by a resolution. The terms that literary pieces fall under are subject to the application of the readers own interpretation of the story, making it difficult to say with absolute certainty wither “The Passing of Grandison” is a naturalistic or realistic story. However there is more than enough textual evidence to support the idea of realism. “When it is said that is was done to please a woman, there ought perhaps to be enough said to explain anything; for what a man will not do to please a woman is yet to be discovered.” (704). Chesnutt sets the mood for “The Passing of Grandison” very well with this opening sentence.
Postmodernism was born out of a reaction against the fundamental ideals of modernism. More specifically, postmodern artists rejected the modernist obsession with the concept of aestheticism and began by questioning the formal qualities tied to the aesthetic content. As a result, this criticism escalated and moved apart from formal concerns as the postmodern movement forged ahead to become what it is today. Artists also began criticizing many underlying notions of modernism, including ideas about originality and authority. At the same time, French philosophers Jean Baudrillard and Roland Barthes introduced new theories regarding the growing artistic practices of appropriation and simulation.
In the light of the fact that many scholars see “modern consciousness” as a fall grace (Clasby 1), myths elevate the ordinary experience to the sacred (Clasby xi). One nationalist poem from Wild Thorns speaks of Palestine in such terms, “My homeland, part of heaven/Your name is like a prayer on my lips” (Khalifeh 124). Myths demand that in order to avoid the death of the soul and to access a transformation that will bring harmony, one must no longer cling to the ordinary experience. It so becomes that a rejection of its call is to remain in a “meager adolescent world” (Clasby 5). For
Nalo Hopkinson’s Midnight Robber portrays a manifestation of various characteristics of postmodernism, such as irony, the incredulity of metanarratives, temporal distortion, pastiche, technoculture, hyperreality, intertextuality, metafiction and histographic metafiction, as well as characteristics of postcolonialism such as Orientalism, pluralism, identity, double consciousness, colonization and resistance. Typical of the chaotic nature of postmodern literature, the literary techniques utilized in Midnight Robber aim to mock the reality and logical sense of reason which is characteristic of the period of modernism. The irony of postmodernity denies a difference between what is real and what is appearance and even embraces incoherence and lack of meaning (Coletta, 2009). Therefore, irony is another vehicle through which the line between the real and unreal is blurred. In other words, ‘meaning’, through post modern irony is constructed through interpretation, rather than perceived or understood.
This cause modernist writer to reject traditional themes while accepting the sense of disillusionment and loss of faith. d. A modernist writer named F. Scott Fitzgerald demonstrates he features of modernism in his text. e. Based on an analysis of the novel, The Great
Having been written in a period of social transition from the old to new traditions, the story reflects a conflict between the glorious but obscure past and simple but practical and pragmatic present. The romantic opposition between Ichabod Crane and Brom van Brunt is that of the old shrewd intellectualism and modern rationality and physical strength. In Washington Irving’s “The Legend of the Sleepy Hollow”, Ichabod Crane is the representative of the old stability and shrewdness, whereas Brom van Brunt carries the spirit of modernity and change; unfortunately, Crane’s boring traditionality and self-centered intellectualism leave him no chance to outperform his modern American rival and confirm the triumph of novelty and creativity over the glorious but disconnected past. Ichabod Crane and Brom van Brunt (further Brom Bones) live in Tarrytown, some twenty miles away from New York, but have different appearances and occupy different social niches. Irving describes Ichabod Crane as “tall, but exceedingly lank, with narrow shoulders, long arms and legs, hands that dangled in a mile out of his sleeves, feet that might have served for shovels, and his whole frame most loosely
Postmodernism is seen a series of propositions, attitudes or values that, independent of the degree of theoretic value, cannot be denied and that operate ideologically as part of culture and sensibility of postmodern times. The rejection of totality and meta-narratives, the cult to fragmentation and difference, chaos, irony, relativism, and weariness are all characteristics of postmodernism. For some, postmodernism belongs to a historic period different to modernism in the sense that these new times take off from the logic that prevailed in modernism. The self is bombarded and invaded by propaganda until it succumbs to defragmentation. To be able to determine the existence of postmodernism as a cultural phenomenon, it is necessary to accept the demise of modernity.