Discuss the significance of irony and humour to Postmodern practice Irony and humour is used in many post-modern artworks to reflect upon the issue it is addressing. The integration of irony and humour often signifies the artist’s reaction to the modernising world. In Ursus Wehrli’s best-seller, ‘Tidying Up Art’, he has attempted to bring order and structure to many famous artworks. For example, in his rendition of Van Gogh’s artwork ‘Bedroom’, Wehrli has decided to clean up the mess in the room and transform it into a tidy space. This idea was brought to life through his own experiences of immaculate hotel room service and his wonder as to how Van Gogh’s cluttered ‘Bedroom’ would look like if it too, had undergone the room service present today.
The visually realised enviroment brings out more harsh qualities of human characters who inhabit it and further leads us to understand how the individual sees and percieves the world. These statements show that paul has an openess to a new experience, unlike his mother who constantly complains about the heat and his fathers indecitement of this “ town of booze and blow” paul conversely “ loves "the town "at first sight". Peter goldsworthys use of alliteration helps to convey the imagery of pauls fathers thoughts and how he percieves the town of darwin. Unlike the novel the artwork contributes to the responder visualising how the artist was feeling at the time. The main individual in the picture seems to feel like he is going insane and becoming overwhealed.
Taylor Maciulis Reynoso Advanced English November, 17th, 2013 Idolization kills When a person is looked up to day upon day, they begin to feel obligated to please those who are looking up at them. Taking a course of action to make others happy rather than yourself is a very noble course to take. Although it is very unselfish, it will not always be the most beneficial decision for the person to make in the end. The poem “Autumn Begins in Martin’s Ferry, Ohio” by James Wright exemplifies just how one’s devotion to please those who admire them, will restrain them of their own happiness. Poems consist of many different ideas and meanings for each person who reads them.
That’s why I don’t like, hate it even though those stories were so lame. In Conclusion, I hope I never get old and greedy like a republican. People should follow the ideas of transcendentalism and use romanticism in their creative forte, it will help make the world a better place or whatever it’s cool
Frost indicates how life can be ruined by a simple malfunction or cease of light. Light, in the poem, however, does not symbolize sunlight, or even actual light for that matter, but rather thoughts, knowledge, and understanding. Although Frost’s poem is difficult to interpret and understand, once it is understood, the theme it conveys is obvious. Frost’s theme is that humanity is dependant on thoughts and knowledge, for, as long as we continue to think and grasp ideas, humanity will survive just fine. Frost compares a nearly never-ending play to like, for a play is a dramatic interpretation of real life and life, to humans at least, does seem nearly eternal.
In the short story There Will Come Soft Rains, by Ray Bradbury, the author ultimately wants to warn humanity that it is in danger of destroying itself. He creates a humanlike house which stands as a symbol for man’s technological achievement, but destroys it with the one force that will never be conquered – nature. In order to convey this warning to his readers, Bradbury uses hyperbolic diction to create a tone shift from one of placid efficiency to a tone of doomed desperation. Bradbury creates a tone of routine efficiency by personifying the house to illustrate that - like any faithful human servant – it lives to serve. The house wakes up its occupants much like a cheerful but insistent human nanny by singing, “Tick-tock, seven o’clock, time to get up, time to get up, seven o’clock” (Bradbury 1).
The aberrant perspective of Gilgamesh which I am presenting may seem divergent and atypical when analysed in accordance to our modern values and principles, but to Gilgamesh this would be quite natural. The values and ethics that contemporary readers hold shape their perspective of characters as they respond in various ways to the adventures that said characters undertake. A perfect example of this is when the narrator speaks of the state of Uruk and says “No son is left with his father, for Gilgamesh takes them all”. From this, the contemporary audience frames Gilgamesh as an immoral tyrant, as their value of free will is being challenged. However, Gilgamesh’s intentions were in the interest of the people, as he moulded the sons into warriors to protect the city.
These opinions have, however, changed. The more recent censors are still concerned about the impressionable youth, but not that they will be taught to spit, but they will be taught to use derogatory terms to refer to their peers. Williams does acknowledge the hurt that the word can cause, even though it was a common term used at the time of the book’s publication. Another of Williams’ points was on Twains racial ambiguity. “Whether of not Twain was a racist is a moot point that need not be addressed” (98).
A Reality Check With the use of symbolism, Aldous Huxley creates a beautiful novel that in essence warns his audience of the future. Huxley’s clever use of symbols in the Brave New World, is often apparent, but just as often, they are deeper and less apparent. With his satirical references to sex, drugs, technology and the naming of his characters, Huxley relates his novel back to his readers and their future. Without recognizing these symbols, the readers could find this novel confusing and ridiculous; but with each symbolic object and person comes a clearer picture of what Huxley us really trying to convey. When reading the Brave New World, the sexual references are often the first things that stand out to the audience.
As the antitheses of the bourgeois and the civilised modern, ‘primitive’ art was of interest to these artists because it seemed to be the solution to the over-civilised modern era, signifying the simplicity and purity lost in the enlightenment of humankind. Avant-garde artists were also attracted to ‘primitive’ art because they saw the opportunity to emulate the exotic vigour of the ‘savage’, and in doing so subvert Western art conventions and charge their artworks with social and political energy. The commonality of ‘primitive’ art representations was also a contributing factor to the appeal of ‘primitive’ art to modernist artists. They were fascinated by the timelessness of certain shapes and symbols, finding in them salvation from the decorative and naturalised art of convention. This study will focus on three seminal artworks created over the course of modernism that demonstrate the aforementioned issues- Paul Gauguin’s Woman With A Fan (1902), Pablo Picasso’s Le Demoiselles d’Avignon (1907), and Henry Moore’s Woman and Child (1932).