In this essay, I will not offer an explanation of why people keep retelling, appropriating, and adding to Arthurian legend, because such an answer is far beyond the scope of my knowledge and the size of this essay. It would take at least one penetrating book to begin understanding the scope of that question—which is the reason why Mary Zambreno’s article, “Why Do Some Stories Keep Returning?,” is crippled by its length and loses its grounding by using vague, generalizing definitions to discuss the perpetuity of Arthurian narrative. By opening up Zambreno’s term “gap” and applying possible variations of the term to the context of Chretien’s Lancelot, Knight of the Cart, I hope to introduce the possibility of further scholarship on the ways untold stories in the Arthurian narrative contribute to its continuing popularity as a story to tell and a story to read. Zambreno offers a very confused introduction to her discussion of gaps and what she terms “literary confabulation” in the Arthurian legend. She calls upon a term introduced in another author’s discussion of Malory: Arthurian narrative as “piecemeal” is taken out of its context in W.R.J.
Even though Queen Mab may be extremely small, her negative dreams cause a tremendous impact on others. The smallest things can have a positive or negative impact on an individual. Romeo and Juliet’s love seemed like a little harmless thing, but the reality was that their “love” led them to their eternal doom. Shakespeare applies the use of diction in the climax to further advance the motif of dreams. When Romeo first sees Juliet lying in the tomb he describes her as “Is crimson in thy lips and in thy
Anne Kathrine Enevoldsen 13-05-15 Elective 3: How to Read Nabokov 1 Aesthetics and ethics in Lolita Humbert’s role as central character and narrator of Lolita gives him much power and control, and it is one of the main reasons the novel has often been criticized as being immoral and unethical. Because how should the reader understand a text which forces him to lend ears to a narrator who is so foreign to most, and whose standards are so deranged? This is where there is an ethical core in the narration of Lolita. Humbert is funny, and laughing with him may make readers feel guilty. He is aesthetically empowering; enjoying his style, wit and language may therefore sometimes overshadow the content of the novel.
Is it possible, however, that we would not be aware if the soul ever left the carcass? Could the soul leave us without any warning? What would happen then? Oscar Wilde, due to his quite insouciant character, was intrigued by the idea of disturbing the balance between these elements, wanting to see what exactly would happen if, let us say, one’s soul and one’s heart were to be separated. This is the theme that also serves at the core of Oscar Wilde’s most significant and most renowned work of prose, The Picture of Dorian Gray.
Nina Ortiz Prof. Kappes ENG 301 26 February 2018 Two Tales of a Mother A woman, a savage, a mother, or a beast may or may not be your opinion of Grendel's mother in the Anglo-Saxon epic poem Beowulf. Beowulf leaves much to the reader to imagine who she is as person and so interpretation varies. However, throughout the text, the poet seems to praise Beowulf for his heroic ventures while Grendel’s mother gets no real recognition other than distasteful descriptions. As many might perceive Grendel’s mother as monstrous and their worst nightmare, on the contrary, Grendel’s mother was as human as Beowulf and as natural as you and I. Much like today, society connects you with whom you are related.
Churchland assumes that people’s common-sense framework would be eliminated over time as it gives a misleading insight of human behaviors, cognitive abilities, and the nature of reality at large. The matter is that the eliminative materialist perspective is built according to a strong conviction that folk psychology is a “hopelessly primitive and deeply confused conception of our internal activities” (Churchland pg. 288). The main argument for eliminative materialism suggested by Churchland is the fact that folk psychology has proved unable to explain the fundamental materiality of the human essence, including the nature of learning, memory, and mental
Anything that was not mentioned should not be included as it will give the reader a mindset that that the essay is not complete and other key components have been left behind. Through research one adds knowledge. You can read on a variety of conclusions so that you can get a clear understanding of how to go about
With logic, we observe certain characteristics of events and then generalize based on these observations. Logic also does not consider the subjective or emotions and can't predict the behaviour of complex systems due to their interconnected and complex nature. The point is, if you’re used to thinking a set way and have seen limited results, having a different set of tools for thought that allows you to explore different angles can be extremely invaluable. A first, and perhaps obvious, step to thinking the systems way is valuing the opinion of others, trying out their perspectives to see if they make sense, and incorporating their insights. It involves constantly re-assessing your position for credibility, regardless of your worldview.
He defines hypertext as every text derived from a previous one by means of direct or indirect transformation, but not through commentary. What Genette terms the hypotext is termed by most other critics the inter-text that is a text which can be definitely located as a major source of significations for a text. His hypertextuality might seem rather similar to his architextuality, because he is not concerned with a general facet of language, or culturally signifying practices, but with a generic aspect of the closed system of literature. The main difference between hypertextuality and architextuality is that whilst pastiche, parody and caricature are essentially and intentionally hypertextual, tragedy, comedy, the novel and the lyric are based on the notion of imitation of generic modals rather specific hypotexts. The meaning of hypertextual world depends upon the reader’s knowledge of the hypotext which the hypertext either satirically transforms or imitates for the purpose of pastiche.
Carol Ann Howells speaks about Atwood’s technique as, Obviously revisionist perspectives have narrative consequences not only for narrators but also for readers, turning our attention towards process of deconstruction and reconstruction while emphasizing the provisionality of any narrative structure. Atwood’s novels are characterized by their refusals to invoke any final