Ray Bradbury uses the motif of contrasts to portray the theme that human beings are complicated and perplexing and that people are able to change in diverse approaches. Bradbury demonstrates the theme of this book utilizing the contrast between nature and technology. In this book, the concept of nature is very pertinent which is meant to symbolize the problems in the technological society when Montag says, “It was like a faint drift of greenish luminescent smoke, the motion of a single huge October leaf blowing across the lawn and away. The Hound, he thought. It’s out there tonight.
I am writing you in response to the unethical practices conducted by your business. These actions presently include abuse of Supreme Court loophole to generate revenue, aggressive intimidation tactics used as part of your patent enforcement strategy, monopolistic acquisitions, and use of legal resources to influence consumer’s abilities to make informed decisions regarding their consumption of food. Further, the company continues to fail to properly address its harms of the past, including producing two of the world’s most deadly chemicals and exposing the public and employees to these toxic substances. Your company’s tremendous scale and accumulation of resources continues to allow it to exert undue political and legal pressure to benefit
He argues that the Super-Ego is responsible for the “discontents” that human beings experience in civilisation as “The super-ego often puts severe demands on the individual that he cannot realistically met, causing great unhappiness.” (Gradesaver, Civilisation and its Discontents). When he outlines the contrast between “savage” and “civilised” beings in the book, it is clear that he is arguing human beings are unhappy because they have to reach “expectations” of society. Skepticism of the demands of society to follow the “restrictions” to human pleasure becomes a concept of questioning the demand that society puts on individuals which can be a similar comparison to the description of the political party in the modernist novel 1984 written by George Orwell. The limits that Winston, the main character who is in doubt of the government that influences the party members of the governmental leader Big Brother, finds himself miserable and psychologically tortured because his own thoughts of freedom have been limited by “thought crime” which is a law passed by Big Brother that restricts minor party members to even think about defying the
He believe that it was un productive for romantic poets to appeal to their emotions and to be simple in revealing the evil aspects of modern society. It would be more direct to use mythical stories and allusions to hold out the consciousness of the modern society and each individual as well. It bring out the comparison between past and present, so that modern man could see that the present is a continuation of the past. Myths In The Waste Land T.S.Eliot uses different myths in The Waste Land to suggest the collective unconsciousness of the western readers or those readers who have the knowledge of the western culture and norms. It is the comprehensive aim of “The Waste Land” to make essential dependence on a substitute of myths.
No one can deny the transfer of energy from the dispute of Plato and Aristotle to this time through the tension of thought over the metaphor--The tension which fuelled a war between poetic and philosophical metaphor. This paper looks at the ways in which a discourse in a novel and philosophical texts could generate possibilities of meaning, through metaphors and quotation marks, especially scare quotes, as metaphors. The Guide by RK Narayan concludes with a certain uncertainty when the swami who was fasting for rain, suddenly told his disciple waiting for rain, “Look Velan it’s raining in the hills” (237). These lines have become one of the most ambiguous lines in the history of Indian writing in English. This paper will try to find out the metaphor of certainty/uncertainty inherent in it.
The setting of a story can make one feel as though they are flying on a cloud or as if one is in the rain on a dreary day, the setting plays a huge role in a story for it gives you the surroundings and the time and place of when the story takes place and what is going on in a story. The settings for the Cask of Amontillado is a dreary one. So what makes this story a dark and eerie tale? This paper will the settings of the cask of Amontillado and how it has a dreary setting. While the Cask of Amontillado has a more sinister and creepy setting as we can see on page 117 “the vaults are insufferably damp” (Mays, Cask of Amontillado) sets up for a dark and dreary setting.
This essay will reveal the conflicts between man, woman and nature from the perspective of Ecofeminism and advocates building a kind of harmonious relationship between human beings and nature. Ecofeminism is the combination of ecology and feminism, which concerns the relation between nature and female. It pays attention to the Gender discrimination, the control of natural species, racism, sexism, and other social inequalities. The theory of Ecofeminism against the ideas that human is the center of the world and the logic of domination in men’ s relation with women and nature. As a new theory, it is difficult to make a definition of Ecofeminism because it has many different aspects.
Conformity is gradually oppressing the world in which we live in. This ideal is prominently illustrated in the film Pleasantville which is directed, and produced by Gary Ross. Pleasantville is a great demonstration of the dangers of abiding by society’s expectations, and the freedoms that come with rebelling to these expectations and embracing change. Gary Ross uses several literary techniques such as; colour (symbolism), and character development to indicate the lack of creativity, and originality in society. Throughout the film, Ross illustrates how obstructive conformity can be to society, and how rewarding rebelling to societal norms can be for not only self growth, but societal advancement as well.
Leo Strauss analyzes modernity as a culture in which “absolute and fundamental moral actions are not duties but rights” (Strauss, 1954). The establishment of a-religious ethical foundations of our social order deconstructed its sacred dimension: from the religious empathetic glorification of immemorial rigorist moral obligation succeeds the modern hyperbolic religion of “you must” (Lipovetsky, 1992). This post-moralist period – in which the individualistic, psychological referential dominates – coincides with a novel environmental ethics. The frequent ecological catastrophes due to petrochemical or nuclear industries and the issue of pollution and its impact of the atmosphere has said to have led to a general awareness on the negative externalities of progress (Lipovetsky, 1992) and a massive consensus on the importance of safeguarding our world’s heritage.
Richard Kerridge rightly asserts that, “ecocriticism seeks to evaluate texts and ideas in terms of their coherence and usefulness as responses to environmental crisis” (5). It is also an irrefutable fact that the perception of any environmental risk differs from person to person, culture to culture, or from community to community. In this vein, an ecocritical approach towards a literary text offers insights, if not an exact remedy, to revamp the global cataclysms like climate change, earthquakes, volcanic eruptions, hurricanes, and flood. Among the environmental disasters, climate change, a global phenomenon, for example, is considered as one of the “wicked problems [which] afflict open, complex and imperfectly understood systems, and are beyond the range of mere technical knowledge and traditional forms of governance” (Hulme). By introducing climate change into fiction, an author dares to get acquainted with