‘Positive characters … usually prove miserably ineffectual when contending with ruthless overwhelming powers’ claims Amin Malak, noting on such protagonists as Winston Smith and Offred in George Orwell’s Nineteen Eighty-Four and Margaret Atwood’s The Handmaid’s Tale, and, when looking at the dystopian genre as a whole, he certainly seems to be correct. Dystopian fiction does seem to portray the worse side of human nature than the better, leaving the positive traits to the struggling protagonists. While utopian writers seemed to think that the essence of human nature was to do good, dystopian writers seem to think very differently and it is from this notion that these novels seem to be written. Nineteen Eighty-Four certainly seems to do this, with almost every member of the society representing one or more negative aspects of humanity. Throughout the novel, Winston constantly references the fact that ‘Today there were fear, hatred and pain’ and that in this society of Ingsoc ‘No emotion was pure, because everything was mixed up with fear and hatred’ and this is displayed in many, various ways.
In the piece, he makes it clear that America did not live up to his expectations, and would disappoint his readers as well. Through this satirical writing, Wilde uses comparison of beauty and industrialism and juxtaposition between compliments and criticism to paint American social values as backwards and unappealing in order to dispel the glamour of a romantic American culture.
While Anker’s argument retains credibility when applied to melodramatic stories, it is hardly able to stand when applied to animated sitcoms and other humorous shows. In fact, shows such as American Dad, Family Guy and South Park that utilize similar melodramatic devices, such as heightened emotions and the moral dichotomy of good and evil, portray government as a damaging rather than a heroic force. In one such South Park episode, “Osama Bin Laden Has Farty Pants,” examination of the complex interaction between the four protagonists and the government in the aftermath of 9/11 displays how melodramatic effects are used to
Romanticism was a time of strong emotions and opinions. Washington Irving did not agree with these ideas, and if you examine closely, you notice that he mocked these ideas in his works “The Legend Of Sleepy Hollow” and the story of “Rip Van Winkle”. During the Romantic period, people trusted their feeling over common sense and believed in various ideas that are unreasonable, including superstition, trusting their feelings more than common sense, and the idea that people are basically good. Irving may have been trying to make fun of the romantic period, or was just being funny, in the end, either by accident or not, he pointed out several wrong ideas of the Romantic
Shakespeare again presents the theme of this sonnet in an unconventional way. Shakespeare is describing the girl he loves, however, it surprisingly sounds insulting. Shakespeare compares her to many images of beauty like the sun, coral, roses, and even a goddess and expresses how she doesn 't compare to any of their beauty. He finishes however by saying, “And yet, by heaven, I think my love as rare as any she belied with false compare.” (lines 13-14) I love the ending of this poem. Shakespeare is saying even though she not as good as all the things he compared her too, she is still rare to him.
‘South Park’, just trying to say the statement summons very diverse feelings from different individuals. Why? Since it has the novel and crude sarcastic power to both infuriate and amuse its audience. Nevertheless maybe the most respectable nature of South Park is in the boldness of its social parody. Matt and Trey will say anything, about anybody, paying little respect to race, belief, shade or conviction and without trepidation of repercussion.
In life, people tend to turn a blind eye to or find it challenging to come to terms with their inner corruption, depravity, and despair. In Joseph Conrad’s profound novella Heart of Darkness, however, humanity’s darker side is addressed in a way that is impossible to ignore. Conrad’s meticulous utilization of diction and symbols captivates and enthralls the reader while also heavily contributing to the overall success and meaning of the novella. In his passage, Conrad, instead of adhering to the traditional notions of purity and evil associated with the symbols of light and dark, intentionally subverts and intermingles them to reveal underlying themes concerning the immorality inherent in human nature and the unbelievably horrific tragedies
This practice of “writing back” is also demonstrated in the humor and laughter in the novel, though as will be discussed later, the effect of the laughter is questionable. In post-colonial writings, the function of humor and laughter is largely associated with its liberating and subversive effects released from the colonized as opposed to the dominance and hegemony of the colonizers. Among the theories of humor, Bakhtin’s concept of carnivalisque laughter is often appropriated by critiques of post-colonial cultural production. In his notion, carnivalisque laughter is “universal, liberating, and revitalizing” and it discredits the stratification and distinction between the high and the low. The laughter is associated with what he calls the “grotesque body,” which embodies the regenerating spirit derived from the lower stratum of the body that is “deeply positive” and “something universal, representing all the people.” In the case of Rose, humor also has a subversive power, as exemplified in Dong’s fart which is “linked to the body, especially to those functions which are officially tabooed and not allowed to manifest themselves.” I damn near puked, with
Shakespeare appeared to be mocking the worshipful attitude of the Petrarchan sonnet, as he used a different type of idealism and chose to write homoerotic poetry. He continues this “mocking attitude” as his poetry of praise also appears to be written in quite a different, more complex style than that of a traditional sonnet. Shakespeare used what some critics call “the paradox of praise” throughout his sonnet sequence, rarely focusing on the monarchy. Shakespeare’s self-conscious deployment of homoeroticism, theatre, and printed poetry is quite unique, and does not feature in the traditional Elizabethan sonnet. These points will now be discussed in detail and argued throughout this essay, with reference to secondary sources and several of Shakespeare’s sonnets.
Many of Muldoon’s poems can go under this category if readers accept the notion that “playfulness both conceals and permits a serious intent” (Patke 290). Commenting on the difficulty of “The More a Man Has,” M. Allen suggests that it structures “a myth” that motivates the speakers and the characters, however, it “neither explains nor redeems their predicament” (71). According to Wills, the difficulty of the text gives reason for readers to accuse the poet of willful obscurity and extremely “cynical” and “ungenerous tone” (Reading
A distortion of reality is created by the editorial when they intend to persuade the readers believe to fake popular opinions by using the Ad populum fallacy. According to the book “Asking the right questions” ad populum or appeal to popularity is “an attempt to justify a claim by appealing to sentiment that large groups of people have in common; falsely assumes that anything favored by a large group is desirable” (Brownie & M. Keeley, 76). This assumption is made by the ‘Editorial Board’ when they claim that nobody in congress, supreme court or health care journalists express disdain to the law, the author claims “not a single person involved in passing or interpreting the law- ever expressed a belief that subsidies would not be available on federally-operated exchanges” (Editorial Board, 1). The words “Not a single person” is an overgeneralization that persuades the reader believe that no one question the ACA’s effectiveness and intents to set the idea that whoever is against the law is wrong and outsider from what most people consider right. This attempt to persuade the New York Times readers on the popularity of ACA lacks of enough evidence when the intentional logical fallacy argument does not have enough evidence to support it.
This satirical portrayal of America as singularly masculinized did not deter female readers. Bagge’s editorial section of Hate #4 points to the publication’s inclusion of female readers, writing to male readers unhappy that the publication’s first contest excluded male participants “You fail to win my sympathy… since the Stinky contest is obviously a big joke and that the women entering it don’t really truly want to date [the character]… a lot of you desperate creeps seem sincere in your desire to shower love on [the character Lisa Leavenworth]” (Hate #4, 23). Bagge addresses the women readers as people who understand and participate in the satirical characterizations and misogyny. This inclusiveness in the face of masculinized advertising
I 'm a pacifist, if you want to know the truth" (46). Without doubt, this exemplifies Holden’s ability to make observations. Holden doesn’t wash his face because the gore made him look tough and he likes it but he also proclaims that he’s a “pacifist”. Holden does one but says the opposite, this demonstrates Holden’s poor observation skills. Furthermore, in the novel, Holden says “I 'm the most terrific liar you ever saw in your life.
Today the crowd would be stunned with disgust towards the man. In the discussion of marriage, one controversial issue has been abuse. In the 1800’s there was uproar over the novel, Their Eyes Were Watching God, by Zora Neale Hurston. Some women claimed that female abuse was finally being exposed. However, many feminists were outraged that Hurston displayed the problem of abuse so lightly.
English 103, 10-16-16 journal # 7. I am neutral in most of the “Lorde’s Royals Isn’t Anti-Rap, It’s Anti-Imperialism” article. I do not like any rap (it makes my head tired) therefore, I do not know anything about rap. What I did not like of the song is the intense allusion to fantasy, we need to be realistic and try not to immerse ourselves in a fantasy world. I disagree with the part of the article that says “Americans are used to the rest of the world bending over backwards to blend in with their culture”, if foreign stars like Shakira sing in English is because their big success in their native language is not enough for their ambitions.