Through his optimistic narrative “Delirious New York” he documents the repeated elements and themes in New York’s development and decline that make it a theatre of progress and the capital of timeless crisis. This focuses in particular on the skyscraper as a product of the physical manifestation of Manhattanism on the grid, along with the relationship between this density-focused architecture and the culture of congestion. The division into five distinct blocks, an anthology covering “Coney Island, The Skyscraper, Rockefeller Center Europeans” and an imaginary appendix, each with further component parts, the book acknowledges its union
The Introduction “Through Dickens’ descriptions of London and its people, one can gauge the fact that his engagement with the Victorian city and its inhabitants goes way beyond the depiction of characters of the narrative as mere caricatures occupying space in a dull and lifeless city; but instead his creative genius lies in his ability to tap into the city’s vibrancy and miscellaneity by personifying the space with the complexity of dynamic attributes of both diversity and randomness that embodies the spirit and lifestyle of Victorians who inhabit Britain’s capital” (Williams 1973: 154). The following paper, through the use of extracts from two of Dickens’ works (one an article from a journal and the other one his novel, Little Dorrit), attempts
Largely populated cities are becoming more common throughout the world as the years progress. With numerous people calling cities their homes, it is only fitting that those people find happiness within them. In “the inner city” by Lucille Clifton, the speaker relishes living in the inner city as opposed to uptown. “The City’s Love,” a poem written by Claude McKay, personifies the city and expresses the appreciation the speaker has toward the welcoming arms of the city. Though they both share a sense of admiration toward their dwellings, the speakers’ relationships with their cities differ, which is revealed through the use of syntax, tone, and imagery.
On the other side, the United States of America, whose tall commercial skyscrapers dominate the skyline as industrial smoke billows out of factories, clouding the American flag in the process. Her portrait inspired me to take a deeper look at the economic system in the US, and the ways in which it has contributed to their influence around the world. I did further reading on their free enterprise system, a system where governments place minimal regulations and restrictions on businesses and ownership. It’s a system which President Barack Obama believes “is the greatest engine of prosperity the world has ever known” (Harsanyi). However, it was here that the focus of my paper narrowed.
Women accepted their role and position in the society. A woman’s role implied that she does not question the laws of Florentine society because these laws were placed for men to keep their dominance over women. Women resisted domination and claimed their rights, but it was very challenging because the church laws, constitutional laws, and communal laws enslaved them. This document provides the feminist position to examine the world of Renaissance in Florence. Women could not distinguish themselves in the artistic, political, and scientific movement of the Renaissance world.
Wharton wrote many of her pieces connecting the protagonist to her home town, New York. Similarly, shortly after moving to New England, she wrote about what she saw around her. For example, Ethan Frome was written from a New England perspective, while pieces such as The Age of Innocence were written with a New York perspective; this simply shows that Wharton is an observant writer. Her writing can relate to Kate Chopin’s style in one obvious way, they both use vague details to explain a bigger idea. In Ethan Frome, “She lingered, pressing closer to his side.
THESIS: In her novel The Age of Innocence, Edith Wharton shows that the impacts of societal norms, customs, and traditions are inescapable, through the experiences of characters Ellen Olenska and Newland Archer, and the progression of their relationship. Ellen Olenska is one of the most unique members of New York society, and even though she defies social norms, she is unable to avoid their influence. When “poor Ellen Olenska” first returns to New York City, it is immediately clear that she is an outcast (6). Coming from Europe, she is the opposite of fashionable, contrasting with a typical New York women in numerous ways: how she dresses, where she lives, and how she behaves. Having left Europe to get away from her husband, Ellen decides
Although her work was highly praised, some critics felt that Christine argued with the intent to only defend those women who were virtuous and who had prestige in their society or were held to a higher reputation than others. This can be seen as in The Book of the City of Ladies, she uses examples of women who were scholars, saints, and good wives to establish her argument about why women were worthy of the city. She does not speak about women who were involved in activities or who were part of the culture that most people in medieval society looked down upon (e.g. prostitutes). Her choice to only write about these women made her a product of her time, as many medieval women readers and writers had a clear appreciation for those women who were of nobler
“The pleasure which we derive from the representation of the present is due not only to the beauty with which it can be invested, but also to its essential quality of being present” (Baudelaire 793). Baudelaire’s theory of the flaneur written in The Painter of Modern Life is relevant today, most notably in the works of Edgar Allen Poe’s The Man of the Crowd and Charles Dickens Our Mutual Friend. The reading of the flanerie occurring within these narratives is the representation of urban experiences through the depiction of the landscape of London and an exploration of city street life. Our Mutual Friend captures the panoramic urban city with its people, incidents and the flaneur who observes and records reality objectively. "An 'I' with an insatiable appetite for the 'non-I' at every instant rendering and explaining it in pictures more living than life itself,
Mrs. Hedges is a product of the street, learned to conform to the street, and made it work for her success. She attempts to help Lutie, by showing her how not to be a part of “brawling, teeming” (251) life of the street. Mrs. Hedges’ character understands the power that “the street” have over people, and their success, or failure in Harlem. She embraced the reality of “the street.” She actually named ‘the street,” and “separated it from any other street in the city, giving it an identity, unmistakable and apart,” (252). Mr. Jones is the super of the building and is sexually obsessed with Lutie.