Rhetorical Analysis of “Losing the War” by Lee Sandlin War is an incredibly ambiguous phenomenon. In today’s world it feels easy to forget anything but life in relative peace. World War II shook the globe. Now, it has has dwindled to mere ripples in between pages of history textbooks and behind the screens of blockbuster films. In Lee Sandlin’s spectacular essay, “Losing the War,” he explains that in the context of World War II, the “amnesia effect” of time has lead to a bizarre situation; “the next generation starts to wonder whether the whole thing [war] ever actually happened,” (361).
In a recent article by CNN, pop artist Bruno Mars was found accused of “cultural appropriation,” by critics of his new album, “24k Magic.” The Cambridge Dictionary defines “cultural appropriation” as “the act of taking or using things from a culture that is not your own, especially without showing that you understand or respect this culture." Writer and activist, Seren Sensei posits that Mars’ “takes pre-existing work and he just completely, word-for-word recreates it, extrapolates it," she added. "He does not create it, he does not improve upon it, he does not make it better.” The singer is known for combining different genres such as hip-hop, soul, R&B, and others rooted in traditionally African-American culture. While some saw his new album
The Oedipal fantasy-metaphor, for example, becomes actual function instead of fantasy and is marginalized as one function among many. In a review of Clayton’s work, Gregory Jay argues that he has missed key figures in the debate about desire, such as Fredric Jameson and his The Political Unconscious, instead surveying a list of moderate theories of desire that help to support his own framework (203-4). Similarly, though Clayton listed Deleuze and Lacan in his overview of theories of desire, there was no treatment of Deleuze and Lacan was placed under the model of
The humerus thing is a pit bull is not technically a breed of dog, According to Charlotte Alter of Time magazine “A Pit bulls is thought to be an actual breed, but is considered multiple different breeds.’’ "The Problem With Pit Bulls." To classify a pit bull into a class of dogs, you have to include
In Potter’s world, Voldemort split his soul into eight fragments, called Horcruxes, in order to escape death. I previously discussed in short paper one how Aristotle would argue that these Horcruxes would not be suitable bodies for a human soul. I agreed, for the Horcruxes do not seem to be characteristic of Voldemort because they do not feel the emotion or pain Voldemort feels. When analyzing Horcruxes, another philosophical question regarding personal identity arises. Sider, utilizing the stage view theory, would deem all the Horcruxes identical to Voldemort, but wouldn’t necessarily deem Nagini identical to Ravenclaw’s Diadem.
He defends that animals shouldn’t be categorised in such word. He often says when you say “animals” you start to cage some thoughts about animals. Each animals have different features and they shouldn’t be categorise together under the same word. Derrida uses these scare quotes to create an irony to word “the animal” and he often says “that men have instituted a name they have given themselves the right and the authority to give to the living other.” ( 23). Throughout the essay he keeps on coming back to what “animal” means and why they were called animals.
Reviewing Tolkien’s writings, specifically that of Beowulf, the understanding of Tolkien’s value regarding myths within his writings becomes evident. Tolkien noted in an essay tilted Beowulf: Monsters and the Critics that “Beowulf is in fact so interesting as poetry, in places poetry so powerful, that this quite overshadows the historical content, and is largely independent even of the most important facts (such as the date and identity of Hygelac) that research has discovered” (“Beowulf: Monsters” 105). Tolkien would note that Beowulf was originally read only by scholars wishing to find historical facts from the myth and found no value in it as a whole. Tolkien would also find that Beowulf’s actual importance could be found in its storytelling. While the poem Beowulf is littered with historical facts it ultimately represents the thoughts and fears of a culture that are no longer present within the world.
The novel concludes “So we beat on, boats against the current borne back ceaselessly into the past” (108). This means as we keep trying to move forward we are still restricted and defined by our past. Throughout the book Gatsby could not let go of the past and Fitzgerald related this to society. America was meant to be the new world filled with potential but this idea was soon ruined by old aristocratic values, like the Buchanans represent in the novel. To Fitzgerald, America is not full of possibilities, its frontier that failed to rise above its aristocratic European origins, just as Gatsby failed to escape from his
In contrast, Dr. Montague’s view tells something different of the house “No, the menace of the supernatural is that it attacks where modern minds are weakest, where we have abandoned our protective armor of superstition and have no substitute defense” (Jackson 102). Dr. Montague’s perspective gives the reader clues that
Never Let Me Go is an intentional failure of the Coming of Age genre. Kazuo Ishiguro constructed the novel around clones, which makes it hard for the reader to relate to the characters. The only way of understanding the world in which clones exist is through the protagonist’s narrative. Kathy H. is an unreliable author, considering that she tries to justify every event and every act throughout the novel. “Without protest, she takes on the euphemisms used to label the artificially created humans and to describe, or avoid describing, their fate” (Groes 108).
Primarily, Finlay focuses on his criticism on Davis’s imagination of reconstructing of the Martin Guerre’s story in order to make a dramatized story. He thinks that Davis should use only full documentary evidence instead of using her imagination. For example, she relies on the Coras’s book, and at the same time; on her intuition and assumption due to the silence in Coras’s text. She responds back to Finlay in her article “On the Lame” in which she notes the “difficulty in the historian’s quest for truth…” The key point here is there is no one single narrative in history, but rather many stories to be told, representing various experiences in the past, is surely foundational to the historiographical school of new history. Also, she defenses her style of writing the book because she wants to make it accessible to the reader not only in the schools, but also to the average person.
Finlay’s book, The Refashioning of Martin Guerre corrects Davis’s errors when in her book, The Return of Martin Guerre because it has many incorrect facts that were not shared when Coras wrote his book, Arrest Memorable in the sixteenth century. To begin, Davis’s intent was to take a different interpretation of the story of Martin Guerre, which ends up being incorrect. Finlay describes Davis’s interpretation as “imaginatively conceived, eloquently argued, and instructionally appealing. It is also strikingly different from the version of the story accepted since the sixteenth century.” (Finlay, pg. 555) When compared to the older book written, Davis does several things to make her book sound different from the others, such as making the main character of the book Bertrande de Rols rather than Coras’s main character, Arnaud or how the relationship of Bertrande and Arnaud was logical.
Several differences can be seen throughout the old-English Beowulf (Heaney) and the modern-day film Beowulf and Grendel (Gunnarsson) due to the cultural difference between the Middle ages and Modern time. More details entered the film to appeal to a more modern audience that requires reason and details. The old English poem held no use for complexity to tantalize the reader. Additions that add complexity to Grendel’s character in Beowulf and Grendel include backstories and new characters. In Beowulf, the epic, it states, “Grendel was the name of this grim demon haunting the marches, marauding round the heath and the desolate fens; he had dwelt for a time in misery among the banished monsters, Cain’s clan, whom the Creator had outlawed and condemned as outcasts (Heaney, pg.
When the beast terror was brought up, Piggy immediately turned the assumption down knowing a beast was not a scientific idea. “Life is scientific…. I know there isn’t no beast (Golding 82)!” He seconds Ralphs notions that a beast could not survive on an island this small. Using rational solutions, Piggy says it just doesn’t make sense to have a beast or ghosts on the island. Because he uses scientific views on how to be adults and to make sense of the beasts, Piggy is the voice of reason on the
Dowling, a Professor of English and American Literature at Rutgers University, writes that the narrator of Pale Fire is neither John Shade or Kinbote, but Nabokov himself. As proof, he offers a long sample of the narrative in which Gradus, the failed assassin in the Zembla narrative, is reading the Times. The sample ends in, “I confess it has been a wonderful game –this looking up in the WUL of various ephemerides over the shadow of padded shoulder” (qtd in Dowling para 19). The use of the personal pronoun, “I” in the excerpt leads Dowling to conclude that Nabokov is himself the narrator here – or rather, the focalizer who no longer exists within the pages of the story but outside of