they reject that there is a single virtue (or norm of flourishing life) that is able to flourish the life of all human beings. Writers like Alasdair MacIntyre, Bernard Williams and Philippa Foot have abandoned “the project of rationally justifying a single norm of flourishing life for and to all human beings.” They deny that ethics can have trans-cultural norms
Renda is currently a professor of history at Mount Holyoke College where she teaches courses in World War II at Home and Abroad, U.S. Women’s History since 1890, interdisciplinary women’s studies courses, and Race, Gender, and Empire. Her teaching focuses on the cross-sections of women and gender, multicultural nature of U.S. history, and international contexts in which history take place. In addition to what was mentioned above Renda is also an author. She wrote Taking Haiti: Military Occupation and the Culture of U.S. Imperialism, 1915–1940 (2001) which I will review in this paper.
Causa sui states that “we can never be ultimately morally responsible for our actions” (Your Move: The Maze of Free Will, Pg.1). In summation, if you’re responsible for what you do then you’re responsible for the way you are. But since you aren’t responsible for the way you are, then you aren’t responsible for what you do.
This passage from the essay, “Miss Jewett”, justifies how diction is used to create art in writing. Willa Cather uses words like, “design”, “full of perception and feeling” and “two kinds of making”, to justify how authors’ have the ability to express their feelings through their writing. Authors like Sarah Jewett who was able to portray her feelings towards
What do Jeff Kinney 's popular Diary of a Wimpy Kid and Ray Bradbury 's classic Fahrenheit 451 have in common? What about Gossip Girl: A Novel, Cicely von Ziegesar 's catty romance and The Great Gilly Hopkins, Katherine Paterson 's 1979 Newbery Honor book? While clear distinctions exist between each book 's literary merit, age appropriateness, and reader appeal, these titles possess one similarity--they sit within the same Lexile text complexity band. ** Well-meaning educators, concerned about increasing text complexity and reading rigor, engage in this game of "Guess My Lexile" when denouncing the low-reading level of young adult literature, elevating certain titles over others, or dictating book purchases and recommended reading lists. But looking at just a few examples reveals problems when narrowly evaluating texts by readability number alone.
In the novel, Anthem by Ayn Rand, conveys a deep understanding of collectivism. Collectivism is when you give a group priority over yourself as an individual. The main character, Equality 7-2521, does not have an identity and cannot express himself as an individual. In Equality’s world they can not be self-centered and always have to think about others. Anthem takes place in the future, and the citizens are unaware of the past.
Introduction In this paper I want to portray role of women in gothic writing by seeing qualities of the gothic novel, in the point of view of Horace Walpole 's 'The Castle of Otranto '. In 1747, Horace Walpole purchased Strawberry Hill, which was situated on the Thames close London; here he resuscitated the Gothic style numerous decades prior to his Victorian successors. It was a response against neoclassicism. This whimsical neo-gothic invention started another design incline. This affected his composition and actually, the English Gothic novel began with his 'Gothic story '; 'The Castle of Otranto '.
John Fowles’s The French Lieutenant’s Woman came to light in June 1969. It is clear that the novel tackles motifs such as love and intrigue, prototypical themes of the Victorian Novel. However, Fowles’s ultimate motive was not that of writing a conventional Victorian story but that of revealing an experimental narrative in which Victorian elements are explored from a perspective of the late sixties. Fowles presents us with a new reading of 1867, incorporating references of many of the events that took place during that gap of time. Barry Lewis states that “The postmodernist writer distrusts the wholeness and completion associated with traditional stories, and prefers to deal with other ways of structuring narrative.” (Stuart Sim (ed.)
I lived in a world that was a no-world. I cannot hope to describe adequately that unconscious, yet conscious time of nothingness.” This statement need not be singularly reserved for Helen Keller, as any person can feel these emotions. In other words, there is an awareness that is created through the use of literature and no barriers should be placed on its effective
The Theory of Intertextuality Intertextuality a term derived from the Latin intertexto, meaning to intermingle while weaving was first used by French semiotician Julia Kristeva in essays such as ”Word, Dialogue, and Novel,” in the late sixties. In this essays, she parted ways with traditional notions of the author’s influence and the sources of text’s , asserting instead that the fabric of all signifying systems, from simple objects like table settings to much complex ones like poems are created by the manner in which they transform earlier signifying systems. Thus a literary work is the product of it’s relationship to other texts and to language structures itself rather than the product of a single author. ”Any text,” she argues, ”is