. The important transformations that occurred in our society especially in the last two centuries have had a deep and irreversible impact on the world on many aspects. These changes affect politics, religions and the entire socio and geo- political dynamic of our world including relationships between men and women with regards to the ways society views the dynamic between the two. In the following paragraphs, I will attempt to conduct a parallel between the Trifles and the work of Walt Whitman. The story in the Trifles lays illustrates how socio inequality, gender discriminations and lack of socio awareness contributed in producing poor judgments and serious misunderstandings.
The last decades of the 19th century saw the rise of new painting techniques in Western Europe, that challenged the Classical approach that the arts had acquired and denominated what was considered a work of art or not. One of such movements was Symbolism, which began as a literary movement in France with Charles Baudelaire’s Les Fleurs du mal written in 1857. It is often considered a definite break from Classical painting, as it emphasizes symbols and ideas through the use of forms, lines, shapes and colors; fighting the representational nature of the former. Even though both are opposite tendencies, this didn’t stop emerging artists from combining them to reach new levels of expressions, as is the case with Gustave Moreau, a French painter born in Paris in 1826. Moreau’s work is prominently history paintings, but it is his use of Symbolism that makes his artwork so intricate and complex, which forces viewers to navigate the piece to be able to understand it.
Transnationality of Literature in the Works by H. D. Thoreau and R. W. Emerson Transnationalism as an approach within the discipline of American studies has been adopted not so long ago (Giles 62). However, the idea of transnationality of cultural heritage in general and of literature in particular is not an entire novelty. Already in the nineteenth century America there existed literary works that were similar to this approach in their argumentation. Ralph Waldo Emerson’s and Henry David Thoreau’s works – “Persian Poetry” and the chapter “Reading” from Walden respectively – are a good examples of such sources. Yet, it should be mentioned that these authors never explicitly use this terminology to argue their case.
By “memories structure,” Fried means the centuries-old recourse made by artist to Classical, Renaissance, and Post-Renaissance traditions as constantly mined sources of reusable expressions, poses, and compositions. Although, Field’s analysis of Baudelaire’s response to Delacroix is not the main point of his essay, the “Salon 1846” provided Fried with his leading example of the operation of the “memory structure”: Baudelaire had taken elaborate pains, both justificatory and convoluted, to assure himself that his favorite artist’s achievement was reinforced from afar and mercifully precedent free – exactly because Delacroix’s multi-figure paintings were riddled with poses, expressions, and anatomical templates taken from the old masters. In Fried’s reading, Baudelaire wanted this traditions kept at bay – at a reinforcing, evocative remove from an individual painting. This aspect of the essay has been widely appreciated. Less readily invoked is the ferociously unstable, endlessy ramifying nature of Baudelaire’s original perception of an individual painting in any particular case.
David painted many of his works in the “traditional” manner, however blowing a new life into the mentioned scenes and traditions of antiquity. As this work is categorized as ‘history painting’, I do not believe the painting completely endorses the term, as it is as concerned with the artistic style as it is with the subject matter at hand, whereas historic painting generally does not concern itself with artistic
Class divisions were growing at an alarming rate” (Reynolds “Politics and Poetry: Leaves of Grass and the Social Crisis of the I850s” 67). The collapse of the party system, one of the major events in American political history, happened in the early 1850s. Disagreements over slavery broke up the Whig Party in 1854; Whitman's Democratic Party became was in no better situation. “The party crisis aroused Whitman's wrath against the governmental authority figures he had once revered. The presidencies of Millard Fillmore, Franklin Pierce, and James Buchanan eroded his confidence in the executive office” (66).
The comparison between Shelley’s “England in 1819” and Tennyson’s “The Charge of the Light Brigade” surfaces distinct difference the scope of the theme of history. Given the fact that both of the poets experienced different eras between the Romanticism and the Victorianism. This influences their way of writing and also the ideas conveyed. The main factor to be discussed for the theme of history regarding the poems of choice and the respective poets is regarding the livelihood of the poets that affected the writing of the poems. The fact that Shelley belonged to the second “younger” generation of the romantic poets, his ideas were criticized as radical with the hope to evoke a revolution against the restrictive society during his time.
Anger is an unpleasant emotion that many people suffer from and use as a reaction to painful situations. Unfortunately, it is destructive in most cases and can lead to negative consequences. Feeling rejected, threatened, persecuted, or hurt are some reasons why one feels angry. During the mid-twentieth century, literature was highly affected by the wars and violence taking place across the world. Therefore, anger played a major role in literary works at that time.
By and large, society has experienced different motion that has seen the general public change from primitive type of social issue to an all the more organized society that grasps vote based system and admiration for human rights. Expectedly, the general public that existed amid the medieval and stone age times was full of loads of tumult, and individuals battling against one another. The general public was described with the philosophy of the survival for the fittest. Individuals mixed for restricted assets that were accessible. Subsequently, the weakest individuals from the general public were distraught and confronted with the risk of annihilation (Ford, 2009).
The tragedies in the Jacobean era were even more terrifying, where anger, cruelty, and evil appear in most of the plays, such as Hamlet and King Lear by Shakespeare. c-The Experimental theatre has begun in the late 19th century. It has tackled social and political issues. In order to highlight culture issues, the experimental theatre has tried to use a different language and this was perceived as dangerous. d-The Naturalistic Theatre has begun in the late