What one desires should be clear, but for Conrad and Gulnare, It is not so. These three epitaphs set the emotional charge of the succeeding Canto, but they only do so after a second reading when their connotations are less “dim;” thus, simultaneously spoiling the story for the reader and asserting the creator’s superiority. Byron further manipulates the reader using conventions, especially in the form of verse he uses, but he wholly admits this in his
One distinguishing factoring of Faulkner’s style is his thematic creativity. The trademark theme present in The Sound and the Fury is the past. The character of Quentin Compson searches for means of halting time at a moment of pure bliss and fulfillment, an instant when he and Caddy could be together eternally in the simplicity and ignorance of their childhood relationship (“William Faulkner”). Faulkner also omitted the typical linear narrative approach and portrayed the plot of his stories through the individual consciousnesses of his characters, creating multiple perspectives of the same novel. With the use of interior monologue, Faulkner developed the method of “stream of consciousness” (Hathcock, “William Faulkner”).
I, the Divine is like Koolaids as an imaginative novel. It is a postmodern fictional autobiography; it is a work in progress; “provisional” and “shifting,” as poet Lynn Emanuel points out about life writing (The Practice of Poetry 67). Emanuel states the provisional and shifting as “that is all vision: revisions coming at us at the speed of light. Writing presents to us the nullity of ourselves, the inaccuracies of our perceptions of selfhood. We are both nothing and everything – provisional, shifting, molten” (The Practice of Poetry 67).
The theme dehumanization can be seen in different types of forms for example novel, poetry, art, etc. I will be using the novel, All Quiet on the Western Front, poetry, The Rear-Guard and I will be using a painting, Bathers with a Turtle that was painted by Matisse in 1907. The dehumanizing art is mostly used to trigger familiar emotions and feelings, and this is really the abiding subject of the viewer’s delight. This art is used as a narcotic way that allows us to enjoy what we are most familiar with, our own emotions. Gasset said: “Tears high noon of the intellect”.
In Celan, we have a poet who always “felt a funeral” in his brain. Like Jim Morrison, and Van Gogh (as some critics have pointed out), his was a tormented soul striving for escape in expression. For Celan, like Van Gogh, the sadness lasted forever.
Romanticism emerged in the late eighteenth century in reaction to the rationalism of the Enlightenment. Wordsworth and other Romantics emphasized the vigor of everyday life, the importance of human emotions, and the enlightening power of nature. Romanticism also stressed the power of imagination, which encouraged freedom from standard conventions in art and sometimes provocatively reversed social conventions (Newworldencyclopedia.org, n.d.) He helped to unite the serenity of nature and the inner emotional world of men; poetry that reunited readers with true emotions and feelings. (Shmoop, 2008). He became England's poet laureate in 1843, a role he held until his death in 1850 (Kettler, n.d.) Originally inspired by the French Revolution and the social changes it brought, Wordsworth tried to create poetry of the people, in the language of the common man.
In the novel, Stevenson makes a saint in Dr. Jekyll, who mindful of the wickedness in his own being, and tired of the trickery in his life, prevails by method for his analyses on himself in liberating the unadulterated insidiousness part of his being as Mr. Hyde, so each can enjoy an existence free by the requests of the other. As Dr. Jekyll says, “With every day and from both sides of my intelligence, the moral and intellectual, I thus drew steadily to that truth by whose partial discovery I have been doomed to such a dreadful shipwreck: that man is not truly one, but truly two” (Stevenson, 74). He additionally includes, “It was on the moral side, and in my own person, that I learned to recognize the thorough and primitive duality of man; saw that, of the two natures that contended in the field of my conscious-ness, even if I could rightly be said to be either, it was only because I was radically” (Stevenson, 74). Mr. Edward Hyde, he portrays as, “a second form and countenance substituted, none the less natural to me because they were the expression, and bore the stamp, of lower elements in my soul” (Stevenson, 76) and that, “Edward Hyde, alone in the ranks of mankind, was pure evil” (Stevenson, 78). Therefore, Stevenson makes in Dr. Jekyll and Mr. Hyde, two equipotent, concurrent, and interminably restricted parts that make up a "typical" person.
The missing verb in the ninth verse generates a feeling of breathlessness and emphasises the pronoun “Du” (you) that opens both the second and the third stanza. The often-repeated initial letter “d” gives the poet’s words an adjuring quality. Because of the missing verb, the ninth verse is difficult to understand, but one can assume it means “You became known to me” or “You were revealed to me”. George employs two metaphors in the third stanza to convey the life-changing effect Maximin had on him, the first of which continues the idea of getting lost in the night from the second stanza. Maximin is celebrated as the bringer of light in the darkness (v. 10).
In his well-known novel “A Portrait of the Artist as A Young Man”, James Joyce portrays the specific process of the novel’s protagonist Stephen Dedalus that leads to his becoming (in Bakhtinian terms) a writer/artist. Likewise, Pink as the protagonist in the movie/documentary “The Wall” reflects the same development as that of Stephen Dedalus, however, it ends with the vanishing of the artist both physically and psychologically. For example, the director Alan Parker focuses entirely on his hero’s destructive side, while James Joyce highlights his character’s constructive side in the separation from society. Through this primary difference, this study aims to compare and contrast Stephen and Pink as “developing” characters and with this, the attempt is also made to illustrated how the literate and the media show the process of ‘bildung’ in terms of their own narrative techniques. People living in hoarder and hunter-gatherer societies had no artists within the terms of the contemporary understanding of the definition of the word ‘artist’.
What we find in reading him, however, is that violence is far more than a backdrop or a socio-political context for an essentially individual drama. The nature of violence seems to go right to the heart of his work, rupturing the divisions between personal and social experience, aesthetic and non-aesthetic language. In what follows, I wish to suggest that for Fiacc – as, indeed, for others – there is something disturbingly yet irreducibly violent about the work of poetry itself. RUINED PAGES In an autobiographical sketch of his childhood in New York’s Hell’s Kitchen,