COMP LIT

barthes mythologies 7 common techniques or figures of myth

) Inoculation - admitting a little bit of evil in an institution so as to ward off awareness of its fundamental problems. For instance, admitting the existence of 'a few bad eggs' in the police so as to cover up the abusive nature of official police practices. 2) Removing history - making it seem like social phenomena simply 'exist' or are there for the viewer's gaze, eliminating both causality and agency. Neoliberalism, for instance, is often treated as 'globalisation' or 'modernisation', as an abstract economic necessity rather than a political strategy. 3) Identification of the other with the self - projecting inner characteristics onto the other. For instance, in trials, treating a deviant person as a version of the self which has gone astray, based on a view of crime as rooted in human nature. The actual person, their motives and meanings are written out of such accounts. 4) Tautology - treating the failure of language as expressing the essence of a thing - "theatre is theatre", "Racine is Racine", or "just because, is all". Barthes believes this device is an order not to think. 5) Neither-norism - refusing radical differences between phenomena by combining them in a kind of middle ground marked by immobility and permanence. The Third Way is a current example. 6) Quantification of quality - treating differences in kind as differences in degree. 7) Statements of fact without explanation - 'that's just the way it is'. The idea of 'common sense' is used to command the pursuit of truth to stop at a certain point.

Shakespeare's Romances:

late plays by Shakespeare (including "The Tempest," "The Winter's Tale," "Pericles," "Cymbeline") that may be considered "tragicomedies." Like comedies, they end happily, with a marriage, but they carry shades of darkness and often contain mystical elements.

" Fantastic literature:

literature that requires the reader to remain in a state of uncertainty as to whether the events are to be explained by reference to natural or to supernatural causes. "The Sandman" is an example of fantastic literature. (Abrams, Glossary)

In the midst of a deafening roar, svelte And tall, and dressed in black from head to toe, She passed me, wreathed in majestic sorrow, Jewelled hand lifting the hem of her skirt Ladylike, and graceful, and statuesque. I shook like a fool, drinking from those eyes Tempestuous as ashen, angry skies A deadly joy, a sweetness full of risk. Lightning- gone dark! Slipping away from me, Beauty that offered life in one quick glance- Life seen no more, before eternity? Elsewhere...too far! too late! Never, perchance... For you ignored me--or pretended to- Who could have won your love, as you well knew!

A PASSING GLANCE- WALTER MARTIN

Homeric epithet:

An epithet denotes an adjective or adjectival phrase used to define the special quality of a person or thing...Homeric epithets are adjectival terms-usually a compound of two words-like those which Homer used as formulas in referring to someone or something: "fleet-footed Achilles," "bolt-hurling Zeus," "the wine-dark sea." (Abrams, Glossary)

Petrarchan or Italian form:

An octave of 8 lines, consisting of two quatrains, followed by a sestet of six lines. Typical rhyme scheme: abbaabba cdecde (or cdcdcd). The volta, or turn, falls between the octave and the sestet. The volta marks a turn of thought.

Allusions of civil rights characters in A tempest

Ariel represents the intellectual ----"It's always like that with you intellectuals!" (p9). Compared with Caliban, his understanding of freedom is at a high level ("I'm not fighting just for my freedom, for our freedom, but for Prospero too.") but he is somewhat accommodating and idealistic, looking to awaking Prospero's conscience but lack in strength. His sense of Negritude is in his "inspiring, uplifting dream" of a "wonderful world" (p22-23) in which everyone can live like brothers and everyone is significant in his own way. This is very similar to Cesaire's dream world where nobody, regardless of his race, should be alienated from his human rights. In this respect, Cesaire may find more of himself in Ariel (as in Ariel's mulatto status in the sense that Cesaire is a black by birth but is educated in Western culture). Unlike Shakespeare's Ariel who is obedient to Prospero and seems to care nothing but his own freedom, Ariel in A Tempest is less willingly in carrying out Prospero's missions and he also makes this known to Prospero. He shows sympathy for the victims of Prospero's tempest. He even reproaches Prospero for his "despotism" in manipulating the group of hungry courtiers ---- "It's evil to play with their hunger as you do with their anxieties and their hopes," (p28) comments. But Ariel never turns too bitter toward Prospero, hoping Caliban and he could force him "to acknowledge his won injustice and put an end to it." (p22). He sees there is a need for Caliban and him to join up and fight for their freedom, but in some non-violent way since "Prospero is invincible." (p23). But Caliban refuses. Caliban has no belief in Prospero's conscience: "He is a guy who only feels something when he's wiped someone out." (p23). He rebels Prospero in a much more intense way and constitutes greater threat to Prospero. He seems to know Prospero better than Ariel: "You musn't underestimate him. You mustn't overestimate him, either...he's showing his power, but he's doing it mostly to impress us." (p55). Though his freedom is only to break the bond from Prospero (He does not realize that if he gives Stephano the right to the island, he makes himself a slave again.), his resistance is by far more forceful than that of Ariel. In some sense, Caliban is no less dominant than Prospero. Cesaire makes Caliban much more vocal and articulate (There are more than 30 turns between Prospero and Caliban in their first confrontation while in The Tempest there are only 10). The language Prospero teaches him is more than a tool to curse. It is also a tool for him to voice his resistance and charge against the colonizer as well as his desire for freedom. Caliban is also more courageous. The "conspiracy" of Shakespeare's Caliban to kill Prospero almost ends before starting, and Caliban's ends his role in the play by calling himself a fool to take a drunkard for a god. On the contrary, in A Tempest, having given up Trinculo and Stephano, Caliban is determined to launch the battle alone against Prospero. Though he fails, he makes his long powerful speech sonorous and lingering: "...I know that one day / my bare fist, just that, / will be enough to crush your world!" (p65). And it is a great challenge to Prospero, "I hate you...! For it is you who have made me doubt myself for the first time." (p66). It is Caliban's last speech that changes Prospero's mind to leave to carry on his paradox responsibility for "protecting civilization" "with violence." (p67-68). Ariels Dream = Dr. Martin Luther King's dream

Barthes Mythologies The great family of man what is he criticizing ? what is he suggesting ?

Barthes is criticizing the photograph exhibition's insistence on promoting this narrative about a shared human experience that he claims is a myth. This focus on a "shared humanity" creates a mythology about the human experience that ignores (or at least downplays) differences that actually matter. by deconstructing the mythology behind the human "community," Barthes is advocating for an understanding of humanity that does not downplay distinct differences between humans, but instead takes into account of these differences when describing a "shared humanity."

Barthes mythologies objectifying einsteins brain

Barths says that Einstein's brain is objectified, reduced, it becomes reductive. It's oversimplified into a physical organ which can produce incredible formula. So what's wrong with objectifying, reducing people? Its wrongness lies in that people leave out the most important ethics, the spirit, the soul of this human being, and focus on some of his concrete yet virtual properties. Few people cares about the characteristics attached to him when he's thinking, most people try to figure out what to build a brain as powerful as Einstein's and get as smart as him. It's unrealistic but it's worth practicing. So don't talk about virtual and abstract conceptions like Einstein's mentality, or his psychological status. Nobody knows exactly what Einstein was thinking when he was alive, it's no use to consider the mental state of his since he's been dead. Instead, make Einstein's brain an object, an experimental material, and conduct experiments upon the brain to determine the factors that influence his intelligence level. People try hard to figure out what does that equation mean, and they are being through a paradox, during the process they blindly and happily accepted the formula without getting what the equation means. They know that the equation means a lot to human beings, but they don't know how this equation can make a difference, and they don't bother that. The paradox is that people try to make Einstein and his brain less mysterious, so they are happy to see that Einstein works out such a simplified equation, but the thing is the equation is even more complicated than those harangue of theories, for the equation doesn't have explanation, and it makes Einstein even more mysterious. Again, people don't bother they don't really know about Einstein and his fantastic equation, they simply label Einstein with that equation and a lot of positive adjectives.

La rue assourdissante autour de moi hurlait. Longue, mince, en grand deuil, douleur majestueuse, Une femme passa, d'une main fastueuse Soulevant, balançant le feston et l'ourlet; Agile et noble, avec sa jambe de statue. Moi, je buvais, crispé comme un extravagant, [End Page 256] Dans son œil, ciel livide où germe l'ouragan, La douceur qui fascine et le plaisir qui tue. Un éclair . . . puis la nuit! - Fugitive beauté Dont le regard m'a fait soudainement renaître, Ne te verrai-je plus que dans l'éternité? Ailleurs, bien loin d'ici! trop tard! jamais peut-être! Car j'ignore où tu fuis, tu ne sais où je vais, Ô toi que j'eusse aimée, ô toi qui le savais!

Baudelaire's poem "A une passante" seems like a textbook illustration of Jameson's thesis. The poem, which dates from 1860, describes a fleeting encounter between the narrator and an anonymous woman in the streets of Paris. With "A une passante," the æsthetics of the "here and now" that Baudelaire elaborated in Le Peintre de la vie moderne are translated into the literary medium - the poem is variously described as a "sketch" or as a "snapshot" (instantané).2 The ease with which the poem may be taken for a snapshot is revealing in several respects. It attests to Baudelaire's success in conveying a powerful impression of contemporaneity and it raises intriguing questions regarding literary tradition and technical innovation. "A une passante" is written in the sonnet form, the most classical of French literary forms and one defined by its technical precision. The French sonnet is also associated with an antique æsthetics of the "here and now" - the carpe diem tradition going back to the Horatian ode. If literature in the mid-nineteenth century is newly called upon to capture time, this novelty must involve something other than an exhortation to seize the day [End Page 255] or the promise of verse to preserve youth and beauty. Jameson even suggests that literature's new vocation arises from pressures that are alien to language: "why are such impossible demands now made on language," he writes, "whose other functions seemed to have performed well enough and given satisfaction in other modes of production?" (152) One answer to that question is that literature found itself in a changed technological environment, where visual and sound recordings gave new meaning to the idea of "registering the sensory" and capturing the "here and now." The invention of photography in 1822 posed an ongoing threat to painting, one that stimulated tremendous technical innovation in the visual medium.3 While no technology in 1860 posed such a direct threat to literature's existence, Baudelaire appears to have borrowed from painting's predicament in his exploration of a literary modernity. He may even have taken his inspiration for "A une passante" from the first exhibit of instantaneous stereographs in Paris early in 1860. The technology enabling action to be stopped was just coming into being, and suddenly photographs of street scenes could register passing figures as well as still ones. Critics hailed the innovation with excitement: "Views in distant and picturesque cities will not seem plague-stricken, by the deserted aspect of their streets and squares, but will appear live with the busy throng of their motley population."4 Capturing the "here and now" had never seemed more possible. The sonnet lent itself to the literary transcription of the new technology both because of the form's carpe diem tradition and because of its technical particularities. With its emphasis on the volta or the internal break, the sonnet defines poetry as the technical mastering of crisis.5 In "A une passante," Baudelaire's experiments with the volta can be called photomimetic and they point to an as yet undeveloped technology - film - that will eventually call into question the existence of literature.6 Baudelaire's poem thus looks backward and forward - in mimicking the "technological crisis" in painting, it previews the later crisis in literature.

These bangs not yet reaching my eyes, I played at our gate, picking flowers, and you came on your horse of bamboo, circling the well, tossing green plums. We lived together here in Ch'ang-kan, two little people without suspicions. At fourteen, when I became your wife, so timid and betrayed I never smiled, I faced wall and shadow, eyes downcast. A thousand pleas: I ignored them all. At fifteen, my scowl began to soften. I wanted us mingled as dust and ash, and you always stood fast here for me, no tower vigils awaiting your return. At sixteen, you sailed far off to distant Yen-yü Rock in Ch'ü-t'ang Gorge, fierce June waters impossible, and howling gibbons called out into the heavens. At our gate, where you lingered long, moss buried your tracks one by one, deep green moss I can't sweep away. And autumn's come early. Leaves fall. It's September now. Butterflies appear in the west garden. They fly in pairs, and it hurts. I sit heart-stricken at the bloom of youth in my old face. Before you start back from out beyond all those gorges, send a letter home. I'm not saying I'd go far to meet you, no further than Ch'ang-feng Sands.

Ch'ang-Kan Village Song by Li Po, translated by David Hinton (1996). These bangs not yet reaching my eyes, I played at our gate, picking flowers,--the word "these" include first person pronoun first person narration translation offers a mournful old woman whose youth was lost in a lifetime of waiting tossing green plums.---recounting childhood memories complex narrator feels inner turmoil because she is aware that her wait is futile, she is inherently powerless the world acts upon her June waters impossible-- treacherous, ill fated References to september and autumn allusion to the stages of life of the narrator Leaves fall.--- bleakness and death are found in her coming to terms with the fact that her husband will not return.

The colonnades of Nature's temple live And babble on in tongues half-understood man wanders lost in symbols while the wood, With knowing eyes, keeps watch on every move. Like echoes from infinity drawn out Into a dappled unison of light, Beyond the dawn of day or dead of night, All scents, all sounds and colours correlate. Some fragrances resemble infant skin, Sweeter than woodwinds, green as meadow grass- — Others expand to fill the space they're in, Endlessly rich, corrupt, imperious; Amber and musk, incense and benjamin, In sense and spirit raptures sing as one.

Charles Baudelaire poem correspondances trans by walter martin Universal analogies The colonnades of Nature's temple live--- declaring a proposition man wanders lost in symbols while the wood, With knowing eyes, keeps watch on every move.--- proposition effects on human life like echoes from infinity drawn out Into a dappled unison of light, Beyond the dawn of day or dead of night, All scents, all sounds and colours correlate.---- blending of sensory perception compared to echoes one hears in the background incense In sense ---- play on words--homonym This poem establishes correspondences between objects in Nature and the symbols and archetypes that populate our psyches. Take a look at the first stanza. The "living colonnades" are trees. The imagery evokes a Druid ceremony taking place within a sacred grove. The sound of the wind through the trees helps shift the person's consciousness so as to be able to perceive the mystical forms around. All types of symbolism are beautifully evoked in this passage. No matter what a tree symbolizes for you individually—strength, spiritual growth, kabbalistic sefiroth—they are all summoned by the words here. In the second stanza, the senses begin to shift. The echoes and the unison of sound make me think of the collective unconscious. All is connected and there is a shared sense of existence. We are all part of the Divine consciousness. I really love the third stanza. Here Baudelaire uses synesthesia to describe his mystical experience. I have always found this to be an apt way to describe the ineffable. Scents are likened to sound, color, and touch. I think it works perfectly here. In the final stanza, Baudelaire expresses a sense of ecstasy as his soul enters a state of bliss as a result of becoming in tune with the infinite, or the Divine. I suspect he realized that, in addition to the correspondence between nature and the realm of symbols, that there is also a correspondence between his soul and the Divine spirit.

Nature is a temple whose columns are alive and sometimes issue disjointed messages. We thread our way through a forest of symbols that peer out, as if recognizing us. Like long echoes from far away, merging into a deep dark unity, vast as night, vast as the light, smells and colors and sounds concur. There are perfumes cool as children's flesh, sweet as oboes, green like the prairie. And others corrupt, rich, overbearing, with the expansiveness of infinite things — like ambergris, musk, spikenard, frankincense, singing ecstasy to the mind and to the senses.

Correspondences keith waldrop Waldrop's 'thread our way' is a skillful rendition of 'passe à travers', which most translations do not try to capture, but his 'as if recognizing us' not only is clunky but strangely introduces an 'as if' focused on action rather than on the uncanny quality of these symbols. His 'peer out', however, while somewhat awkward, does hint at the paranoia that may lurk behind this verse of Baudelaire's (think of Nerval's 'Crains, dans le mur aveugle, un regard qui t'épie' [Fear in the blind wall a look that spies on you]). perhaps because of the normalizing pull of prose, shift the third person to the first person plural, from 'l'homme' to 'we', which is out of keeping with the deliberate impersonality of the poem.

Barthes mythologies what are the three types of people who interact with myths ?

producers, consumers, critics

the Poor and the proletariat Barthes Mythologies

For Chaplin, the proletarian is still the man who is hungry; the representations of hunger are always epic with him: excessive size of the sandwiches, rivers of milk, fruit which one tosses aside hardly touched. Ironically, the food-dispensing machine (which is part of the employers' world) delivers only fragmented and obviously flavourless nutriment. Ensnared in his starvation, Chaplin-Man is always just below political awareness. A strike is a catastrophe for him because it threatens a man truly blinded by his hunger; this man achieves an awareness of the working-class condition only when the poor man and the proletarian coincide under the gaze (and the blows) of the police. Historically, Man according to Chaplin roughly corresponds to the worker of the French Restoration, rebelling against the machines, at a loss before strikes, fascinated by the problem of bread-winning (in the literal sense of the word), but as yet unable to reach a knowledge of political causes and an insistence on a collective strategy. But it is precisely because Chaplin portrays a kind of primitive proletarian, still outside Revolution, that the representative force of the latter is immense. No socialist work has yet succeeded in 39 expressing the humiliated condition of the worker with so much violence and generosity Now Chaplin, in conformity with Brecht's idea, shows the public its blindness by presenting at the same time a man who is blind and what is in front of him. To see someone who does not see is the best way to be intensely aware of what he does not see: thus, at a Punch and Judy show, it is the children who announce to Punch what he pretends not to see. For instance, Charlie Chaplin is in a cell, pampered by the warders, and lives there according to the ideal of the American petit-bourgeois: with legs crossed, he reads the paper under a portrait of Lincoln; but his delightfully selfsatisfied posture discredits this ideal completely, so that it is no longer possible for anyone to take refuge in it without noticing the new alienation which it contains. The slightest ensnarements are thus made harmless, and the man who is poor is repeatedly cut off from temptation. All told, it is perhaps because of this that Chaplin-Man triumphs over everything: because he escapes from everything, eschews any kind of sleeping partner, and never invests in man anything but man himself. His anarchy, politically open to discussion, perhaps represents the most efficient form of revolution in the realm of art.

My cousins corner window Hoffmann ending symbol of the ex-soldier

sad/indifference of soldier, to the cousin it is sad that they are observing all the richness he cant partake in everything in the market place other than the visual he can only stomach a soft boiled egg

Barthes defining myth

Ideology according to Barthes version in 'Myth Today' is not entirely concealed and is subject for scrutiny through its cultural manifestation. These manifestations present themselves as being 'natural' and transparent thro ugh mythologies. Barthes took the chance to analyze the ideological nature of culture. However, the term MYTH or MYTHOLOGIES is of course a satire; because myth reminds us of Greek Gods and Goddesses and the world beyond ordinary human. The term is also very real because Barthes believes myth is actually the organization and the use of languages and images. In this sense, anything elaborate, projected as a historical can be myth, be it plastic or the pleasure of watching a game of wrestling. At the beginnin g of 'Myth Today', Barthes defines myth as a speech. Myth is not an object or a concept. It is a system of communication. It is this communication that establishes concept as real. By this definition Barthes expands Levi- Strauss' perception of myth to include every symbol which conveys meaning. Myth is not stable. The norms of myth can changes by social change. In fact, the languages or the materials of myth are not really new. It is only the meaning that can be new. Again, myth is a semiological system, a form of signification. Myth is different from ordinary speech and language. Barthes follows de- Saussure's discussion regarding the nature of the linguistic sign and he characterizes myth as second class signification. For example; the SIGNIFIER cigarette, SIGNIFIED of an object made of paper and tobacco turns in to a second order SIGNIFYING lung cancer. Barthes said that when two different sides are combined together within a social norm it becomes SIGN. Here, tobacco is the sign of lung cancer. So it can say that myth is a combination of this three dimensional parts: SIGNIFIER, SIGNIFIED and SIGN

How does a myth remove history from language ? Barthes mythologies

It makes particular signs appear natural, eternal, absolute, or frozen. It thus transforms history into nature. Its function is to freeze or arrest language. It usually does this by reducing a complex phenomenon to a few traits which are taken as definitive.

symbols of clouds and pigeons in Cortazar's blow up

the reader assumes that clouds and pigeons are real, that Roberto michel is looking out a window because he constantly interrupts his story to tell us they are going by. At the end, the clouds and pigeons turn out to be his hallucinations about what he sees in the film hes projecting onto the blow up on the wall. What were the details of what he remembered about the clouds and pigeons that were in the park that day, become, in the present moment, of his telling of his story projections of his mind onto the blow up.

According to Brueghel when Icarus fell it was spring a farmer was ploughing his field the whole pageantry of the year was awake tingling with itself sweating in the sun that melted the wings' wax unsignificantly off the coast there was a splash quite unnoticed this was Icarus drowning

Landscape with the Fall of Icarus William Carlos Williams Alliteration- "wings wax", "sweating in the sun" Image- Williams creates a vivid image of the surrounding landscape. This takes away from the seemingly tragic death of Icarus, and overrides it with something as average as landscape. Irony- Williams describes the landscape and surrounding community as "awake tingling" which is ironic the poem is supposed to be about death. Throughout the entire poem, Williams is "painting a picture" for the reader and illuminates the natural world. Strangely enough, the last line is "this was Icarus drowning". The reader would think the last line would continue to be about the landscape. In my opinion these words about Icarus are the most powerful. Narrative poem- The poem tells a story. Williams tells us of Icarus' fall and includes many contextual details. "sweating in the sun that melted the wings' wax" From the beginning of the poem, the reader is involved with Icarus' flight through the sky. As the reader gets further and further into the story, he or she is falling from the sky and getting closer to the death of Icarus. Rhyme/Rhyme scheme- Free verse, no specific rhyme scheme Symbol- "a splash quite unnoticed"- translated into- a death goes unnoticed Title- The death of Icarus goes almost unnoticed and doesn't get as much attention as the surrounding landscape and activity. Williams writes that the world which Icarus falls to is "concerned with itself". The figures on land feel indifferent about this tragedy. Tone- The tone- joyous, merry- seems to be ironic considering the turn of events towards the end of the poem. The poem is in reality about death. However, the tone is not depressing or gloomy. Theme- Every single human being lives for them self. Sometimes, the pain and tragedy one person is facing goes unnoticed to the rest of the world

When my hair was first trimmed across my forehead, I played in front of my door, picking flowers. You came riding a bamboo stilt for a horse, Circling around my yard, playing with green plums. Living as neighbors at Long Banister Lane, We had an affection for each other that none were suspicious of. At fourteen I became your wife, With lingering shyness, I never laughed. Lowering my head towards a dark wall, I never tamed, though called a thousand times. At fifteen I began to show my happiness, I desired to have my dust mingled with yours. With a devotion ever unchanging, Why should I look out when I had you? At sixteen you left home For a faraway land of steep pathways and eddies, Which in May were impossible to traverse, And where the monkeys whined sorrowfully towards the sky. The footprints you made when you left the door Have been covered by green moss, New moss too deep to be swept away. The autumn wind came early and the leaves started falling. The butterflies, yellow with age in August, Fluttered in pairs towards the western garden. Looking at the scene, I felt a pang in my heart, And I sat lamenting my fading youth. Every day and night I wait for your return, Expecting to receive your letter in advance, So that I will come traveling to greet you As far as Windy Sand.

Long Banister Lane William Carlos Williams

The traffic roared around me, deafening! Tall, slender, in mourning - noble grief - a woman passed, and with a jewelled hand gathered up her black embroidered hem; stately yet lithe, as if a statue walked . . . And trembling like a fool, I drank from eyes as ashen as the clouds before a gale the grace that beckons and the joy that kills. Ligthening . . . then darkness! Lovely fugitive whose glance has brought me back to life! But where is life - not this side of eternity? Elsewhere! Too far, too late, or never at all! Of me you know nothing, I nothing of you - you whom I might have loved and who knew that too! (

vert. Richard Howard) In Passing

Cortazars blow up and Anonionis blow up comparison identity

Still observer, voyeur to life, he is freeing himself slowly from the literal dimensions of his former reality. In the final act of throwing the ball and in hearing the sound of the rackets he is at last moving into a realm of more reciprocal experience, one symbolized by the very reciprocity of the tennis players on the court before him. At last, it would seem, experience is a direct function of himself, unimpeded by the imposition of the alien technology. But the scene is not without its ambiguity. Antonioni adds an ironic twist in the self-conscious manipulation of the film medium. The photographer's moment of lucidity is framed from above by Antonioni's camera, showing the photographer set against a field of grass. In the last image of the film the field of grass is shot from a different camera angle. The photographer has disappeared, transformed into an object by the camera, just as he had previously transformed the reality of others into the objects of his own scrutiny. Having chosen too late, the photographer has lost his aesthetic reality as man. The body and the camera define the coordinates of the struggle for Cortazar and Antonioni. Human instinct vies with the depersonalized instrumentality man has erected for himself, supposedly as a communicator to humanity, but which has become the isolator of humanity from him. The dilemma of the two photographers is thus an explicit depiction of this struggle as a tension of choosing personal or peripheral identity in the world. Man must pause at the crossroads of his own existence and ponder the alternatives to his own future survival as man; he must choose between a new erotics of experience, or the hermeneutics of the experience of others. The crisis therefore becomes the imperative to choose, and, in the act of choosing, to assume one's authentic identity as man

unheeded to gong clangs siren howls and wheels rumbling

The Great Figure BY WILLIAM CARLOS WILLIAMS The movement of the fire truck is closely related to the movement of the lines in the poem. Williams produces a slow motion or "Doppler" effect (see "Sound Check" for more) by varying the lengths of the lines. The middle of the poem is where the lines are the shortest, and that's also where he describes the motion of the fire truck and the figure 5. Lines 1-13: The sound of the poem is onomatopoeic: it mimics one aspect of the sound of a fire truck moving past an observer. The lines get shorter toward the middle of the poem and then longer again at the end. For example, the shortest and most "tense" line in the poem is the word "tense." Line 7: Williams creates an ambiguity as to whether he is describing the movement of the fire truck, the figure, or both. Line 8: The word "tense" is a metonym that ascribes the tension of the situation - a loud emergency vehicle passing by - to the movement of the fire truck (and the figure). Neither a fire truck nor a number can actually be tense.

Among the rain and lights I saw the figure 5 in gold on a red firetruck moving tense unheeded to gong clangs siren howls and wheels rumbling through the dark city.

The Great Figure BY WILLIAM CARLOS WILLIAMS The movement of the fire truck is closely related to the movement of the lines in the poem. Williams produces a slow motion or "Doppler" effect (see "Sound Check" for more) by varying the lengths of the lines. The middle of the poem is where the lines are the shortest, and that's also where he describes the motion of the fire truck and the figure 5. Lines 1-13: The sound of the poem is onomatopoeic: it mimics one aspect of the sound of a fire truck moving past an observer. The lines get shorter toward the middle of the poem and then longer again at the end. For example, the shortest and most "tense" line in the poem is the word "tense." Line 7: Williams creates an ambiguity as to whether he is describing the movement of the fire truck, the figure, or both. Line 8: The word "tense" is a metonym that ascribes the tension of the situation - a loud emergency vehicle passing by - to the movement of the fire truck (and the figure). Neither a fire truck nor a number can actually be tense. While the beginning of the poem focuses on lights and colors, the second half shifts the focus to sound. This shift occurs right after the word "unheeded," which refers to something that no one is paying attention to. So at the same moment that he calls the figure unheeded, he stops heeding it! Line 10: A "gong" is the bell ringing on the fire truck, but it also refers to an Asian instrument that you hit with a mallet. Line 11: The siren is personified as a howling person or animal. Lines 10-11: Both "clang" and "howl" are onomatopoeic words - they sound like the things they describe, like the words "Boom!" and "Crash!" Lines 12: The word "rumbling" describes the sound the fire truck makes, and it also brings to mind the sound of thunder.

Among the rain and lights I saw the figure 5 in gold on a red firetruck moving tense unheeded to gong clangs siren howls and wheels rumbling through the dark city. title ? number ? colors ?

The Great Figure BY WILLIAM CARLOS WILLIAMS The title makes that "figure" sound a little like an action hero or a circus attraction: "Come and see the Great Figure in all his numerical glory!" But the poem provides no evidence for the greatness of the number 5 aside from the excitement of its own broken-up lines. In fact, we can't even be sure that the title refers to the number at all, although it appears to. Title: Once we realize that the "great figure" is just a random number on a truck, the title becomes ironic, the figure something less than we expected. Line 3: The word "figure" has at least two different meanings. It can mean simply a "number," but it can also refer more broadly to "figurative language," in the sense that one thing can stand for another. We have no idea what the number 5 in gold would be a symbol for, which is part of what makes this poem so intriguing. Lines 3, 6: The combination of "figure 5" and "firetruck" produces alliteration, the use of the same letter at the start of successive words. Lines 4-5: Williams presents an image of contrast between the colors red and gold.

I saw the figure 5 in gold on a red firetruck

The Great Figure BY WILLIAM CARLOS WILLIAMS While the beginning of the poem focuses on lights and colors, the second half shifts the focus to sound. This shift occurs right after the word "unheeded," which refers to something that no one is paying attention to. So at the same moment that he calls the figure unheeded, he stops heeding it! Line 10: A "gong" is the bell ringing on the fire truck, but it also refers to an Asian instrument that you hit with a mallet. Line 11: The siren is personified as a howling person or animal. Lines 10-11: Both "clang" and "howl" are onomatopoeic words - they sound like the things they describe, like the words "Boom!" and "Crash!" Lines 12: The word "rumbling" describes the sound the fire truck makes, and it also brings to mind the sound of thunder.

Among the rain and lights

The Great Figure BY WILLIAM CARLOS WILLIAMS Williams was one of the pioneers of free verse: poetry with no regular rhyme or rhythm. Of course, the problem with a term like "free verse" is that it's defined by what it lacks, not what it has. So what kind of form does this poem have? Let's start with the obvious: it's short. At thirteen lines and 31 words, that's less than three words per line. The whole thing is only a single sentence broken up into lines. There are no punctuation marks at the end of any of the lines, so they are all enjambed - each line carries over into the next without a pause. Nonetheless, when you read it aloud, you probably add small pauses rather than barreling through the whole sentence at once. With its length and attention to highly focused images, the poem resembles certain forms of Asian poetry. Asian poetry was a central influence on the Imagist movement, with which Williams's early poetry is often associated.

Night long on the jade staircase, white dew appears, soaks through gauze stockings. She lets down crystalline blinds, gazes out through jewel lacework at the autumn moon.

The Jade Staircase Grievance by david hinton The same lines in Hinton's version are confusing by comparison: the dew not necessarily on the stairs, no subject, gauze stockings without feet. Hinton's version also contains some straight-up awkward language: "crystalline blinds," "Night long," "white dew appears." Hinton's words call attention to themselves because they are heavy and stand-alone; he has manipulated a contemporary poet's trick to suit his translator's purpose, i.e., chosen words that stand up independently the way Chinese characters do Did Hinton's precision render more musical results than Pound's "approximation"?

The jewelled steps are already quite white with dew, It is so late that the dew soaks my gauze stockings, And I let down the crystal curtain And watch the moon through the clear autumn.

The Jewel Stairs' Grievance BY LI PO TRANSLATED BY EZRA POUND Jewel stairs, therefore a palace. Grievance, therefore there is something to complain of. Gauze stockings, therefore a court lady, not a servant who complains. Clear autumn, therefore he has no excuse on account of weather. Also she has come early, for the dew has not merely whitened the stairs, but has soaked her stockings. The poem is especially prized because she utters no direct reproach.

so much depends upon

The Red Wheelbarrow AKA XXII by William Carlos Williams Our speaker is invisible. We know he is wise, because he apparently knows what depends upon a red wheelbarrow, while we are stumped. We know he is an appreciator of life, and, in particular, of the small things in life. For some reason, our speaker reminds us of someone who has lived a long and full life. There's something about the way in which our speaker reflects so fully and simply on an object as ordinary as a wheelbarrow that makes us think he has learned a thing or two about life. He seems to be a wise, somewhat lonely, lover of life.

so much depends upon a red wheel barrow glazed with rain water beside the white chickens whole poem analysis

The Red Wheelbarrow AKA XXII by William Carlos Williams "The Red Wheelbarrow" features a single sentence divided up into four couplets (a couplet is a stanza composed of two lines). On its own, the sentence reads, "so much depends upon a red wheelbarrow glazed with rainwater beside the white chickens." If we break this sentence down, English class-style, we realize that the subject of the sentence is "so much," the verb of the sentence is "depends," and the direct object is "the red wheelbarrow." So, even though, "the red wheelbarrow" is the featured item of the poem's title, it is not the subject of the sentence. Why is this important? Well, it just helps us poet detectives understand whether we should be more interested in the "so much" or in "the red wheelbarrow." What do you think? You'll notice that there is no punctuation and that no words within the poem are capitalized. You'll also notice that, in each couplet, the first line is way longer than the second line, making it appear (visually) as though the first line depends upon the second line, or as though the second line supports the first. Only 14 words and 19 syllables form the bones of this poem. Our speaker uses enjambment to break up words like "wheelbarrow" and "rainwater" and to keep our eye moving from one line to the next. Do you feel like there is a lot of movement in this poem, or do you feel like it is pretty static?

beside the white chickens

The Red Wheelbarrow by William Carlos Williams Line 1-2: The word "depends" makes us think that this is one special wheelbarrow, and we almost feel like the wheelbarrow is being personified at this moment. Line 3-4: Our speaker uses enjambment to split the word "wheel" from the word "barrow." This makes us think about wheelbarrows more carefully. We realize that, just like the word "wheelbarrow," a wheelbarrow is composed primarily of two parts: a wheel and a barrow (the part you put stuff into). Line 3-4: That image of the red wheelbarrow is pretty darn powerful. We see it very clearly in our minds, and all our speaker has to do to paint the image for us is to tell that it is a "red wheelbarrow." If that isn't magic, we don't know what is. Line 6: The assonance of "beside" and "white" gives this line momentum and movement. Line 7: Our speaker uses enjambment to break apart "white chickens." By placing "chickens" on its own, we feel like these must be some important chickens.

so much depends upon a red wheel barrow glazed with rain water beside the white chickens Author Name

The Red Wheelbarrow by William Carlos Williams The opening lines set the tone for the rest of the poem. Since the poem is composed of one sentence broken up at various intervals, it is truthful to say that "so much depends upon" each line of the poem. This is so because the form of the poem is also its meaning. This may seem confusing, but by the end of the poem the image of the wheelbarrow is seen as the actual poem, as in a painting when one sees an image of an apple, the apple represents an actual object in reality, but since it is part of a painting the apple also becomes the actual piece of art. These lines are also important because they introduce the idea that "so much depends upon" the wheelbarrow. Lines 3-4 Here the image of the wheelbarrow is introduced starkly. The vivid word "red" lights up the scene. Notice that the monosyllable words in line 3 elongates the line , putting an unusual pause between the word "wheel" and "barrow." This has the effect of breaking the image down to its most basic parts. The reader feels as though he or she were scrutinizing each part of the scene. Using the sentence as a painter uses line and color, Williams breaks up the words in order to see the object more closely. Lines 5-6 Again, the monosyllable words elongate the lines with the help of the literary device assonance. Here the word "glazed" evokes another painterly image. Just as the reader is beginning to notice the wheelbarrow through a closer perspective, the rain transforms it as well, giving it a newer, fresher look. This new vision of the image is what Williams is aiming for. Lines 7-8 The last lines offer up the final brushstroke to this "still life" poem. Another color, "white" is used to contrast the earlier "red," and the unusual view of the ordinary wheelbarrow is complete. Williams, in dissecting the image of the wheelbarrow, has also transformed the common definition of a poem. With careful word choice, attention to language, and unusual stanza breaks Williams has turned an ordinary sentence into poetry.

While my hair was still cut straight across my forehead I played about the front gate, pulling flowers. You came by on bamboo stilts, playing horse, You walked about my seat, playing with blue plums. And we went on living in the village of Chōkan: Two small people, without dislike or suspicion. At fourteen I married My Lord you. I never laughed, being bashful. Lowering my head, I looked at the wall. Called to, a thousand times, I never looked back. At fifteen I stopped scowling, I desired my dust to be mingled with yours Forever and forever, and forever. Why should I climb the look out? At sixteen you departed You went into far Ku-tō-en, by the river of swirling eddies, And you have been gone five months. The monkeys make sorrowful noise overhead. You dragged your feet when you went out. By the gate now, the moss is grown, the different mosses, Too deep to clear them away! The leaves fall early this autumn, in wind. The paired butterflies are already yellow with August Over the grass in the West garden; They hurt me. I grow older. If you are coming down through the narrows of the river Kiang, Please let me know beforehand, And I will come out to meet you As far as Chō-fū-Sa.

The River-Merchant's Wife: A Letter BY EZRA POUND This poem takes the form of a letter from a lonely wife who has not seen her husband in five months. She begins by reminiscing about meeting him during childhood. She was pulling flowers at the front gate and he came by on stilts, playing horse. The next two lines, "And we went on living in the village of Chokan/Two small people, without dislike or suspicion," imply that the pair did not grow close right away following that encounter; they continued to grow up separately. In the next stanza, the wife describes marrying her husband at age fourteen. After that, she was continuously shy, either out of respect, sub-ordinance, or just because of her introverted personality. According to the next stanza, she became more comfortable with the marriage by age fifteen and "stopped scowling." A year later, her husband (a merchant) departed for another village, which is where he has been for the past five months. The monkeys' sorrowful noise mirrors her loneliness. She writes that her husband "dragged [his] feet" when he left - indicating that he did not want to leave her. She ends her letter by writing that if he comes back along the river, he should send word ahead, and she will come out to meet him. The poem is signed "by Rihaku."

While my hair was still cut straight across my forehead I played about the front gate, pulling flowers. You came by on bamboo stilts, playing horse, You walked about my seat, playing with blue plums. And we went on living in the village of Chōkan: Two small people, without dislike or suspicion. At fourteen I married My Lord you. I never laughed, being bashful. Lowering my head, I looked at the wall. Called to, a thousand times, I never looked back. At fifteen I stopped scowling, I desired my dust to be mingled with yours Forever and forever, and forever. Why should I climb the look out? At sixteen you departed You went into far Ku-tō-en, by the river of swirling eddies, And you have been gone five months. The monkeys make sorrowful noise overhead. You dragged your feet when you went out. By the gate now, the moss is grown, the different mosses, Too deep to clear them away! The leaves fall early this autumn, in wind. The paired butterflies are already yellow with August Over the grass in the West garden; They hurt me. I grow older. If you are coming down through the narrows of the river Kiang, Please let me know beforehand, And I will come out to meet you As far as Chō-fū-Sa.

The River-Merchant's Wife: A Letter BY EZRA POUND I played about the front gate, pulling flowers. You came by on bamboo stilts, playing horse,--- reminiscing about meeting him during childhood And we went on living in the village of Chōkan: Two small people, without dislike or suspicion. ------did not grow close right away following that encounter, they continued to grow up separately At fifteen I stopped scowling, ---- became more comfortable with marriage you dragged your feet when you went out.--- did not want to leave They hurt me. I grow older. ---- short lines stand out among long lines

Barthes mythologies consumers and producers of myths

The consumer of myth must here be differentiated from others who actually do read myths. To the semiotician, like Barthes, a myth is just an 'alibi', a way of covering up the lack of ground which essences really have. To a producer of myths, such as a newspaper editor choosing a cover photo, they are simply examples or symbols, consciously chosen. In either case, the myth is not 'received' as such. Both the journalist and the semiotician knows very well that the myth is constructed. According to Barthes, someone who consumes a myth - such as most tabloid readers - does not see its construction as a myth. They see the image simply as the presence of the essence it signifies. For instance, they see in the saluting black soldier the presence of French imperiality. They are then convinced that what they've seen is a fact, a reality, even an experience - as if they'd actually lived it. It is this kind of reader who reveals the ideological function of myth. Myths are not read as statements of particular actors, but as outgrowths of nature. They are seen as providing a natural reason, rather than an explanation or a motivated statement. They are read as 'innocent' speech - from which ideology and signification are absent. To consume a myth is not to consume signs, but images, goals and meanings. The signified of connotative myths is 'hidden', since it can't be reconstructed through the language or images used to carry it. The utterance is structured enough to affect the reader, but this reception does not amount to a reading. According to this reading of myth, a myth occurs only if someone is a true believer who consumes the myth innocently. This is why, for certain later writers, a postmodern 'ironic' reading, which recognises and plays with the constructedness of myths, is deemed subversive. It is also why ironic uses of stereotypes are sometimes differentiated from their simple deployment. And why the 'play' of signs in fields such as the Internet, or reader-response models of global culture, where each user is aware they are appropriating and redeploying signs, is sometimes seen as progressive even if the signs deployed are capitalist, conventional, racist, etc. Barthes sees myth as functioning in a similar way to Althusserian interpellation. It calls out to the person who receives it, like a command or a statement of fact. The content of the injunction is to identify the sign with the essence. In fact, mythical signs look as if they have been created on the spot, for the viewer. They look like they are simply there to perform their role in the myth. The history which causes or creates them is rendered invisible.

Barthes The World of Wrestling

The whole of Barthes' essay examines wrestling in light of the theatre, and wrestling being a theatrical act. Like theatre, wrestling is based upon a sign system. Each element of wrestling, whether the wrestler's physique or his gestures indicate an "absolute clarity, since [the spectator] must always understand everything on the spot" (16). In the theatre, the private becomes public; in wrestling this "Exhibition of Suffering [...] is the very aim of the fight" (19). Like the theatre, the public watches wrestling for the "great spectacle of Suffering, Defeat, and Justice. As in the theatre, "wrestling presents man's suffering with all the amplification of tragic masks" (19). The comparisons to theatre continue as Barthes argues that wrestling (and I am thinking of the WWF type wrestling) is not a sport but a spectacle (15) one in which the audience is not concerned with "what it thinks but what it sees" (15). He compares wrestling to boxing and judo, which he considers sports, but unlike sports, wrestling, has no winner (16). It is not the function of the wrestler to win, "it is to go through the motions which are expected of him" (16). The bastard or villain is usually the sufferer in wrestling. Barthes describes how the body of the bastard sums up all of his "actions, his treacheries, cruelties and acts of cowardice" (17). "The physique of the wrestlers therefore constitutes a basic sign, which like a seed contains the whole fight" (18). The costumes, like those of the theatre, represent the tragic play of wrestling. According to Barthes, Defeat and Justice go hand in hand. Defeat is not an "outcome", but a "display" (21). Defeat of the bastard "is a purely moral concept: that of justice" (21). The defeated must deserve the punishment (21) which is why the "crowd is jubilant at seeing the rules broken" (21) as long as it is just. "In wrestling, nothing exists except in the absolute, there is not symbol, no allusion, everything is presented exhaustively" (25). Again, as compared, there is no question of truth, the spectator just accepts what is presented to them as the way it is and should be.

Hitchcocks rear window marriage

Through Jeff's lens, we see images of all kinds of male-female relationships. From the distant views of the squabbling older couple and the sad exploits of Miss Lonelyhearts to the close-ups of Grace Kelly's amorous come-ons, the film explores an entire range of relationships through visual imagery. Jeff and Lisa's relationship is the only one that gets dialogue and exposition; everything we know about the others comes from what we see through Jeff's eyes. It's amazing when you think about how much we know about the newlyweds or Miss Torso or the unhappy Thorwald marriage just from our glances into their apartments. One writer thought that Rear Window was really a story about relationships just cleverly disguised as a murder mystery: "All of the lives Jeff observes from his rear window have one common denominator; they all in some way reflect different aspects of love and relationships. They all have a bearing on Jeff's view of love and marriage." (Source) In this view, the murder was just a plot device for the development of the complicated relationship between Jeff and Lisa. Hitchcock gives us his final ambiguous prediction about that relationship using visuals: Lisa lounges on Jeff's daybed, but this time, she wears jeans and loafers and reads a travel book. Looks promising, right? But wait, there's more. Once she sees he's asleep, she puts down the travel book and picks up a copy of a fashion magazine.

the deafening street roared around me Tall, slender, in deep mourning, in majestically sad, A woman passed me, one hand ostentatiously lifting in balance her scalloped hem, lithe, noble , legs statuesque absurdly on edge i drank in from her eye- that livid hurricane-weather sky-- afascinating tenderness, a murderous pleasure a flash of lightning ... then night! Sweet fugitive In Whose glance i was suddenly reborn, Will i see you nevermore, save in eternity? Elsewhere ! far from here ! too late! perhaps never ! As where you went i dont know; so you dont know here i go. You whom i would have loved. You knew it !

To a woman passing by , Waldrop

About suffering they were never wrong, The old Masters: how well they understood Its human position: how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer's horse Scratches its innocent behind on a tree. In Breughel's Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water, and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, Had somewhere to get to and sailed calmly on.

W. H. Auden Musee des Beaux Arts he old Masters: how well they understood Its human position: how it takes place--- begins by praising the painters of old like Bruegel who understood the nature of suffering and humanitys indifference to it Where the dogs go on with their doggy life --- life goes on as usual undisturbed written in 1938, september 1938 was hitlers annexation of austria But for him it was not an important failure --- shows how easy it is to ignore disaster in the greater context of everydayness But for him it was not an important failure-- not self righteous, just showing you something through a specific means

I feel that I would like to go there and fall into those flowers and sink into the marsh near them. Author Name

William Carlos Williams's "The Widow's Lament in Springtime" I feel that I would like to go there Our speaker wants to go to the place her son described. Hey, we wouldn't mind a visit either. It sounds lovely, and it's not that strange to want to go somewhere that someone has described to you. But it is perhaps a little strange that she wants to go here, given that her description of this place sounds rather similar to her description of her own yard (the heaviness, the trees with white flowers). She's feeling pretty uninspired by her own place, yet is open to this other one? It's also worth noting that this is one of the few places in the poem where the widow tells us how she feels. She doesn't say, "I would like." No, instead she says, "I feel that I would like." She seems a bit unsure of herself, doesn't she? She's somehow distant from her own desires. Line 27 and fall into those flowers On the most basic level, this line tells us that the widow would like to fall into the flowers out in this place her son told her about. Doesn't she have flowers (white ones even!) on her plum tree right there in the yard? Why does she want to go all the way out to the meadow? Why do these flowers draw her more than the ones that are a few steps away? And what is it about them that makes her want to fall into them? Line 28 and sink into the marsh near them. Apparently our widow doesn't just want to fall into those flowers. She also wants to sink into the nearby marsh. Hey, maybe she just likes to paddle around in marshes. Maybe it makes her feel better. But we can't deny that there's a definite suggestion of suicide here. Especially with that word "sink." Marshes, after all, are filled with water. So we have to ask: does she want to drown? When we think about it, a suicidal desire, sadly, doesn't seem out of left field. It's a pretty heavy and all-encompassing sorrow that our speaker has been expressing throughout this piece. Her husband is dead. She's pretty much all alone in the world.Still, if we wanted to put a positive spin on it, we might say that maybe sinking into the marsh is her way of reuniting with the world she has become detached from. She used to find joy in the natural world. Now she doesn't. But by sinking into that marsh, maybe, just maybe, she would be reunited with the natural world she has lost. Unfortunately, as with much of the poem, our widow-speaker doesn't come right out and tell us what she means. Even at the point where she longs for death (possibly), she's still pretty reserved. This is not a woman who relishes share-time. Whew. What an ending, right? Talk about haunting.

Thirtyfive years I lived with my husband. The plumtree is white today with masses of flowers. Author Name

William Carlos Williams's "The Widow's Lament in Springtime" Thirty-five years I lived with my husband. Now we've got some concrete information. Phew. Our speaker lived thirty-five years with the husband she has just lost. Shmoopers, that is a long time. No wonder she's sad. This line is the final confirmation that the speaker of this poem is indeed the "Widow" from the title. The loss of her husband is the reason she's so unhappy, the reason spring holds no warmth and joy. Even the way our speaker delivers this little detail is heartbreaking. On the surface it's a simple statement of fact. But we know there is a lot of complicated emotion behind it. When you live with someone you love for thirty-five years, well, it's probably pretty hard to let them go, to say the very least. Lines 9-10 The plum tree is white today with masses of flowers. Our speaker now describes a plum tree in bloom with white flowers, adding to the pattern of natural imagery that we've seen so far in the poem. The way she says "the" plum tree makes us think the tree is probably also in her yard. A tree in bloom is generally an image of abundance, brightness, and liveliness, right? But because of our speaker's state of mind, with the loss of her husband and that coldness she now feels, the liveliness is not so much invigorating as it is sad. And what about that word "masses"? There's a weight to it, right? As if the flowers on the tree are weighing the tree down. Or as if all this beauty is actually weighing her down. She's too sad to appreciate the warmth and life and color of spring.

.Flâneur:

defined by Baudelaire as a "gentleman stroller of city streets." The flâneur is the essential figure of the modern urban spectator, a detached yet passionate observer of modern city life. Baudelaire, Hoffmann's character of the cousin in "My Cousin's Corner Window," L. B. Jeffries in Rear Window, and Roland Barthes in Mythologies can all be considered versions of the flâneur.

My cousins corner window Hoffmann inner eye

inner eye = that which imagines, taps into other human resources other than sight.

The great figure whats up with the title ? author ?

BY WILLIAM CARLOS WILLIAMS As a title, "The Great Figure" is a big mystery. The noun "figure" can simply mean "number," like when you multiply two figures together in math class. It can also refer to a person's body, like "No dessert for me today. I need to watch my figure." But in poetry, a "figure" is also a word or sign that represents something else. "Figures of speech," like metaphors and similes, are the bread and butter of poets. So when a poet like Williams highlights a word like "figure," you know he can't just be talking about numbers. At a literal level, "The Great Figure" refers to the number 5 on the fire truck. But what makes this figure so "great"? Five isn't exactly a huge number, and the speaker even points out that the number goes "unheeded." On the other hand, maybe the speaker's attention to the number, expressed through the poem, is what makes it "great." People can use their imaginations to turn trivial details into great things...or something like that. Or maybe there is some other "figure" in the poem that we're unaware of. Maybe the whole poem is a "figure" that represents something else outside the poem. If you ask us, Williams is trying to be mysterious, to make us think about why we call things "great" or "small."

Cortazars blow up and Anonionis blow up comparison viewer and viewed relation

But the conscience-soothing rationalizations are short-lived. After a nude frolic with two aspiring models (yet another link in the chain of body exploi- tations), the photographer, lying prostrate on his studio floor, looks up at one of his enlargements of the park photographs. He thinks he now sees the older man lying dead in the bushes, possibly shot by the gunman. The dead man's body lies extended in the bushes as though a mirror reflection of the photographer who is sprawled in the identical position on his studio floor. Thus, the observer is momentarily transposed into the picture, as the object of his own contemplation. The implicit analogy of the two bodies in the same position brings the photographer to deduce the falsification of his previous manner of seeing. Again, as in Cortazar's original version, lucidity is achieved through a forced reciprocal arrangement of perspectives. When he enters the apartment of his friend, the painter, in order to relate his discovery of the murder, he finds the painter and his wife making love; instead of leaving, the photographer remains and observes. As he stands there the painter's wife looks up and returns his glance. This erotic parallel to the viewer- viewed relation of the park incident recapitulates the two stages of the photographer's response to the instinctual stimuli around him: first he is voyeur; then his presence is transformed into the object of another's scrutiny. Again the exterior circumstances have converted his identity of subject- observer into an indictment of his own personal inauthenticity. His manner of being, his experiencing of his environment, becomes a transgression of the instinctual values of others. He exploits his own experiences, betraying the intimacy of others and of himself. For this photographer as well as for Cortazar's protagonist, sensual experience allows for only two possible identities, those of participant or of voyeur. In their insistence upon the subject-object reality of the observer to the world each has denied himself the very instinctual gratification which he subliminally pursues through the lens of his camera. The sexual act in its many variations in story and film becomes a sign of the personal authenticity whose significance the photographer cannot apprehend until it is too late. Both men see the sexual act as an object, the human body as something devoid of human instinct or emotion. Camera-man moves toward the surface of instinctual reality in th the life processes of others - old men in a public dormitory, seduction, love- making - yet implicitly the mask of the camera lens becomes the safeguard for each man, a self-imposed obstacle to the fruition of personal desire. A revealing example of this process comes early in the film when the photographer prepares to photograph a famous model in various sensuous poses. With camera in hand he approaches the undulating body of the model in an effort to excite her into more intimate gesticulations. The scene intentionally suggests a mock copulation with the camera serving as a substitute sex organ for the man. Throughout the film seeing becomes a subterfuge for the realization of personal desire. The photographer can only exploit, and his exploitation involves his own body as well as that of others. For Antonioni's protagonist the impasse is finally reached when the dead man's body, detected in his now stolen photographs, also disappears. Corporeal reality, the one proof of the photographer's world and of his own identity in that world, is thus obliterated. In that mysterious disappearance the photographer realizes that his own existence has been invalidated; he comes to acknowledge falsification in his experiencing of his world.

At our gate, where you lingered long, moss buried your tracks one by one, deep green moss I can't sweep away. And autumn's come early. Leaves fall. It's September now. Butterflies appear in the west garden. They fly in pairs, and it hurts. I sit heart-stricken at the bloom of youth in my old face. Before you start back from out beyond all those gorges, send a letter home. I'm not saying I'd go far to meet you, no further than Ch'ang-feng Sands.

Ch'ang-Kan Village Song by Li Po, translated by David Hinton (1996). Reading this translation one is given a sense that a great deal of time has passed since the husband set out on his journey: Hinton's translation of the lines, "...I sit heart stricken/ at the bloom of youth in my old face" and the implication in the line, "... fierce/ June waters impossible..." when referring to the husband's treacherous journey gives the reader a sense that the husband's journey was an ill-fated one, and that, futile though it may be, the narrator still waits for her husband's return. The references to September and Autumn too, may be interpreted by the reader as allusions to the stage of life the narrator now finds herself in; this is the September or the Autumn of her years. The leaves are now falling from the trees and the Winter is coming, bleakness and death are to be found in her coming to terms with the fact that her husband will never return. Seasons feature, too, in the early part of the poem as the narrator recounts her childhood and a sense of blooming in the Spring of her life is conveyed; the narrator, when recounting childhood memories of her betrothed refers to him throwing green plums, whose flowers blossom in late Winter and whose branches fruit through Spring. There is a sense of reflective age also when one considers the line, "... and you always stood fast here for me/ no tower vigils awaiting your return." Without the context provided in the later establishment of the narrator's voice as that of an older woman who has been waiting years for her husband's return, this line may merely be read as the narrator trying to communicate how steadfast a husband her love was. With the later revelation that the narrator is an old woman now and her husband is likely dead, never to return, this line becomes a comparison of their relationship then and now. The fact that Hinton's translation gives the reader a narrator who carries with her the weight of years of longing and waiting makes the poem much more resonant than Ezra Pound's version of Li Po's original work. In Pound's (1970) reworking of the poem, entitled The River Merchant's Wife: A Letter, the narrator is vastly different, and the sense of time's passage conveys to the reader that only eight months or so have passed since her husband departed. The voice in Pound's translation is still a teenager, who feels that it has been too long since she has seen her husband, surely, but who does not know the suffering of years of separation. Hinton's translation gives the audience a narrator who is mournful watching the Autumn butterflies in their couplings; who would travel as far as it takes to see her love once more; whose youth was lost to a lifetime of waiting, a woman who never got to experience the Summer of her life because she was waiting for her husband to return. Hinton's narrator speaks as a voice of authority, one who has watched the world pass her by, who has literally watched the moss grow where her husband once stood, the moss now too deep to be swept away. Where Pound's narrator is an impatient adolescent and rather flat as a character in the piece, Hinton's narrator has complexity: Hinton's narrator feels that her inner turmoil, her youthful feelings of love and devotion mock her in her age, she is aware that her wait is futile, but there is nothing else she can do now, all she can do now is wait for the time when she will be reunited with her husband, wherever and whenever that may be. This narrator is inherently powerless; the world acts upon her, she does not act upon the world, she is at the mercy of others at all times, and has little agency to affect change in her life.

Wen 文:

Chinese word for "pattern," "literature," "writing itself"; wen is to be "cultivated," to have the grace, restraint, and sensibility of education; wen is the civil aspect of society, as opposed to the military. (Stephen Owen, "Omen of the World," in Chinese Aesthetics and Literature, pp. 75-6)

Alienation effect as it applies to A tempest

Come gentlemen, help yourselves. To each his character, to each character his disguise. Prospero? Why not? He has reserves of character he's not even aware of himself. You want Caliban? Well, that's revealing. Ariel? Fine with me. And what about Stephano, Trinculo? Nobody? Ah, just in time! It takes all kinds to make a world. The Epilogue in A tempest serves to make the audience aware that they are watching a play and thus awaking the audiences socio-political awareness it also suggests the roles of the characters dont matter since the actors are not supposed to play their roles as if they were the actual characters, the goal is to purge emotions through empathy so the audience can focus of the socio-political implications is use of cross-race casting and masks in A Tempest evokes the figurative masks of Frantz Fanon's Black Skin, White Masks (1952) and underscores the contingency of the characters' racial identity. Caliban's angry final tirade explicitly links this staging practice to the colonial ideology of race: By clearly separating the character's identity from the gesture of its performance, Cesaire's desired staging falls squarely in the tradition of Brecht's theater of alienation. Indeed, the use of masks would seem to exemplify the Brechtian Verfremdungseffekt, or "alienation effect," which distances the characters' perception of the world around them to reveal what they do not see about the social, economic, and political situation that shapes their identity and determines their life's course. In Cesaire's case, the masks serve to reveal race as a historical regime of power relations, and to alienate the characters' assumption that the status quo of race relations on the island is somehow "natural." For the spectator, this split vision discredits the claim to referentiality or "truth" of identities represented by the literal masks. It also betrays the figurative ideological "masks" of identity that Prospero propagates in the dehumanizing discourse he systematically directs at Caliban, revealing it as a rhetoric of power and oppression whose claim to "naturalness" is enforced only by the technological superiority he so jealously guards. The play of masks likewise implicates Gonzalo's no less dehumanizing idealization of the island and its "noble savages." As an exemplary Brechtian alienation effect, Cesaire's play of masks reveals the contingency of racial attributes, but fails ultimately to reveal the constitutive instability of racial identity itself. By writing his play for a theatre negre Cesaire explicitly establishes a "doer behind the deed" in the person of the performer whose racial identity prefigures and does not participate in the obvious gesture of choice implied in the distribution of the masks in the prologue.

Nature is a temple whose living colonnades Breathe forth a mystic speech in fitful sighs; Man wanders among the symbols in those glades Where all things watch him with familiar eyes. Like dwindling echoes gathered far away Into a deep and thronging unison Huge as the night or as the light of day, All scents and sounds and colors meet as one. Perfumes there are as sweet as the oboe's sound, Green as the prairies, fresh as a child's caress, —And there are others, rich, corrupt, profound And an infinite pervasiveness, Like myrrh, or musk, or amber, that excite The ecstasies of sense, the soul's delight.

Correspondences Richard Wilbur Wilbur all use 'man', the appropriate term to oppose to 'Nature' in the parallel structure Baudelaire sets up, and a term which may be less ideological in verse, perhaps, than in normalizing prose. 9

The pillars of natures temple are alive and sometimes yield perplexing messages ; forests of symbols between us and the shrine remark our passage with accustomed eyes. Like long-held echoes blending somewhere else into one deep and shadowy in unison as limitless as darkness and as day, the sounds, the scents, the colors respond. There are odors succulent as young flesh, sweet as flutes, and green as any grass, while others-rich, corrupt and masterful- possess the power of such infinite things as incense, amber, benjamin and musk, to praise the senses' raptures and the mind's.

Correspondences Richard howard

Exegesis:

Critical and analytical approach to textual interpretation that gives priority to the letter of the text and aims to draw meanings from the text, working carefully with diction, syntax, style, patterns of repetition, etc. Derived from traditions of scriptural interpretation, exegesis in turn informs secular practices of "close reading.

barthes definition of myth points

1.Myth is a second-order semiotic system. It takes an already constituted sign and turns it into a signifier. 2.. The system of myths tends to reduce the raw material of signifying objects to similarity 3. myths inflect or distort particular images or signs to carry a particular meaning. Myth doesn't hide things, it distorts them. It alienates the history of the sign. 4.Barthes's main objection to myth is that it removes history from language 5.He believes there are things, with specific attributes, separate from their mythical constructions (accessible, perhaps, through denotative language) 6.Crucially, myths remove any role for the reader in constructing meanings. 7.Myths are received rather than read.

Canon:

A list of sacred books, e.g., the Bible, the Koran, the Four Books and Five Classics of the Confucian canon.

PROSPERO If you keep on like that even your sorcery won't save you from punishment! CALIBAN That's right, that's right! In the beginning, he was all sweet talk: dear Caliban here, my little Caliban there! And what do you think you'd have done without me in this strange land? Ingrate! I taught you the trees, fruits, birds, the seasons, and now you don't give a damn� Caliban the animal, Caliban the slave! I know that story! Once you've squeezed the juice from the orange, you toss the rind away! PROSPERO Oh! CALIBAN Do I lie? Isn't it true that you threw me out of your house and made me live in a filthy cave, a hovel, a slum, a ghetto? PROSPERO It's easy to say "ghetto"! It wouldn't be such a ghetto if you took the trouble to keep it clean! And there's something you forgot, which is that what forced me to get rid of you was your lust. Good God, you tried to rape my daughter! CALIBAN Rape! Rape! Listen, you old goat, you're the one that puts those sexy thoughts in my head. Let me tell you something: I couldn't care less about your daughter, or about your cave, for that matter. If I complain, it's on principle, because I didn't like living with you at all, as a matter of fact. Your feet stink! PROSPERO I did not summon you here to argue. Away with you! Back to work! Wood, water, and lots of both! I'm expecting company today. CALIBAN I've had just about enough. There's already a pile of wood that high .... PROSPERO Enough! Take care, Caliban! If you keep grumbling you will be thrashed. And if you don't step lively, if you try to go on strike or to sabotage things, I'll beat you. Beating is the only language you really understand. So much the worse for you: I'll speak it, loud and clear. Off with you, and hurry! CALIBAN All right, I'm going� but this is the last time. It's the last time, do you hear me? Oh... I forgot: I've got something important to tell you. PROSPERO Important? Well, out with it. CALIBAN It's this: I've decided I don't want to be called Caliban any longer. PROSPERO What kind of rot is that? I don't understand. CALIBAN Put it this way: I'm telling you that from now on I won't answer to the name Caliban. PROSPERO What put that notion into your head? CALIBAN Well, because Caliban isn't my name. It's as simple as that. PROSPERO It's mine, I suppose! CALIBAN It's the name given me by hatred, and every time it's spoken it's an insult. PROSPERO My, how sensitive we're getting to be! All right, suggest something else .... I've got to call you something. What will it be? Cannibal would suit you, but I'm sure you wouldn't like that, would you? Let's see� what about Hannibal? That fits. And why not... they all seem to like historical names. CALIBAN Call me X. That would be best. Like a man without a name, or to be more precise, a man whose name has been stolen. You talk about history� well, that's history, and everyone knows it! Every time you call me it reminds me of a basic fact, the fact that you've stolen everything from me, even my identity! Uhuru! (He exits.) (Enter Ariel as a sea-nymph.)

Act 1 scene 2 A Tempest Cesaire African poet Aime Cesaire's play A Tempest, a postcolonial adaptation of Shakespeare's The Tempest, explores the relationship between Prospero the colonizer and his colonial subjects Caliban and Ariel from the perspective of the colonized. As an African black who received French education, Cesaire found that what colonization has taken away from him is not only land, but also his language, culture and identity accused the West of the "inferiority complex" of the blacks ---- they were ashamed of themselves in an atmosphere of assimilation (which is the predicament in both the colonized countries and those that have won their independence.). Cesaire also believed in a need to call for an "awareness of the solidarity among blacks" to achieve their dream of freedom, or decolonization here. Two years later, A Tempest was published. Using Shakespeare's The Tempest as a vehicle, Cesaire sets his play in the Caribbean where his native land is in (though the play reflects black America). The whole plot and structure are more or less the same as that of The Tempest, but Cesaire makes his voice of anti-colonization heard through his version of Caliban (a black slave), Ariel (a mulatto slave) and Prospero in the central paradigm of the colonizer / colonized relation. Colonization exploits not only land but also minds of the colonized, which Cesaire thinks should be responsible for the blacks' inferiority complex. He makes this clear in his characterization of Prospero, the colonizer of Caliban's island. Unlike Shakespeare's The Tempest, in which Prospero is a virtuous mage with uplifting characteristics that endows him the power to control nature (Kermode, 1976), Cesaire's Prospero presents above all as exploitative usurper of the island and Caliban and Ariel's self-determination. He takes the island away from Caliban in spite of Caliban's hospitality and friendliness, as Caliban accuses, "Once you've squeezed the juice from the orange, you toss the rind away"! "...you threw me out of your house and made me live in a filthy cave. The ghetto!" (p13). More importantly, by making Caliban his slave, Prospero deprives Caliban of what he is, in Caliban's words, "you've stolen everything from me, even my identity!" (p15). Actually he has never treated Caliban as a human being. While in Shakespeare's The Tempest, Caliban, an offspring of a witch and an incubus and thus hardly a human being, is called "savage", "slave" and a "vile race", the names Cesair's Prospero gives to Caliban are more insulting: "ugly ape", "a dumb animal, a beast", "villain" and "nothing but an animal". This is how Western civilization looks at Africa: "the barbarian world", which should not be given any dignity. Prospero insults Caliban's mother ("a ghoul"). He shows no respect to the island (he "is anti-Nature" and "pollutes it") and the native language ("I don't like it"). By belittling everything about the colonized people, the colonizer thinks himself as a savior and tries to impose his language and values on them. Prospero enslaves Caliban and Ariel but appears as their benefactor ---- "What would you be without me?" (p12); "Ten times, a hundred times, I've tried to save you, above all from yourself." (p67); "I give you a compliment and you don't seem pleased?" (p9); "Ingrate! And who freed you from Sycorax, may I ask? ..." (p10). He teaches Caliban his language so that Caliban can understand his orders. He convicts Caliban of rape by putting "those dirty thoughts" (p13) in Caliban's head that is innocent of Prospero's values. Cesaire makes this voice heard most clearly through Caliban's final long speech as an eloquent accusation against colonization: Prospero... you're an old hand at deception... you ended up by imposing on me an image of myself: underdeveloped ... undercompetent that's how you made me see myself! And I hate that image...and it's false! (p64) It is this false image that Cesaire wants to "decolonize" and resume his own identity and make it a pride. That is why Cesaire transforms Caliban from Shakespeare's ignorant savage to a colonized native with some black consciousness. Neither of them ends up doing violence. Cesaire's serious meditation on the path ahead may be conceived in the ending of the play. It presents no knock-down victory for both sides, the colonizer and the native islanders. Prospero ends up with less and less power. "His gestures are jerky and automatic, his speech weak, toneless, trite." Ariel gains his freedom, but not the one in his dream. Caliban simply runs away. Ritz (1999) believed that the conflict between the two sides is a struggle for absolute power. However, here Cesaire may be stressing that colonization benefits neither side and the struggle is for freedom but not triumph over one another. He gives credit to both Caliban and Ariel but he seems discontent with either Caliban's explosive violence ("...you'll see this island, my inheritance, my work, all blown to smithereens...and, I trust, Prospero and me with it.") or Ariel's accommodation. And freedom is hardly possible without the colonizer's consciousness neither. Without giving clear solutions, Cesaire may indicate there are no easy and simple ways and the way to freedom is still long ahead. CALIBAN Call me X. That would be best. Like a man without a name, or to be more precise, a man whose name has been stolen. You talk about history� well, that's history, and everyone knows it! Every time you call me it reminds me of a basic fact, the fact that you've stolen everything from me, even my identity! Uhuru! ------ cements aura of cultural reclamation Staged attention between languages cursing as the language of resistance, attempt to decolonize linguistically

Relationship between Ferdinand and Miranda

Ferdinand makes decision to propose in fathers absence Miranda tells Ferdinand names and asks HIM to marry her- distance from paternal authority Miranda takes Ferdinands side instead of Father when Ferdinand has to prove himself through hard labor. Miranda moves from Prosperos property to Ferdinands--freedom

Spokespersons of Utopia- The Tempest

Gonzalo Adrian and Caliban think the island is beautiful. The "utopia" More talks about in his book is similar to the "utopia" that Gonzalo speaks of in The Tempest "All things in common nature should produce without sweat or endeavor. Treason, felony, Sword, pike, knife, gun, or need for any engine Would I not have; but nature should bring forth of its own kind, all foison, all abundance, to feed my innocent people." n The Tempest, Shakespeare allows the audience to appreciate the possibilities of utopian society and whatever this may possess. He shows the good and the bad so that they can see that problems can arise in such a society. The Tempest can be thus seen as a window into the dimensions of utopian societie Prospero's utopia consists of nothing and no one except for Miranda, Caliban and himself. There are no other human beings that could bring any possible corruption to his daughter. He sees this world of emptiness as the perfect place for him to bring up Miranda because there is nothing to distract her to lead her wayward. Caliban's utopia consists of just him. It consists of the world without Prospero and his daughter, the way it was before they came along. Gonzalo's utopia consists of everything he sees on the island. Gonzalo's utopia is very much like the one described by More. Gonzalo says, "Would I admit; no name of magistrate; letters should not be known; riches, poverty, and use of service; none; contract; succession, bourn, bound of land, tilth, vineyard, none... no occupation; all men idle, all, and women too, but innocent and pure; no sovereignty." (The Necessary Shakespeare, pg. 861, lines 150-159) Gonzalo's utopia is has absence of status, property, and profession which assumes a unity and uniformity of humans. Gonzalo and Prospero both think of the island as their "utopia". Prospero thinks of it as the place he is king and reigns over and has complete dominion over. Gonzalo thinks of it as a commonwealth where he crowns himself king also but later he sums up the reasoning of a stateless state in the phrase, "No sovereignty," which means no one will have dominion over anyone else. Gonzalo corrects his outlines of a utopia and he allows himself to become the king over the island just long enough to abolish both kingship and sovereignty. Prospero only uses part of the guidelines for a utopian society. He doesn't believe that everyone is equal, he think's he is higher than everyone else. He doesn't believe that there should be one religion because it is clearly seen that he uses magic throughout the whole play and then towards the end when he has failed in hurting everyone, he asks forgiveness and asks to be broken from the bonds of magic. Gonzalo's "utopia" has the dramatic effect of questioning Prospero's "utopia" early in the play before the main conflicts have been fully developed. For example, in Gonzalo's utopia there is no war or hate, so we ask ourselves, what about Prospero's utopia? Prospero's war against Sycorax was fought and won before the play begins therefore we can see that Prospero's "utopia" offers the peace but not the democracy of Gonzalo's utopia. In Prospero's perfect ordered world anarchy, conspiracy and rebellion are so prevalent. Caliban, Antonio, Trinculo, Stephano and Sebastian are busily plotting murder right under Prospero's nose. It can be obviously understood that Prospero does not have order on his island because he is too busy with his magical conspiracies against everyone else. Gonzalo would not have any these problems in his utopia because everyone would love eah other and have peace with each other. If anyone had a problem, they would talk it out and solve it. More than anything, Gonzalo's utopia would not have a glimpse of evil unlike Prospero's island where evil is lurking everywhere on his island and he is a part of it.

My cousins corner window Hoffmann symbol of the blind man and cousin

He sees hope in the blind man but it will not get worse, there are other ways of seeing other than with the eyes, blind man and the cousin represent two halves of the true artist baudelaire talks about, the cousin is the ephemeral and the blind man is the eternal

Cortazars blow up Homosexuality

Homosexual seduction, like the camera-man analogy, reveals the essential violation of truth and self; both patterns of relations stand as indictments of Michel's attempt to distance himself from the very' locus of his experiences. The photographer comes to realize that the nature of the observer-object relation is. in effect, an act of exploitation. Just as he had exploited the experiences of others by attempting to photograph the seduction, he now feels himself exploited and violated by the menacing glares of the two seducers. At the heart of Cortâzar's story is the recognition of the process of violation of the individual's instinctual reality by the distanced "other," who appears to encroach upon the physical and spiritual autonomy of the individu

Prospero epilogue of A tempest compared to the epilogue of The Tempest.

However there are significant changes. To some extent Caliban defeats Prospero by running away, declaring his newly found freedom ---- a consciousness in self-determination. The snatches of his song printed in capital letters "FREEDOM HI-DAY, FREEDOM HI-DAY!" demonstrate his triumph. Whereas Shakespeare makes his Caliban disappear almost silently and gives the whole stage to Prospero, in A Tempest, Cesaire gives the privilege to Caliban. He is no longer traceless even he does not appear on stage. His voice is heard. The stage of the world belongs to all of different races. It is the word "FREEDOM" that Cesaire wants everyone, the colonized and the colonizer alike, to hear. It is a cry for freedom or decolonization all over the world. Cesaire ends his play with a final significant deviation from the Shakespearean text: Prospero chooses to remain on the island at the end of the play instead of returning to Europe with the other Italian nobles. The final scene therefore mirrors the opening, with Prospero the sole master of the island and its indigenous population. The dynamic, however, has changed, and it is a desperate Prospero who closes the play with a shrill tirade: The text indicates that Prospero's language in this final scene becomes "impoverished and stereotyped." If Prospero continues to proclaim his role as the defender of civilization it is only by repeating an exhausted racist and racializing discourse. Earlier in this act, Caliban referred to Prospero as a vieil intoxique, an "old addict," and predicted that Prospero would be too "hooked" on his position as the master to ever return to Europe. The play leaves the spectator with the image of Prospero hopelessly strung out on his whiteness, while his speech degenerates into the babble of a confused pronominal opposition that, in the absence of one of the parties, no longer makes sense. Prospero's final cry represents a failed attempt to interpellate Caliban into the identity categories established in the prologue, to call him into existence as a savage, as a slave, and as a black man. The lack of response throws the colonial dialectic, and Prospero's identity as the white, civilized master, into crisis.(13) Significantly, although Caliban effectively refuses to wear the mask of identity that the play so self-consciously imposed upon him in the prologue, the play denies the audience the spectacle of this liberating gesture. In contrast to the very visible imposition of the masks onto already racialized bodies in the prologue, the symmetrical unmasking of the end takes place invisibly in the wings. The body under the mask of race is very deliberately not identified with that of the performer who put on the mask in the prologue. Caliban's renouncement of racial identity is therefore double: he refuses to play the racialized role both of the character who is no longer willing to be Prospero's "savage" slave, and also of the racially specific black performer who assumed this role in the prologue. The play leaves the spectator no image of the liberated "unmasked" performer/subject who transcends or otherwise escapes from a racializing and racist discursive regime. As spectators, we cannot see the new Caliban, nor even understand his language, the language taught to him by Prospero, as it decomposes into debris. At the play's end the spectator is stuck with the familiar racial identities of the black performer wearing the white mask of Prospero, the emblem of a tired white/black racial binary. Caliban "kicks the habit"; Prospero does not, nor ultimately do the spectators for whom the deracialized subject remains an unimagined, unrealized dream.

Mythologies, Barthes shock photos

In Mythologies, Barthes said the photos in a show called Shock Photos were not shocking. The photographer took the shook so that we don't have to feel it. Instead, we feel an indignation, and rational (fear - if you're a 2016 Republican) disapproval of the disturbing image. It isn't like painting. The essay I chose to look at was "Shock Photos". In this essay, Roland Barthes talks about an exhibition of Shock Photos at a French gallery, and how onlookers are suppose to be "horrified" by the mere sight of the scenes captured in the photos. Unfortunately, the "photographs exhibited to shock us have no effect at all" (116). The reason for this is because the photograph itself isn't terrible, the horror is just shown from the fact that we are seeing the photos for enjoyment rather than experience (116). Because the viewer has not seen the scenes captured in the photo for his or herself, he or she perceives the photo differently than those who were actually living the scene within the photo at the time it was taken. Of course, the viewer may not even know whether or not the photo was a fake because the photo looks so real to the person examining it closely that he or she cannot decipher the difference between a real photo from a false one. When a viewer is deprived of the true meaning of the photograph, "the 'naturalness' of these images compels the spectator to a violent interrogation, commits him to a judgment which he must elaborate himself with being encumbered by the demiurgic presence of the photographer" (118), which basically means the viewer perceives the photo to be real because that is what the photographer is making his audience believe. Although must of the "Shock Photos" mentioned in the essay are geared toward violence and scenes of war, there is a bordering connection between these photos and the use of photo shopping that is everywhere today whether it is found in newspapers, magazines, or websites. Barthes declares "most of the shock photos we have been shown are false" (118), which is true. The reason for this is because if a person looks at a photo today it is hard to tell if that photo is real or photo shopped. A photo's background can be altered to clear up any flaws, like adding more sunlight to a dark sky or placing more blood or scars on a soldier's face to make it appear more gory. In a way "we are linked to these images by a technical interest" (116-117). If a person does not like the way the photo looks there is technical ways in which that photo can be changes so that the photographer can give his or her audience what they want. Barthes elaborates on this idea when he writes " the literal photograph introduces us to the scandal of horror, not to horror itself" (118). A person might not like the fact that the photo he or she is looking at has been altered, but at the same time he or she likes it that way. The reason for this is because the viewer does not want to be disappointed by what he or she is looking at. No one wants to see an ugly photo he or she wants one that is beautiful and flawless without blemishes on a famous actor's face or not enough blood and gore on a battlefield. Once the photographer accomplishes what his or her audience wants, then he or she can drag a reaction out of them, as well as make a profit from the photo.

.Epic:

In its strict use by literary critics the term epic or heroic poem is applied to a work that meets at least the following criteria: it is a long narrative poem on a great and serious subject, related in an elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race. (M. H. Abrams, A Glossary of Literary Terms)

Hitchcocks rear window characters

L.B. Jefferies Played by James Stewart, Jefferies (or "Jeff") is a celebrated photojournalist who has been sidelined by a broken leg sustained while filming close-ups on a racetrack. He is a World War II veteran and staunch bachelor, much preferring a life of international travel to settling down with Lisa, his refined Park Avenue girlfriend. However, due to his injury, Jeff is forced to spend several weeks confined to his West Village apartment, during which time he learns to see Lisa in a new light. Jeff is the learned invalid- a flanuer figure, his perspective is the dominant view throughout the film Lisa Carol Fremont Jeff describes his girlfriend, Lisa (Grace Kelly), as "too perfect." She is a blonde, lithe society girl who works in fashion and lives on Manhattan's ritzy Upper East Side. She has impeccable taste in clothes, shoes, and food, and is always up on the latest trends. Despite her polished exterior, however, Lisa proves herself to be much more rebellious and bold than Jeff previously imagined. Stella Stella, played by Thelma Ritter, is the nurse whom Jeff's insurance company has hired to look after him while he heals. She is sharp-tongued and opinionated, and espouses some rather traditional views when it comes to the subject of marriage. At first, she tries to get Jeff to stop spying on his neighbors, but she soon is swept up in the drama, as well. Detective Doyle During World War II, Jeff and Doyle spent three years on a plane together; Doyle was the pilot and Jeff was the photographer. Now, Doyle has become a detective, and Jeff calls on him for his unofficial opinion on the Thorwald "case." Doyle is cynical and not afraid to stand up to his old friend. He frequently challenges and mocks Jeff's obsession with his neighbors, but also does care about Jeff and have the capacity to admit when he is wrong. Mr. Thorwald We don't learn much about Rear Window's resident killer, "the salesman" Mr. Lars Thorwald (Raymond Burr). He peddles wholesale costume jewelry for a living. He and his wife have lived in their West Village apartment for the past 6 months, and Jeff has watched Thorwald become increasingly frustrated with Mrs. Thorwald's nagging. "Miss Lonelyhearts" Jeff makes up nicknames for all his neighbors, and Miss Lonelyhearts (Judith Evelyn) earns hers because she is a middle-aged single woman who is desperate for love and keeps striking out. She eventually tries to commit suicide, but the beautiful music of the songwriter stops her from taking a bottle of pills. At the end of the film, Hitchcock hints that Miss Lonelyhearts might have found love after all; we see her upstairs in the songwriter's apartment. "Miss Torso" Jeff refers to his comely blonde neighbor as "Miss Torso" (Georgine Darcy). A ballet dancer, Miss Torso frequently stretches and rehearses in revealing outfits. She is always surrounded by rich and handsome suitors, but, as Lisa observes, she's not in love with any of them. At the end of the film, Miss Torso welcomes home her short, ordinary-looking beau, who has just returned from war (presumably in Korea). Mrs. Thorwald Mrs. Lars Thorwald only appears onscreen through Jeff's binoculars and camera lens. She is always in bed, although her spirit seems quite healthy; she is always nagging her husband, Mr. Thorwald. She exits the film within the first act, supposedly to go on a trip upstate, but Jeff uncovers the truth; Mr. Thorwald killed his wife and tried to hide her body. Woman on the Fire Escape Jeff does not have a clever nickname for the female half of a couple that sleeps on the fire escape outside their apartment. The woman on the fire escape (Sara Berner) has a little dog upon whom she dotes. When her pet is found strangled in the courtyard, she publicly chastises all of her neighbors for their lack of compassion.

About suffering they were never wrong, The old Masters: how well they understood Its human position: how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer's horse Scratches its innocent behind on a tree. In Breughel's Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water, and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, Had somewhere to get to and sailed calmly on.

Musee des Beaux Arts auden is an informal commentary on the bizarre human situations that arise in certain older paintings, notably one, The Fall of Icarus, which is now in the Musees Royaux des Beaux Arts in Brussels. Auden creates a speaker who is, to all intents and purposes, delivering an opinion on various paintings that deal with human suffering. The speaker seems knowledgable and gradually comes to a series of mini conclusions regarding the plight of those who suffer and those who don't. Those who don't are often bystanders, ordinary members of the public going about their daily business oblivious to what's going on behind closed doors or just out of earshot. And if they do notice something unusual, they're too busy or distracted to do anything about it. In the first stanza the speaker makes observations from other paintings by the same artist, Brueghel, namely Numbering at Bethlehem, Winter Landscape with Skaters and a Bird Trap and Massacre of the Innocents. These references highlight the strange, contrasting human experiences that are part of the fabric of life - one person suffers terribly, another carries on regardless with some mundane activity. The philosophical question that surfaces from such an issue - Why is it that some can knowingly ignore the cries for help from those experiencing torture and pain? - is partly answered in the poem. For example, in the first stanza there are children who did not want a miraculous birth to happen, despite an older generation passionately waiting for a miracle birth. They continue skating on ice, oblivious to the one-off happening. The speaker states with a cool detachment how there always must be such a gap between the young and the old. And a little further on the philosophical, fateful speaker asserts in a quiet fashion how martyrdom must run its course, no matter how dreadful, in some backwater, away from the hubbub of the crowd. We shouldn't forget that the paintings the speaker is studying are equivalent to today's T.V. reportage. How many times have we watched horrific and disturbing images from some remote place in the world, knowing that, not too far away, normal lives are being lived. The second stanza reinforces the idea of separateness, of people at work, at play, whilst the disaster, the suffering, goes on elsewhere. Is it apathy that takes over? Are people consciously looking the other way to avoid involvement? There is an irony in this and the speaker captures it in a subtle, matter of fact fashion. As Icarus dramatically falls into the sea the event for one man was not an important failure; it made no impression on a passing ship with somewhere to get to; there is no reaction. Auden's poem, through the eyes of an observer of old paintings, explores the idea that, as humans, we knowingly carry on with our familiar and mundane duties as long as we can, even if we know someone may be suffering. We need routine, we fear distraction. Suffering will always happen and there's not much the average person can do about it.

barthes mythologies myth effects on language

Myth is parasitical on language. It requires the meaning of the initial sign for its power, but at the same time it denies this specificity, making it seem indisputable and natural, rather than contingent. There is always a remainder of denotation without which the connotation could not exist. It is only because of this remnant of denotation that the connotation can naturalise something. It is as if it needs the innocence of denotation to pose as innocent itself. Meaning is thus torn between nature and culture, denotation and connotation. It also has a tendency to empty language. It removes signs from their context, hiding the process of attaching signifier to signified. It thus strips signs of their richness and specificity. The function of myth is to empty reality of the appearance of history and of social construction. The initial sign is 'rich' in history. Myth functions by depriving it of history and turning it into an empty form to carry a different meaning. If the 'political' is taken to encompass all human relations in their actual structure, as power to transform the world, then myth is depoliticised speech - the active stripping of politics from speech. Usage (or doing) is mistakenly portrayed as nature (or being). This draining of history strips represented phenomena of their content. What is actually a contextually specific action is taken to stand for something else: a timeless, eternal essence. This is termed the 'concept' of the myth. Barthes expresses it by adding -ness or -ity onto ordinary words. This emptying is also a kind of filling. The concept carried by a myth appears to be eternal and absolute. In fact, the concept carried by a myth implants into the sign an entire history and perspective. It speaks to a very specific group of readers. It corresponds closely to its function. For instance, it refers back to particular stereotypes embedded in gender, racial, or class hierarchies. What is put into the myth as meaning is always in excess over what remains of the meaning of the sign itself. An entire history or perspective is put into the concept which the mythical sign signifies. On the other hand, the image or example itself is almost incidental. There is a constant rotation of mythical images and significations. Myth functions like a turnstyle which constantly offers up signs and their mythical meanings. The sign is emptied so that it can present a meaning (the concept) which is absent but full. As a result of myth, people are constantly plunged into a false nature which is actually a constructed system. Semiotic analysis of myth is a political act, establishing the freedom of language from the present system and unveiling the constructedness of social realities. The contingent, historical, socially constructed capitalist system comes to seem as 'life', 'the world', 'the way it is'. One way to become aware of myths is to consider how they would seem, from the standpoint of whatever they represent. Myth is always clear when seen from the standpoint of the signifier which has been robbed. For instance, the mythical nature of the use of the image of the black soldier is apparent if the soldier's actual narrative is known or considered.

Vernacular:

Native language or native dialect of a specific population, in contrast to literary, national or standard language, or a lingua franca.

Barthes mythologies einstein conclusion

Science without consciousness is but the ruin of the soul. Scientists should maintain a set of morality in their minds while doing research, they should tell the difference between right and wrong. The atomic bomb invented should not be used in war so less disastrous misfortune would happen, and scientists should make sure that the fatal weapon is controlled by the justified side.

Anotonionis blowup setting

Setting The setting is London in the 60's. The glitzy world of a fashion photographer. A high-style studio. Idlyllic garden of Eden park. Upper Class pot-party. Rock concert.

Th' expense of spirit in a waste of shame Is lust in action; and till action, lust Is perjured, murd'rous, bloody, full of blame, Savage, extreme, rude, cruel, not to trust, Enjoyed no sooner but despisèd straight, Past reason hunted; and, no sooner had Past reason hated as a swallowed bait On purpose laid to make the taker mad; Mad in pursuit and in possession so, Had, having, and in quest to have, extreme; A bliss in proof and proved, a very woe; Before, a joy proposed; behind, a dream. All this the world well knows; yet none knows well To shun the heaven that leads men to this hell.

Shakespeare The Sonnets : 129 Angry attack on sexual pleasure suffers anxiety in his realization of his weakness to lust impulses paradox of fully letting go in order to enjoy emotional release yet regretting the inescapable loss of control A bliss in proof and proved, a very woe; Before, a joy proposed; behind, a dream.---excited impatience of lust followed by the revulsion that follows lust gratification This complex poem grapples with the idea of sexual desire as it exists in longing, fulfillment, and memory. 3 parts of lust (That is to say, it deals with lust as a longing for future pleasure; with lust as it is consummated in the present; and with lust as it is remembered after the pleasurable experience, when it becomes a source of shame.) At the beginning of the poem, the speaker says that "lust in action"—that is, as it exists at the consummation of the sexual act—is an "expense of spirit in a waste of shame." He then devotes the rest of the first quatrain to characterizing lust as it exists "till action"—that is, before the consummation: it is "perjured, murd'rous, bloody, full of blame / Savage, extreme, rude, cruel, not to trust." In the second quatrain, the speaker jumps between longing, fulfillment, and memory. No sooner is lust "enjoyed" than it is "despised." When lust is longing, the fulfillment of that longing is hunted "past reason"; but as soon as it is achieved, it becomes shameful, and is hated "past reason." In the third quatrain, then, the speaker says that lust is mad in all three of its forms: in pursuit and possession, it is mad, and in memory, consummation, and longing ("had, having, and in quest to have") it is "extreme." While it is experienced it might be "a bliss in proof," but as soon as it is finished ("proved") it becomes "a very woe." In longing, it is "a joy proposed," but in memory, the pleasure it afforded is merely "a dream." In the couplet, the speaker says that the whole world knows these things well; but nevertheless, none knows how to shun lust in order to avoid shame: "To shun the heaven that leads men to this hell."

Multiple plots:

Shakespeare and other Elizabethan and Jacobean dramatists often used double plots or, in the case of The Tempest, triple plots. Such a dramatic structure includes subplots, with stories that are complete and interesting in their 4own right, that may serve to broaden our perspective on the main plot and to enhance rather than diffuse the overall effect.

Cortazars blow up and Anonionis blow up comparison Technology

Technology is more than a simple artistic metaphor for each man's identity. The rapprochement of his personal perspective to that of the camera has reached a critical impasse in which his very consciousness as man is subsumed by the camera syntax. The transformations of human experience into the photographic image is always necessarily at variance with the dynamics of personal circumstance. The camera paralyzes that experience into static impressions on a photographic plate. By aligning himself to the camera ontology, in both the act of photography as well as in his relations with the outside world, the photographer is violating the very sense of human experience. Michel declares in a phrase the implicit credo held by both men in this redefinition of reality: "My strength has been a photograph (p. 1 14)." Thus the blow-up, central symbol for both Cortázar and Antonioni, will itself signify the protagonist's distortion of perspective and consciousness; the enlargement of the shots of seduction will loom more vividly in his mind than will the actual incident. His fixation with his own technology will cause his experience of the world to be deformed, ultimately to be displaced by that technology.4 Each photographer tacitly structures his external environment as would the camera lens, that is, in terms of the relevance and meaning of objects dictated by a detached angle of vision. Each man actively pursues that angle of detachment: Michel stations himself on a bridge overlooking the couple on the quay; Antonioni's photographer will similarly view the world around him as though it were the raw material with which he is to build the parts of his book of photographs. The nature of the crisis which develops out of this photographic imposition over the real world comes ultimately to reveal the basic contradiction in the assumption of the photo-ontological universe. By imposing the subject-object cleavage of viewer to viewed, the photographer is afforded a momentary control over his external circumstance. But at crucial junctures, those moments when the objects look back upon the viewer, he encounters a troubling reality. A radically different system of relations emerges and the photographer's sense of authority is challenged. In this new system relations are reciprocal, subject and objects are interchangeable states of being, reflecting a more human and less mechanical structuration of experience and response. Through a deeply-rooted identification with the technology of everyday life - the camera as generalized symbol for a vast array of mechanical artifacts - the photographer has become the embodiment of a technological Narcissus figure, drawn to what he thinks to be a reality beyond himself; neither man apprehends at first that the objects of his concern are really images of himself.5 The initial crisis depicted within the story and the film is, the one of the non-recognition of the reciprocal facets of human experience and identity. Camera-man has effectively amputated his own experiences from his body as well as from his psyche. He cannot read the signs of his affinity with the world beyond his camera and therefore struggles unsuccessfully to move that reciprocal reality into the less troubled subject-object mold.

Barthes Mythologies The great family of man

The Great Family of Man: Exhibition of photographs of people from various ethnographic backgrounds and cultures. Imposition of external morality on photographs in supplying extra context. I chose to take a look at Barthes's essay in an effort to understand what he means when he talks about what he calls "the myth of the human 'community,' [and how it] serves as an alibi to a large part of our humanism" (100). Barthes talks about an exhibition of photographs that have exported from the United States to Paris. He is interested in how the French have translated the name of the exhibition from "The Family of Man" to "The Great Family of Man." This translation is of great interest to Barthes because it essentially taking a concept that can be found in zoology and creating a type of mythology of human community. He explains that the myth of the human community comes in two stages. The first stage he describes is how the differences in human morphologies is asserted, with the second stage being about how a type of unity among these human morphologies is somehow produced because human experiences are essentially the same. It seems clear that Barthes is criticizing this idea by pointing out that if we were to take out the history, the common experiences of nature become tautological and tell us nothing. It appears that he argues that this kind of photograph exhibition perpetuates this myth in a way that in ignores real concrete differences between human beings. When he touches on the exhibitions display of the supposed unity of the human experience, Barthes makes the point that: The failure of photography seems to be flagrant in this connection: to reproduce death or birth tells us, literately, nothing. For these natural facts to gain access to true language, they must be inserted into a category of knowledge which means postulating that one can transform them, and precisely subject their naturalism to human criticism. For however universal, they are the signs of an historical Barthes's point appears to be criticizing this idea that the mythologies we have created about the human experience involve ignoring real and distinct differences between human beings. It is not enough to point out the natural cycle of life all humans go through. In other words, to focus on these commonalities as evidence for a unified human "community" is to ignore real differences among communities throughout history. For example, America is characterized by and characterizes itself on the myth of the "Wild West." The history of the "wild west" with its plural cast of characters, cowboys, social misfits, sociopaths, whores, settlers, opportunists, victims, lawyers and schoolteachers and sheriffs and so on. What is conveniently forgotten or emptied out is the exploitation of Chinese laborers, the genocide of Native Americans, the savage struggles between the settler and the rancher, and the wholesale rape of the land. Thus, through forgetting or suppression of the facts, the truth or history is emptied out, leaving a hollow form. What is left is the myth of the Frontier. To the consumer of the myth, this image of America is linked to nature to make "America" seem inevitable and natural. We do not question this myth of America and when those who question the myth are called "unpatriotic," we are hearing ideology at work.

You dragged your feet when you went out. By the gate now, the moss is grown, the different mosses, Too deep to clear them away! The leaves fall early this autumn, in wind. The paired butterflies are already yellow with August Over the grass in the West garden; They hurt me. I grow older. If you are coming down through the narrows of the river Kiang, Please let me know beforehand, And I will come out to meet you As far as Chō-fū-Sa.

The River-Merchant's Wife: A Letter BY EZRA POUND Pound did not know enough about Chinese poetry to preserve it in his translation. Pound wrote his translation in free verse, structured around the chronological life events of the river-merchant and his wife. This form, though perhaps not Li Po's intent, does actually align with the content of this poem. The free verse makes the letter feel more authentic, as if it is a real letter from a wife to her husband. The lack of prescribed meter allows Pound to bring out the rawness of the wife's emotions, drawing readers directly into her loneliness without having to overcome the barrier of an overly structured presentation. Lines 25 and 26 are two short lines that stand out because they appear in the midst of longer lines. Therefore, these two lines capture the reader's attention just as the poem reaches its climax, and the speaker, the wife, acknowledges the deep sorrow she feels because of her husband's absence. Poets often adjust form or meter in order to bring attention to a specific line. Even though this poem is free verse, those two lines are markedly different from the rest, which allows Pound to emphasize their content. Because this poem follows the sequence of the characters' lives, it is thematically appropriate that Pound uses time-based imagery and figurative language as well. The setting of the poem shifts from spring to autumn. Spring usually represents abundance and new growth, and this is when the couple's love is in bloom. Meanwhile, in the autumn, growth and greenery slowly wither away, leaves fall, and the air grows colder. The husband is away and his wife longs for his return. The wife notes that the moss has grown thicker as well, which is another metaphor for the passage of time. As she grows older, the changing seasons represent her emotional development over time. Rivers are also an important symbol in this poem. Rivers constantly flow and change, just as the relationship between the wife and her husband has evolved. A river forms the physical barrier between them, as the husband traveled along it to another village. At the end of the poem, the wife wonders whether or not another river will bring them back together. In addition, the setting of this poem is a rare glimpse into a portion of China's landscape. in Pound's time, westerners had very little contact with this eastern land. Pound's translation of Chinese poetry probably caused a lot of discussion; it is doubtful that many of his contemporaries believed China to be the lush paradise he describes in this poem.

Now my charms are all o'erthrown, And what strength I have's mine own, Which is most faint: now, 'tis true, I must be here confined by you, Or sent to Naples. Let me not, Since I have my dukedom got And pardon'd the deceiver, dwell In this bare island by your spell; But release me from my bands With the help of your good hands: Gentle breath of yours my sails Must fill, or else my project fails, Which was to please. Now I want Spirits to enforce, art to enchant, And my ending is despair, Unless I be relieved by prayer, Which pierces so that it assaults Mercy itself and frees all faults. As you from crimes would pardon'd be, Let your indulgence set me free.

The Tempest Shakespeare Epilogue

.Masque:

The masque was developed in Renaissance Italy and flourished in England during the reigns of Elizabeth, James I, and Charles I. It was an elaborate form of court entertainment, combining poetic drama, music, song, dance, splendid costuming, and stage spectacle. A plot-often slight, and mainly mythological and allegorical-served to hold together these diverse elements. The characters, who wore masques, were played by ladies and gentlemen of the court, sometimes including royalty itself. The play concluded with a dance of the players, who doffed their masques and took members of the audience for partners. (Abrams, Glossary) Note: masques were often presented to mark occasions such as marriages, births, transfers of rulership.

Barthes mythologies images of einstein

There are two images mentioned showing Einstein together with his great achievement—E=mc2, one is that Einstein stand in front of a blackboard full of his complex equations indicating how he gets to that simple conclusion, the other one has the same background as the former one, but there's only one single formula on a blackboard. arthes makes a peculiar simile of Einstein's brain to that of different machines; he writes, "The mythology of Einstein shows him as a genius so lacking in magic that one speaks about his thought as of a functional labour analogous to the mechanical making of sausages, the grinding of corn or the crushing of ore: he used to produce thought, continuously, as a mill makes flour." However, Einstein eventually faced death, like every human, because he is exactly that -- mortal, and this is his greatest and only downfall. Yet since people were so amazed by Einstein's absolutely brilliant mind, we all seemed to forget that he too was human. Thus, "some failure on the part of Einstein is necessary: Einstein died . . . without having been able to verify 'the equation in which the secret of the world was enclosed'." "In this way Einstein fulfills all the conditions of myth," according to Barthes, because that's exactly what our ideal image of his brain as a ongoing machine turned out to be -- a myth. Nevertheless, our ignorance and perhaps fear of the unknown has motivated us to create even more mythologies, even in the world we live in today. The myth of education, for example; the idea that once it is easily achieved it will provide us with a stable career and a prosperous future. I emphasize the word "easily" because the media has baited us into believing that a perfectly "good" education can be easily tackled by means of taking a few online courses, all the while there being a perfectly "valuable" diploma at the end waiting for us. Not only is this in itself a myth, but it brings me to another myth about education: what is considered to be a "good" education and a "valuable" diploma? Why is it that the reputation of ivy league universities like Harvard and Yale should deliver us a better education and a more valuable diploma than any other? This is simply not true, because it is a generalization and we automatically assume this to be true for each and every person when, really, it varies. Moreover, we have this idea that if one completes high school, attends university, and receives their diploma, then all will be fine! We will have a great job awaiting us, and that will be that. Well, that's not all! So, what are our motives for getting an education? Is it simply for the sake of getting a good job and making money? Perhaps this is what we've reified education to be; but let's look at the "inner form" of the word "education," "educatio" being a Greek word, "duc" meaning "leading or bring," "e" meaning "out of," and "atio" referring to "a process." Thus, putting it all together, the true and original meaning of "education" is bringing out the best in you, bringing out the best of what you are capable of. Therefore, the modern connotation of the word "education" is a myth, because we should really be looking to get an education to better ourselves, our minds. Furthermore, when one thinks of education, an image of a diploma automatically comes to mind just as the image of a brain has replaced Einstein as a human being; but does that piece of paper truly measure our greatest worth, our capability? Of course not, because an education can come in all different forms -- not just a college degree. You may be beginning to wonder what we are all doing here then -- preparing for or attending college? Because we should believe that (in my case) by going to a certain university the best will be brought out from inside of us; after all, the best is already there, most of us just are unaware or doubtful.

Cortazars blow up and Anonionis blow up comparison moment of crisis of reality and technology

There comes a moment of crisis in Julio Cortāzar's short story "Blow-Up"1 as Roberto Michel, a translator-photographer, now distanced from an event he had previously observed and photographed, looks back at an enlargement of the scene only to discover that his original manner of construing characters and situation was really a lie, a falsification of personal experience only belatedly realized. The same traumatic revelation of the photographer's error is given central importance in the Michelangelo Antonioni film, loosely based upon the Cortázar story. Both versions suggest in strikingly similar terms the inauthenticity of certain forms of representation of reality; each reveals a growing dissatisfaction with the very processes of articulation - verbal and graphic languages - which have reached such a schism with the content they presume to express, that they come ultimately to betray that reality. 2 In both works we find a character who, at the moment of external challenge to his way of being, voices a statement in his own defense. "I am a photographer." This revealing assumption of personal identification with the technological means of reproducing images is one which forces us to consider a series of essential relations and values emanating from the peculiar way in which each protagonist looks upon his experience and upon The photographer considers himself to be a communicator of what is for him a problematic reality emerging from his experience of seeing. He investigates that reality. From the vantage he has defined for himself he struggles to sort things out, as though deciphering a message from some long- forgotten language; eventually he attempts to convey the meaning he sees in the events and objects he has examined. In the film the pattern of the detective story, first suggested to the photographer by his friend the painter,3 becomes an analogy to his task of photographing and then arranging the details of the world in some coherent order. The photographer's compilation of a book of photographs, to include a picture of a couple he saw embracing in a deserted park, becomes a further manifestation of his rage for order in seeing and experiencing the world. Cortazar's photographer is concurrently involved in the task of translating a legal treatise into French, yet another parallel to the idea of sorting things out and transforming them into a special order. At the heart of both story and film structure there is a scene which the photographer has witnessed and subsequently photographed. From the cam- era angle, both scenes, clearly different in scope and setting, appear to be forms of seduction. Cortazar's photographer sees a woman and an adolescent boy on a quay on an island in the Seine; an older man is seated in a nearby car, pretending to read a newspaper but actually observing the pair. Roberto Michel surmises that the scene is one of a seduction of the youth by a prostitute. In the Antonioni version the photographer views a young woman and an older man in sensuous embrace in a deserted London park. As each photographer takes his picture, the click of the camera alerts his subjects to his presence. They glance up at him as he is observing them; in both instances an argument ensues in which the characters attempt to retrieve the film from the photographer. Curiously, in both versions the photographer casts himself from the very start in the role of voyeur to what is seen, emphasizing what will later become apparent as his constant referral to a surrogate position to his own experiences. His attitude to these events he has observed is an important indicator of his perception of life as a photo-ontology; he implicitly transforms his experience into a static photograph, making no distinction in his mind between the elements of his personal environment. People and things are perceived as immobile objects; all experience is made the static image before his camera lens. As photographer-protagonists, both men share a common identity, a similar technological mask. Indeed, the proximity of the camera lens to the photographer's eye, the literalization of that mask, demonstrates the crucial lack of distance between the man and his technology. He comes to confuse his own identity with that of the camera, falsely believing himself unattached to the observed incident. The photographer defines his own role in the photographic analogy to life as that of an impersonal camera consciousness, apprehending the images of inert objects, defining the proper perspective of the camera to those objects, finally imposing an order and meaning upon the object world. He does not suspect that his relation to the world around him is a little less distant, and indeed considerably more intimate than his camera-man analogy suggests. He does not see, or does not choose to see, the signs of affinity between himself and what appears through the impersonal mediation of the camera lens.

In Breughel's Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry,

W. H. Auden Musee des Beaux Arts

About suffering they were never wrong, The old Masters: how well they understood Its human position: how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer's horse Scratches its innocent behind on a tree. In Breughel's Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water, and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, Had somewhere to get to and sailed calmly on.

W. H. Auden Musee des Beaux Arts A poem of 21 lines in total, split into two stanzas with varying line length and rhythm. Note the use of end rhymes throughout the poem, for example: Line 1/Line 4 - wrong/along Line 2/Line 8 - understood/wood Line 5/Line 7 - waiting/skating Line 6/Line 13 - be/tree Line 9/Line 11- forgot/spot Line 10/Line 12- course/horse Lines 14-21 also are end rhymed This rhyming is varied and has no established pattern so the rhyme becomes almost incidental, an echo of what it should be in a tighter rhyme scheme. All of this suggests tradition with a twist, a loosening and stretching of reality. Line length plays an important role in this poem. Long clauses, with cleverly placed punctuation, help measure the steady conversational tone of the speaker. Note that there is only one period (full stop) in the whole body of the poem, at the end of the first stanza. Commas, colons and semi-colons play a crucial role in the syntax by allowing the sense to build up, as in an argument or debate. Enjambment also lets the flow continue from one line into the next.

Sorrow is my own yard where the new grass flames as it has flamed often before but not with the cold fire that closes round me this year. I feel that I would like to go there and fall into those flowers and sink into the marsh near them. Author Name

William Carlos Williams's "The Widow's Lament in Springtime" ree-verse lyric in which a widow expresses her grief over the death of her husband as she looks at the growing plants and flowers of spring that remind her of her loss. It is a modernist version of a pastoral elegy that uses images of nature to lament the death of a loved one. there is not the usual coming to terms with the fact of mortality—no consolation, no hope, nor even resignation hold out in the end. Instead, the poem uses the dramatic interior monologue of the widow to express her sorrow as she looks at the trees, bushes, and flowers, ending with her final suicidal wish to be immersed in the marsh, and so be with her husband in death. Our speaker drops a metaphor bomb on us poor readers. To her, sorrow is her yard. Her yard is sorrow. The two things are one and the same. A yard is generally something that we cultivate and take care of; we mow it, we rake the leaves, we probably water it, and try to protect it from harm. It also surrounds us (at least when we're home). All of which makes it a strange, and very sad, image to connect with sorrow, of all things. Who wants to be surrounded by sorrow? Who wants to step out the backdoor and into sorrow? Of course the title warns us we won't be dealing with the most uplifting of poems, but the opening line is blunt nonetheless. Notice how possessive she is of the sorrow. Not just "my," but "my own." Given that we know this is a "Widow's Lament," we can guess that this is going to be a persona poem. This means that though the poem is written by William Carlos Williams, it is not written in his voice. Nope, he has taken on the voice of a woman - a widow - and the poem will contain her words. where the new grass flames as it has flamed often before but not In these lines, the widow gives us some imagery to describe her yard. She imagines the new grass as flames. This could just be a fancy, poetic way of describing sprouting grass. After all, when new grass sprouts up, it does kind of look like a green flame has spread across the yard, like wildfire. But the image also gives an ominous feel, as if her yard is on the attack. "New grass" calls our attention back to the word "Springtime" in the title. Spring and new growth bring with them ideas of renewal, rebirth, and so on. We're still waiting to see how those ideas will fit in with the sadness in the title and in these opening lines. But we can say that her spring doesn't exactly seem full of joy and rebirth. The seasonal nature of the grass is also emphasized by "as it has flamed / often before." It's a cycle, something that repeats every time the snow melts and the sun comes out. Flames and fire are also pretty widely used as symbols for desire, particularly romantic desire, so we'll keep that info in our back pockets in case it comes in handy. with the cold fire that closes round me this year. This year, the growth of the grass doesn't hold any warmth or pleasure for our speaker. Some spring. The coldness of the fire seems to tell us that something is definitely not right here. Fire should be hot, right? So even though the grass is growing, just like every other spring, something has changed. Remember, she has lost her husband, so maybe the fact that he's not around to share this spring with her has changed the way she sees it. Even fire doesn't seem warm with him gone. Our speaker seems to feel distant from the new growth, the renewal in the natural world, and yet she feels oppressed by this distance and coldness - it "closes round" her.

Today my son told me that in the meadows, at the edge of the heavy woods in the distance, he saw trees of white flowers. Author Name

William Carlos Williams's "The Widow's Lament in Springtime" Today my son told me Big Moment Alert! Our speaker's son told her something (which we'll get to in a moment), but what's really pivotal here is the entrance of the son in the first place. The appearance of the son here is a big shift. We've been so focused on our lonely speaker, and the loss of her husband, that it's almost shocking to learn she has a son around to talk to. We don't know whether they talked on the phone, or are actually in the same place, but still that contact should be a reason for joy, right? And yet, the tone stays pretty level. The entrance of the son doesn't make any noticeable impact on the slow, sad pace of the language. It feels like just another fact thrown into the (flower) pot. Lines 21-22 that in the meadows, at the edge of the heavy woods Her son is describing the location of something in the meadows at the edge of the woods (we haven't gotten to what yet). And what about those woods? Well, for one thing, they're "heavy." That heaviness is everywhere in this poem. Perhaps the woods are dense? Or maybe she's just projecting again. The woods are heavy because she's feeling the weight of her grief. Our speaker is being a bit coy, though. She just won't tell us exactly what she means. Just like earlier in the poem, our speaker is keeping the focus on the natural world. She mentions her son (as, earlier, she mentioned her husband), but immediately zooms right in on an image of the natural world. This means that when we read the poem, we have to decode her descriptions of the world around her, to see what they tell us about her inner world. And wouldn't you know it? That's what we've been doing all along. Lines 23-24 in the distance, he saw trees of white flowers. Near those heavy woods (which we now learn are far off in the distance), the speaker's son saw trees with white flowers, growing in the meadow. Hmm. That sounds familiar, doesn't it? Could these be more plum trees, growing by the woods?

Masses of flowers load the cherry branches and color some bushes yellow and some red but the grief in my heart is stronger than they for though they were my joy formerly, today I notice them and turn away forgetting. Author Name

William Carlos Williams's "The Widow's Lament in Springtime" Masses of flowers load the cherry branches Now she describes the cherry tree, which is also in bloom. There's that word "masses" again, and the repetition is important to note. The beauty of the flowers is being compared to a burden, and the sense of it weighing her down is made even more powerful with the word "load." Who knew flowers could be so heavy? Of course, we have to ask, is it really the flowers that are heavy? Or do they just seem heavy because something else, like, say, her grief, is heavy, too? Whatever the case, there is clearly a connection between the way this widow sees the natural world around her (mainly in her yard), and the way she feels emotionally about the death of her husband. Which makes sense, if you think about it. When we experience loss, it tends to change the way we see the world around us, right? Just as when we experience joy, everything around us seems just a little bit shinier. Lines 13-14 and color some bushes yellow and some red Flowers, flowers everywhere! There are blooms on the bushes in the yard as well, some yellow and some red. Gosh, these colors are even more vibrant than the bright white of the plum blossoms. She seems to be making note of the power that flowers have to color or transform things - in this case the bushes in her yard. It's spring, the time of transformation. What can this tell us about her inner state? We'll just have to keep reading to find out. Lines 15-16 but the grief in my heart is stronger than they After such beautiful flower imagery, these lines give us the Big But. As it turns out, the force of the grief she feels is greater than the brightness and renewal of the flowers. You see, she notices the transformational nature of the flowers, but it doesn't quite work on her anymore. Her inner grief is just too powerful. Now that her husband is dead, she both mourns his loss and the loss of spring, which no longer seems quite as beautiful as it once did. Line 17 for though they were my joy These flowers used to be her joy, and why shouldn't they have been? They sound downright gorgeous. This metaphor, which is given to us in the past tense, shows us just how much has changed. Flowers, and by extension all the color and renewal of nature during spring, used to give her great pleasure. Maybe she was a gardener. Maybe she and her husband used to enjoy gazing at the flowers out their window. In any case, none of this is true anymore. All the joy she used to find in those flowers is gone, which makes her current state all the sadder. The flowers are still there - they haven't changed - but the widow can't find pleasure in them, and the loss of that pleasure parallels the loss of her husband. It seems her grief is all consuming. Lines 18-19 formerly, today I notice them and turn away forgetting. Now she's not moved by the flowers; she turns away from them and forgets them. She really seems to be emphasizing how things have changed. Her experience was one way before, and now it's very different. "Forgetting" is an interesting word choice, don't you think? We assume it means that the flowers are now so unimportant to her that she forgets them right away. Or maybe she's referring to the fact that she has forgotten what they used to mean to her. At any rate, it also reminds us of all the things she cannot forget: the memories of her husband; his absence; all the thoughts that weigh on her now, and that have spoiled her relationship with the natural world.

Sonnet:

a 14-line poem normally in iambic pentameter in English, in 11 syllables in Italian, or alexandrines in French.

Excursus:

a digression in the text, often forming a short anecdote An excursus is a moment where a text moves away from its main topic - it's roughly similar to "digression." However, excursus in a formal essay usually occurs in a footnote or appendix, whereas digression appears in the body of the text. Imagine a science fiction story about colonizing Mars. The main story is about how the colonizers survive and work together (or don't) as they build their settlement. If the author spent a full chapter explaining the details of the Martian atmosphere, it might be considered an excursus. However, if those details are ultimately important for the story later on, it wouldn't be.

Sonnet cycle or sonnet sequence:

a series of sonnets, of any number, that may be organized according to some fictional or intellectual order.

.Montage:

a single pictorial composition made by juxtaposing or superimposing many pictures or designs

barthes mythologies definition of myth

he main purpose of his work in 'Mythologies' is to dissect the functioning of certain insidious myths. Myth is a second-order semiotic system. It takes an already constituted sign and turns it into a signifier. Barthes's example is a magazine cover which shows a black soldier saluting the French flag. At the level of first-order language, this picture is a signifier (an image) which denotes an event (a soldier saluting a flag). But at the second-order mythological level, it signifies something else: the idea of France as a great multi-ethnic empire, the combination of Frenchness and militariness. Myth is a metalanguage. It turns language into a means to speak about itself. However, it does this in a repressive way, concealing the construction of signs. The system of myths tends to reduce the raw material of signifying objects to similarity. For instance, it uses a photograph and a book in exactly the same way. Myths differ from other kinds of signifiers. For one thing, they are never arbitrary. They always contain some kind of analogy which motivates them. In contrast to ideas of false consciousness, myths don't hide anything. Instead, myths inflect or distort particular images or signs to carry a particular meaning. Myth doesn't hide things, it distorts them. It alienates the history of the sign. Barthes's main objection to myth is that it removes history from language. It makes particular signs appear natural, eternal, absolute, or frozen. It thus transforms history into nature. Its function is to freeze or arrest language. It usually does this by reducing a complex phenomenon to a few traits which are taken as definitive. Barthes uses the example of a Basque chalet in Paris, which ostentatiously displays certain signs of what is taken as Basque style, minus other aspects of Basque houses as they would be found in the countryside (it has a sloping roof, but not a barn). It is crucial to emphasise that Barthes is not saying that all language-use is myth. He does not believe that myth is necessary. His social constructivism is also partial. He believes there are things, with specific attributes, separate from their mythical constructions (accessible, perhaps, through denotative language). But a semiotician can only study the signs or myths, not the things. According to Barthes, he can tell us about the myth of the goodness of wine, or the way wine is signified as an essence it doesn't really have. Wine may, in fact, for contingent reasons of sense-experience, be good. But a semiotician can't tell us this. In a sense, therefore, this is a negative approach to myth: it breaks down rather than replacing. One might speculate that eventually, language would need to be reconstructed in a non-mythical way, in order to move beyond myth - perhaps by talking directly of situated experiences, rather than essences. But this is outside the scope of Barthes's project. Crucially, myths remove any role for the reader in constructing meanings. Myths are received rather than read. A message which is received rather than read does not require an interpretation through a code. It only requires a certain cultural knowledge. (One might add that it also needs a certain form of life corresponding to the resonance of this knowledge).

My cousins corner window Hoffmann sumbol of the tall gaunt man shopping

narrator calls him disgusting but cousin says the world needs odd fish too, both eyes are drawn to abnormalities - open up to stories that are exceptional

Translational equivalence:

principle that guides translators to seek correspondence between expression in source-language and another expression in target-language, e.g., "I don't know" in English corresponds with "Je ne comprends pas" in French. When there is no such correspondence, loan words, neologisms, semantic shifts, or circumlocutions may be used.

Creolization:

process in which mixing of cultures leads to new identities in the New World. Refers originally to the mixing of indigenous, African, and European cultures in the Caribbean basin in the context of colonialism, but has been used to describe New World processes in other regions of the world.

Five-act structure:

structure used by Shakespeare (and many of his contemporaries) in all his plays. This structure includes: I. Exposition or Introduction, II. Rising Action, III. Climax, IV. Falling Action, V. Dénouement or Resolution.

Domestication (in translation):

the strategy of making a text closely conform in translation to the language of the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text.

Foreignization (in translation):

the strategy of retaining the meaning of a source text and breaking the conventions of the target language to preserve this meaning.

Metatheater:

theater about theater, or drama about drama. The quality in a play that challenges theater's claim to be simply realistic

blow up cortazar Roberto michel interruptions of outside world subjectivity contrasts with the external

translating french version of a treatise of challenges and appeal by Jose Norberto Allende Roberto michel constantly interrupts the story to tell us clouds and pigeons are going by

My cousins corner window the art of watching, the literary motif of the window

windows enable us to see without participating. They allow us to take the position of distant, secure observers gaining information about the world even if we are not able or willing to become a part of this world. Yet, the aesthetic position of observers does not turn us into passive, stimulated objects, but requires an active, creative way of watching. We can only make sense of the chaotic world outside if we bring it into order, if we interpret what we see, if we consciously or unconsciously know that the abilities of structuring our perceptions and constructing our own view of 'reality' are indispensable parts of what the wheelchaired cousin in Hoffmann's story In Des Vetters Eckfenster, the wheelchaired cousin knows this 'art of watching'. To the world outside his window, a marketplace and its mostly female attendants, he relates in a self-reliant, superior way, using his observations of people's clothing, behavior, and appearance as physiognomic 'windows to the soul', as ways to gain knowledge of people's inner feelings, motivations, and thoughts. This practice and its obvious parallel to authorial storytelling has led Florian Welle to describe the metafictional potential of the window as a means of constructing male, self-reliant authorship through the gaze at the woman. As Welle claims, even contemporary texts such as Richard Ford's story Privacy (2002) turn to the topos of the male gaze from or through a window for repeating and continuing this at least 200 year old model of self-reliant, superior authorship.3

Mythologies, Barthes The Poor and the Proletariat

ymbols in popular culture can transform the way we view social classes and their living conditions in a highly conducive way. Barthes praises Charlie Chaplin for the work he did towards the recognition of the plight of the poor. The efficaciousness of Chaplin's work is in the combinatorial nature of his filmic semiology, his symbol manipulation. He gave recognition to the financial privation of the working class by synthesising the symbols of 'poor' and 'proletariat' into a single image. If you imagine the connotations of the word 'poor', you will probably think of peoples restricted financially and/or culturally to the human rights of food, money, education, sanitation. The symbols of poverty in film are self-explanatory. We must also consider the symbols of the work 'worker'. One thinks of the earning of money, the man in a suit with a briefcase, the commute to work, among other things. The imagery of 'worker' and 'poor' seem inherently conflicting, whether or not they are. One connotes privation of money, the other connotes the acquisition of money. Think, however, of the word 'proletarian', one imagines the iconography of slave labour, inordinate working hours, low standard working conditions... one may think of factory work, or of Stalinist Russia, or of Marx and Engels lamenting rights of the downtrodden. Charlie Chaplin decided to press with the construction of a symbol, using 'poor' and 'proletarian' to represent the working class. In doing so, it gives the low earning workers the due recognition they deserve. He uses the manipulation of symbols to show that the individual connotations of 'poor' and 'worker' are not at odds, merely that we need to re-evaluate the things we recognise as symbolic truths in them. Symbols he uses include comedically oversized sandwiches, rivers of milk, and fruit being tossed to the ground in disregard (all imagery aligned to the wealthy). These are all examples taken from his film Modern Times. They represent an excess in wealth. They are contrasted with the 'food dispensing machine', which gives the workers their sustenance in dull, insipid, rations. Their food is utile, uninteresting, and always insufficient. For Chaplin, "the proletarian is still the man who is always hungry". Hunger and disparity in contents of kitchen tables are obvious symbols, yes, but they resonate deeply. At its core, we all relate to the conditions of the stomach. The worker in the film does not recognise its plight. They are blind to it. This is a deliberate device for in not making their suffering internally conspicuous, it leads the viewer to infer the character's suffering. The viewer sees two lives, that of the proletariat, and that of the wealthy businessman, in contrast. This makes the viewer feel indignant. Other films have shown the workers engaged in a class/political struggle to emancipate themselves, but Chaplin chose the aesthetic approach. In doing so, he compels the viewer towards an emotionally resonant lesson- they are enlightened to the social struggle, whilst being put in the place of caring for them like never before. That the worker is depicted as unaware, represents them as needing emancipation. They are "unable to reach a knowledge of political causes and an insistence on a collective strategy". That they are unable to reach a collective strategy shows that they are isolated from each other on one level, and in depicting this, we see contiguously and far further emphatically their isolation from the rich. The struggle, the ennui, the starvation, is all the more palpable in their lack of singularity because it symbolises a lack of recognition. It shows that they are a symbol recognised by the viewer, but not by the ruling class. Depicting it like this is analogous to the Punch and Judy show. The children call out to let the puppets know exactly what is really happening. An ignorance is simulated so the viewer feels privy to the truth of conditions. The counterpoint to the suffering lower class worker is depicted by Chaplin himself. He is the rich man; his posture is content, he enjoys reading the newspaper, whilst reclining under a portrait of Lincoln and being pampered. However, he is in a cell, and the pamperers are his warders. His character is exaggeratedly content, yet the cell shows that he is in isolation. It is a very literal metaphor. Just as the poor are isolated from the life they deserve, he is isolated from reality, and from the true perspective of life, which the viewer has. What we learn is that symbols are incredibly powerful things. The mere depiction of a large sandwich becomes a symbol of poverty and starvation, and a signifier of avarice and gluttony. The price of not being rich is exorbitant. Barthes teaches us that art, such as in film, can transform society's perception of facts of life. Combining symbols can change what another symbol connotes. For example, we take the symbols of 'poor' and 'proletariat', add the depiction of the bourgeoise consuming a large sandwich. The sandwich ceases to symbolise a humble lunch, an icon of sustenance, and instead, its semiology becomes the signifier of class struggle and the privation of rights. Not long back, I asked if art could allow us to have the subjective experiences of others (CLICK HERE to read), we could also wonder if art can transform our moral viewpoint by simulating the viewpoints of others. Chaplin made people feel the struggle of the poor, not just witness it. One power of symbols is that they can represent ideas and feeling, but they can also represent reality. A symbol of struggle isn't merely the evocation of the feeling, but a matter of fact.

hitchcocks rear window diegetic sounds

are sounds that occur "in-world": things like dialogue, gunfire, passing street noises, and anything else the characters themselves might hear. Non-diegetic sounds are things like the music of the soundtrack and voice-over narratives, which the characters presumably can't hear. From the beginning, Hitchcock wanted to keep non-diegetic sounds to an absolute minimum in Rear Window. Franz Waxman's score gets a little opening flourish but then disappears until the closing credits. The rest of the time, we hear only those sounds that actually occur in the film's world. Even more, we only hear them the way Jeff hears them. Conversations in other apartments are heavily muted, for instance, while we hear cars and other noises the way Jeff would in his apartment. This technique keeps us tied to Jeff's point of view. Just as we're only seeing what he sees, we're only hearing what he hears.

Role of Language Brathwaite

Letter Sycorax- written in Caribbean nation language, letter to Caliban's mother Sycorax Act of translation itself becomes an act to colonize the language of the poems speaker Language itself can both record cultural memory and resist power structures

Derek Walcott compared with A tempest

...All New World endeavors mimic the Old World to a certain extent but through language American writers create something that more organically reflects what is American Through language they escape the bonds of mimicry- Braithwaite Letter sycorax innovation by incorporating Caribbean language into his poetry, was breaking away from normative poetic conventions of typography, layout, and appearance, using a dot-matrix-style printer to create a more democratic, expressive visual effect, a kind of visual vernacular. He refers to this style of visual presentation as "Sycorax video style," after the mother of Caliban in The Tempest, the witch Sycorax whose magic Prospero has stolen, along with the island. Uses language as a tool, the act of translation itself becomes an attempt to colonize the language of the speaker Walcott argues that mimicry isn't negative but inventive and creative, without relying on history (never the same). Rather than culture OR mimicry, culture IS mimicry. Those are the only uses to which we, mocked as people without history, can put it. Because we have no choice but to view history as fiction or as religion, then our use of it will be idiosyncratic, personal, and therefore, creative (13)."[4] --- nothing that caribbean writers should embrace The language Prospero teaches him is more than a tool to curse. It is also a tool for him to voice his resistance and charge against the colonizer as well as his desire for freedom. --A tempest

Come gentlemen, help yourselves. To each his character, to each character his disguise. Prospero? Why not? He has reserves of character he's not even aware of himself. You want Caliban? Well, that's revealing. Ariel? Fine with me. And what about Stephano, Trinculo? Nobody? Ah, just in time! It takes all kinds to make a world. And after all, they aren't really such bad characters. No problem about the juvenile leads, Miranda and Ferdinand. You, okay. And there's no problem about the villains either: you, Antonio; you, Alonso... perfect! Christ, I was forgetting the Gods! Eshu will fit you like a glove. As for the other parts, just take what you want and work it out among yourselves. But make up your minds .... One part I have to pick out myself: you! It's for the part of the Tempest, and I need a storm to end all storms .... I need a really big guy to do the wind. Will you do that? Fine! And then someone strong for Captain of the ship. Good, now let's go. Ready? Begin. Blow, winds! Rain and lightning ad lib!

A Tempest Cesaire Prologue

Conceit:

A complex and arresting metaphor, in context usually part of a larger pattern of imagery, which stimulates understanding by combining objects and concepts in unconventional ways. (Princeton Encyclopedia of Poetry and Poetics) As a literary device, a conceit uses an extended metaphor that compares two very dissimilar things. A conceit is often elaborate and controls a large section of a poem or the entire poem. Conceits are often quite unique and ingenuous, and can present striking juxtaposition and comparison of the unlike things. At times this can mean that the reader is strongly aware of the dissimilarities between the two things being compared in metaphor, yet the conceit broadens the reader's awareness of the complexity of the things in question. A conceit therefore often contributes to a greater sophistication of understanding about the things being compared due to the surprise factor of the unusual comparison Life is a bowl of cherries Dead as a doornail The apple of discord Bone of contention Fit as a fiddle Don't get bent out of shape Steal someone's thunder Spill the beans How like a winter hath my absence been From thee, the pleasure of the fleeting year! What freezings have I felt, what dark days seen! What old December's bareness everywhere! And yet this time remov'd was summer's time, The teeming autumn, big with rich increase, Bearing the wanton burthen of the prime, Like widow'd wombs after their lords' decease: Yet this abundant issue seem'd to me But hope of orphans and unfather'd fruit; For summer and his pleasures wait on thee, And thou away, the very birds are mute; Or if they sing, 'tis with so dull a cheer That leaves look pale, dreading the winter's near. ("Sonnet 97" by William Shakespeare) In this example of conceit from "Sonnet 97," William Shakespeare compares his separation from his lover to winter. He uses many examples of seasonal and natural imagery to extend this metaphor, such as "freezings," "dark days," and "old December's bareness." In reality, as Shakespeare notes, the separation really occurs during the summer and autumn, yet the pain of losing this loved one feels more like the darkness and cold of winter.

Enjambment:

A metrical term for poetic verses that do not stop with end punctuation at the end of a line but run over into the next line. Enjambment often 2creates a more fluid effect; in contrast, end-stopped lines tend to create the effect of stability and regularity Features of an Enjambment Enjambment lines usually do not have a punctuation mark at the end. It is a running on of a thought from one line to another without final punctuation. It is used in poetry to trick a reader. Poets lead their readers to think of an idea, then move on the next line, giving an idea that conflicts with it. Poets can achieve a fast pace or rhythm by using enjambment. Multiple ideas can be expressed without using semi-colons, periods, or commas. It helps reinforce the main idea that might seem to be confusing with pauses. It can be seen in different songs and poems. It helps readers to continue thinking about the idea, which is expressed in one line, and which continues through to the next. Short Examples of Enjambment I think I had never seen A verse as beautiful as a flower. Autumn showing off colors slowly Letting the splendid colors Flow softly to earth below. The poet labors all his days To build the beauty in his rhyme.

Characters that are against utopia- The tempest

Antonio and Sebastion think the island is uninhabitable Antonio and Sebastian's utopia don't have anything to do with the primitive island they washed upon. In fact, their utopia consists of everything but what is on the island, the exact opposite.

PROSPERO Odd, but for some time now we seem to be overrun with opossums. Peccarys, wild boar, all of the unpleasant animals! But mainly opossums. With those eyes! And the vile grin they have! It's as though the jungle was laying siege to the cave� But I shall stand firm... I shall not let my work perish! (Shouting.) I shall protect civilization! (He fires in all directions.) They're done for! Now, this way I'll be able to have some peace and calm for a while. But it's cold. Odd how the climate's changed. Cold on this island.... Have to think about making a fire� Well, Caliban, old fellow, it's just us two now, here on the island� only you and me. You and me. You-me� me-you! What in the hell is he up to? (Shouting.) Caliban!

A tempest Cesaire Epilogue However there are significant changes. To some extent Caliban defeats Prospero by running away, declaring his newly found freedom ---- a consciousness in self-determination. The snatches of his song printed in capital letters "FREEDOM HI-DAY, FREEDOM HI-DAY!" demonstrate his triumph. Whereas Shakespeare makes his Caliban disappear almost silently and gives the whole stage to Prospero, in A Tempest, Cesaire gives the privilege to Caliban. He is no longer traceless even he does not appear on stage. His voice is heard. The stage of the world belongs to all of different races. It is the word "FREEDOM" that Cesaire wants everyone, the colonized and the colonizer alike, to hear. It is a cry for freedom or decolonization all over the world. As prospero continues to assert his hold on the island, Caliban's freedom song can be heard in the background thus cesaire leaves his audience to consider the lasting effects of colonialism.

ARIEL Greetings, Caliban. I know you don�t think much of me, but after all we are brothers, brothers in suffering and slavery, but brothers in hope as well. We both want our freedom � only our methods are different. CALIBAN Greetings to you. But you didn't come to see me just to make that profession of faith. Come on, Alastor! The old man sent you, didn't he! A fine job: carrying out the Master's great ideas and master plans. ARIEL No, I've come on my own. I'm here to warn you. Prospero is planning horrible acts of revenge against you. I thought it my duty to alert you. CALIBAN I'm ready for him. ARIEL Poor Caliban, you're doomed. You know that you aren't the stronger, you'll never be the stronger. What good will it do you to struggle? CALIBAN And what about you? What good has your obedience done you, your Uncle Tom patience and your sucking up to him! It must be obvious to you that the man is growing daily more demanding and despotic. ARIEL Nevertheless, I've at least achieved one thing: he's promised me my freedom. In the distant future, of course, but it's the first time he's promised. CALIBAN Talk's cheap! He'll promise you a thousand times and take it back a thousand times. Anyway, tomorrow doesn't interest me. What I want is (shouting) Freedom now! ARIEL Okay. But you know you're not going to get it out of him now, and that he's stronger than you are. I'm in a good position to know just what he's got in his arsenal. CALIBAN The stronger? How do you know that? Weakness always has a thousand means and cowardice is all that keeps us from listing them. ARIEL I don't believe in violence. CALIBAN What do you believe in, then? In cowardice? In giving up? In genuflecting? That's it, someone strikes you on the right cheek and you offer the left. Someone kicks you on the left� cheek and you offer the right ... that way there's no jealousy. Well, Caliban doesn't act that way .... ARIEL You know very well that that's not what I mean. No violence, no submission. Listen to me: Prospero is the one we've got to change: Disturb his serenity so that finally he can come to acknowledge his own injustice and put an end to it. CALIBAN Oh sure . . . that's a good one! Prospero's conscience! Prospero is an old scoundrel who has no conscience. ARIEL Exactly � that's why we have to work to give him one. I'm not fighting just for my freedom, for our freedom, but for Prospero too, so that Prospero can acquire a conscience. Help me, Caliban. CALIBAN Listen, Ariel, sometimes I wonder if you aren't a little bit nuts. So that Prospero can acquire a conscience? You might as well ask a stone to grow flowers. ARIEL You really disappoint me. I've often had this wonderful dream that one day Prospero, you and I, we would all three set out, like brothers, to build a great world, each one contributing his own special thing: patience, vitality, love, will-power too, and rigor, not to mention the dreams without which mankind would smother to death. CALIBAN You don't understand anything about Prospero. He's not the collaborative type. He's a guy who only feels something when he's wiped someone out. A crusher, a pulveriser, that's what he is! And you talk about brotherhood! ARIEL So what's left then? War? And you know that when it comes to that, Prospero is unbeatable. CALIBAN Better death than humiliation and injustice. Anyhow, I'm going to have the last word. Unless that is going to be the privilege of nothingness. The day when I begin to feel that everything's lost, just let me get hold of a few barrels of your infernal powder and as you fly around up there in your blue empyrean realm you'll see this island, my inheritance, my work, all blown to smithereens� and, I trust, Prospero and me with it. I hope you'll like the fireworks display � it'll be signed Caliban. ARIEL Each of us marches to his own inner drummer. You follow yours. I follow the beat of mine. I wish you courage, brother. CALIBAN Farewell, Ariel, my brother, and good luck.

Act 2 scene 1 A Tempest Cesaire Displays alternative acts of resistance Caliban represents more bombastic militant style of resistance of Malcolm X Ariel represents the passive resistance of Dr. Martin Luther King Jr.

Aeneas shield vs achilles shield

Aeneas' shield consists, almost exclusively, of images and people associated with Roman history. Like the representation of receiving glory from the common men as an actual depiction of them, by incorporating images of significant figures from history on the shield of a hero, the author implies that the owner of the shield was seen as heroic by those whose legacy he was trying to live up to. In other words, through his portrayal of Romulus, Cato, and Augustus, Virgil is implying that Aeneas was living up to his legacy, and fulfilling his duty to Rome. In the Aeneid Aeneas is so focused on his responsibility to found Rome, as dictated by the gods, and live up to the standards of those men depicted on his shield, that he occasionally comes off as apathetic to modern audiences (as is the case with his departure from Dido). However, in the context of Roman empirical rule during the time that this poem was written, Aeneas' devotion to his duty is, in fact, a highly respectable and heroic action. 5 The Shield of Achilles is almost pastoral in nature, with scenes full of peace and the joy of life surrounding the central image of the cosmos: earth and sea, sun and moon, and all the glorious stars of the constellations. The Shield of Aeneas, as stated earlier, is a selected history of the glory of Rome, with the key events of Rome's past surrounding Augustus, victor of Actium, in full splendor both on the prow of a warship and "at Phoebus' bright snow-white porch," overseeing the celebration of his triple triumph.6 First, we must examine the individual central images; in battle, the eye of the enemy would naturally be drawn to the middle of the shield before all else, and so too should our eye be drawn. Aeneas' shield seems to be a combination of those of Heracles and Achilles. The terror of Phobos is present via the fierce Battle of Actium, where even the immortal gods clashed. As Agrippa and Augustus stand bravely, both their heads gleaming with gold, Minerva, Neptune, and Venus, along with Mars and the Furies, help to repel the foreign army and gods at hand. The sea is stained red with the "strange bloodshed" of the battle, and even the natural order is upset as Virgil suggests that the "Cyclades [islands], uprooted" had joined the ships in the open sea.7 This is in total opposition to the Shield of Achilles, where serenity abounds and the omnipotent forces of nature feature in the center, more important than any human activity.8 Yet we see the appreciation of the divine in the Shield of Aeneas, too, with the aftermath of Actium. The specific connotation is certainly not identical, but its presence is important to note. We will discuss more of Augustus' triple triumph later when dealing with the political implications of the shield. The Shield of Achilles, despite being only a small scene in 24 long books of the Iliad, is of utmost importance in understanding Homer's true (or more accurately, widely-believed) purpose in writing. It is curious that in a work with many ekphrases, most of which are similar in design to the horror of the Shield of Heracles, the protagonist's shield is so relatively peaceful. In the reading of the Iliad, it is easy to take the poem as extolling the glory of warfare and the honor of dying early but valiantly. But the shield of the hero, the man whose anger is central to the Iliad and the fate of the Trojan War, is hardly apotropaic and glorifies that lifestyle which many of those at Troy will never attain. It is exactly this tragedy that Homer wishes to underscore: to die young in war is to lose all the joy of peace. Achilles will never, for example, celebrate marriage, as the figures on his great shield will; its protection is insufficient in the face of brutal war to guarantee Achilles immortality. Shield of Aeneas. This shield, too, does not seem solely to confirm the rest of the Aeneid and reinforce the glory of Rome. There are many competing theories on the true nature of this shield. The earliest theory, put forth by G. E. Lessing in 1776, suggested that the Shield of Aeneas was pure propaganda, and Virgil utterly fails to create "a shield worthy of a divine workman," such as the Shield of Achilles. After Augustus' victory over the barbaric peoples, he dedicates "three hundred shrines" and "slaughtered steers ... before the altars" to the gods.32 Here, at the end of the ekphrasis, the piety of Augustus is reinvigorated, a final push to solidify the link between Aeneas and Augustus. The description of the celebration, which must have been legendary by the time of Virgil, would fill the reader with national pride. Finally, the subjugation of the "far-flung dangers" shows once and for all that Rome is truly the capital of the world, with only a few "future perils" for Augustus yet to conquer. In Homer, the glory of dying in battle is tempered with the promise of a long life of joy and pleasure; in Virgil, the glory of Rome is tainted by "cruel violence, irrational strife, and individual sorrow."35 No matter the triple triumph, it comes on the heels of bloody strife and civil war; When Aeneas gazes upon Vulcan's craftsmanship, after all is said and done, he "is glad for all [the] images, though he does not know what they mean."37 Aeneas here is ignarus, and because he does not understand the full context of the history, he rejoices at the marvels of Rome. But the reader, knowing well what he is viewing, cannot so readily rejoice; he recognizes violence and sorrow, Does Virgil hold Augustus as the true shepherd of a Golden Age for Rome, or is he merely the victor of an unnecessary civil war born out of Caesar's brief tyranny? Shield of Aeneas is linear , square Shield of Achilles is cyclical, round

Cortazars blow up and Anonionis blow up comparison interaction between the camera and the body

Antonioni's film follows the same broad contours of interaction between camera and body. The woman in the park engages the photographer in an argument hoping to retrieve the roll of film of her embraces with the older man. This first reversal of the subject-object relation, a parallel to the Cortázar version, is less traumatic for the photographer than it was for Roberto Mich It is only as the characters from the park incident encroach on the photographer's mind that his crisis of identity inten First a man peers at the photographer who is seated in a restaurant talking to his publisher. The viewer becomes the object viewed and is immediately shaken by his loss of control over his experience. When the anonymous woman from the park appears in his studio, attempting to offer herself in exchange for the roll of film, the crisis deepens. This encounter, unlike the original park scene, is curiously devoid of erotic overtones, as Antonioni equates the exchange of the roll of film, a product of one kind of sexual exploitation, with the sex act, another form of bodily exploitation. After she leaves, the photographer enlarges the park shots, believing himself again to be in a superior and controlled position; as subject-observer he thinks he has detected a gunman in the bushes observing the couple as he had been, possibly the same man who had followed him to the restaurant. The photographer concludes that by taking the photograph and thus precipitating an argument with the woman he had actually saved the older man's life. This response is an echo of Roberto Michel's justification of taking his own picture; he had thwarted the seduction and had given the boy an opportunity to escape

Lyric:

Any fairly short, non-narrative poem presenting a single speaker who expresses a state of mind or a process of thought and feeling....Although the lyric is uttered in the first person, we should be wary about identifying the "I" in the poem with the poets themselves...In many lyrics the speaker is an invented character, and one who may be very different from the actual poet. (Abrams, Glossary)

And Ban Ban Cali- ban like to play pan at the Car- nival; pran- cing up to the lim- bo silence down down down so the god won't drown him down down down to the is- land town down down down and the dark- ness fall- ing; eyes shut tight and the whip light crawl- ing round the ship where his free- dom drown down down down to the is- land town.

Edward Brathwaite, The arrivants A new World Trilogy Caliban

In Havana that morning, as every morning, the police toured the gambling houses wearing their dark glasses and collected tribute; salute blackjack, salute backgammon, salute the one-armed bandit Vieux Fort and Andros Island, the Isle of Pines; the morals squadron fleeced the whores Mary and Mary Magdalene; newspapers spoke of Wall Street and the social set who was with who, what medals did the Consulate's Assistant wear. The sky was cloudy, a strong breeze; maximum temperature eighty-two degrees. It was December second, nineteen fifty-six. It was the first of August eighteen thirty-eight. It was the twelfth October fourteen ninety-two. How many bangs how many revolutions?

Edward Brathwaite, The arrivants A new World Trilogy Caliban December 2, 1956- start of the cuban revolution august 1838 - when the british abolished slavery October 1492 -Columbus arrived in America

Ninety-five per cent of my people poor ninety-five per cent of my people black ninety-five per cent of my people dead you have heard it all before O Leviticus O Jeremiah O Jean-Paul Sartre Ban Ban Cal- iban like to play pan at the Car- nival; dip- ping down and the black gods call- ing, back he falls through the water's cries down down down where the music hides him down down down where the si- lence lies.

Edward Brathwaite, The arrivants A new World Trilogy Caliban Jeremiah = lamented , author is telling the readers he wishes to lament Ninety-five per cent of my people poor ninety-five per cent of my people black ninety-five per cent of my people dead you have heard it all before O Leviticus O Jeremiah O Jean-Paul Sartre---- time has moved but things havent changed Caliban is the archetype of a slave who turns his borrowed language against his master Coney island, Wallstreet--- author is in New York

And limbo stick is the silence in front of me limbo limbo limbo like me limbo limbo like me long dark night is the silence in front of me limbo limbo like me stick hit sound and the ship like it ready stick hit sound and the dark still steady limbo limbo like me long dark deck and the water surrounding me long dark deck and the silence is over me limbo limbo like me stick is the whip and the dark deck is slavery stick is the whip and the dark deck is slavery limbo limbo like me drum stick knock and the darkness is over me knees spread wide and the water is hiding me limbo limbo like me knees spread wide and the dark ground is under me down down down and the drummer is calling me limbo limbo like me sun coming up and the drummers are praising me out of the dark and the dumb gods are raising me up up up and the music is saving me hot slow step on the burning ground.

Edward Brathwaite, The arrivants A new World Trilogy Caliban limbo limbo limbo like me limbo limbo like me ---- seed of African culture carried to the new world, slaves nightly limbo becomes a religious ceremony Limbo- place between heaven and hell/ lost souls are in transition alluding to the state of black people in America Limbo= death->down--> rebirth---> up--> death and survival up up up and the music is saving me---- author is recreating music through words, a beat, he is remembering the death of black people and issuing a reminder to the living The whole poem we are going backwards in time, from wallstreet to carnival ban ban to the limbo on slave ships. There is alliteration 'stick hit sound' with the 's' sound emphasising the hitting effect, like a drumming. The 'd' sound in 'long dark deck' also creates a hard, unpleasant, oppressive atmosphere of the slave ship. This is developed with 'stick is the whip and the dark deck is slavery' which is repeated to emphasise the importance and unpleasantness of this, in the poem. The drumstick becomes a weapon to hit the slaves with, increasing the darkness over the slaves, like unconsciousness over them 'drum stick knock and the darkness is over me'. The words 'up' up, up' (lines 44-45) are the opposite to 'down down down' from (lines 34-36) again expressing the movement of the dance from going down under the pole in the dance to upwards, successful on the other side, like the freedom after slavery. The dance is therefore a metaphor for the freeing of slaves from their captivity.

hitchcock reare window theme of visual storytelling

Having gotten his start in silent films, Hitchcock developed a genius for telling stories visually. He liked to remind critics that "in other words, we don't have pages to fill, or pages from a typewriter to fill, we have a rectangular screen in a movie theater." (Source) Think about the first few minutes of Rear Window: the camera pans around Jeff's apartment and looks out at his neighbors just like our eyes would, letting us know that he's a (1) award-winning photographer (2) who got into a racetrack accident and is recuperating (3) during a heat wave, which (4) is making the neighbors keep their windows open so we can see them going about their (5) pretty ordinary lives. All of that without a word of dialogue. Rear Window is one of Hitchcock's most visual films. It's about watching. He keeps the camera at Jeff's eye level, so everything we see we see from his perspective; if he can't see something, neither can we. Hitchcock never leaves that camera view except to show us Jeff's reactions. We are totally identified with Jeff's POV, never leaving his apartment and feeling as trapped as he does. When Thorwald realizes he's being watched and suddenly looks up at Jeff—up at us—it's terrifying. We've been found out. Keeping the POV so limited was a pretty bold cinematic choice that could only have been successful in the hands of a director confident in his ability to use images to tell the story.

Hitchcock rear window film analysis: theme of love and marriage

Hitchcock always gave himself a brief cameo in each of his films: a non-speaking role where he'd basically appear once and never be seen again. It's a little running joke between Hitchcock and his devoted audience, a kind of Where's Waldo? game he plays in each movie. In Rear Window, he's the man winding a mantel clock in the songwriter's apartment; we see him as Jeff's gaze moves across the windows of the apartments across the courtyard. Hitch winds the clock and turns his face toward the camera. These cameos were small auteurial flourishes, sneaky signature images that let you know that this is a Hitchcock film. Whenever we see him, we're reminded that there's a director behind the scenes who's creating the story we're watching; it takes us outside the reality of the story for a moment. (Source) What's different about the Rear Window cameo is that he doesn't just appear onscreen suddenly and randomly. We see him because Jeff and the audience have been prying. Yep—so he's part of the voyeuristic action. In a playful bit of self-analysis, Hitchcock wrote in The New York Times that his motives for inserting himself into his films were "devious, or, if you prefer a more devious word, sinister. I have wormed my way into my own pictures as a spy. A director should see how the other half lives." (Source) So in Rear Window, we're spying on the spy. It's all so meta.

Hitchcocks rear window: the plaster cast

Hitchcock liked to play with Freudian symbolism. Even so, he'd probably be surprised at some of the interpretations of Jeff's full-leg cast. Just as it makes Jeff powerless to get around or do anything, it's seen by many critics as a symbol of sexual impotence. Stella has already made some wisecracks about Jeff's lack of sexual interest in the bathing beauties he's been watching from the window—they haven't raised his temperature a bit. She jokes that he must have a "hormone deficiency." She's also wondering why he hasn't jumped at the chance to marry the beautiful Lisa. Maybe it's a fear of being tied down. Roger Ebert's take? "But perhaps his real reason for keeping her away is fear of impotence, symbolized by the leg cast." (Source) And how about this: "[...] Jeff's cast is a phallic symbol—long, stiff, and jutting from the body. Yet the cast also signifies that something is broken, weak; as Modleski writes, [it's] a physical impotence, but also a sexual one." (Source) Whether you buy it or not, it's true that Lisa is the one initiating all of the sexual activity in the film. Jeff seems totally uninterested in her. In the last scene, Jeff has casts on both legs—"doubly castrated," according to Filmsite. Lisa lounges around wearing jeans and loafers—she's now wearing the pants in the family, so to speak, while Jeff sleeps like a baby. Jeff has a problem with marriage, restlessness alluded through itchy cast

I find no peace, and all my war is done. I fear and hope. I burn and freeze like ice. I fly above the wind, yet can I not arise; And nought I have, and all the world I season. That loseth nor locketh holdeth me in prison And holdeth me not—yet can I scape no wise— Nor letteth me live nor die at my device, And yet of death it giveth me occasion. Without eyen I see, and without tongue I plain. I desire to perish, and yet I ask health. I love another, and thus I hate myself. I feed me in sorrow and laugh in all my pain; Likewise displeaseth me both life and death, And my delight is causer of this strife. Who wrote it ? Name: Analysis:

I find no peace, Sir Thomas Wyatt Analysis: Wyatt explores his oxymoronic emotions as he at once brought to life by the girl of his desires and at the same time consumed with grief that she does not recognise or respond to his affections. The cause of his greatest pain is his greatest pleasure. He loves another and revels in the joy of his sadness.

hitchcocks rear window the telephoto lens

If the cast represents Jeff's "broken" man parts, then the super-size telephoto lens is what he uses to compensate. It's the only way he can feel useful and powerful. Mere looking isn't enough—he lifts up this enormous camera lens to see even more closely. According to IMDb, the lens is a 400mm prime telephoto, whose magnification (we'll take their word for it) would make it almost impossible to use without a tripod. (Source) That's some pretty serious psychological over-compensation. Jeff's camera lens represents his work and his livelihood, everything that, back in the 1950s, made a man a man. No wonder he needs that giant lens. Jeff breaks people down into types, 3 different distinctions of marriage, miss lonely hearts and miss

Cortazars blow up rebellion of the object

In Cortâzar's story the rebellion of the object world is precipitated as the woman and the older man look back at Michel taking their picture; their image pursues him, even to his studio as he enlarges the picture of the encounter on the quay and is seized by the horrifying recognition of the true nature of the relation: the woman had been sent to procure the youth for the older man. Michel is transfixed by the blow-up of the woman and the man peering at him as they move toward the camera. Their glances are directed toward him from within the enlargement he has tacked on his studio wall, and thus he can feel himself to be the exploited object of their observing eyes. It is only from this new arrangement of objects to the viewer - when in effect Michel is transformed into the double of the youth by standing in relation to the seducers where the boy would have stood - that the fullest sense of the subject-object tyranny is brought home to him. By reliving the incident in place of the boy, the photographer is forced not only to concede the technical error of his distortion of experience, but more importantly, he is made to feel the impact of personal violation through the observer presence of anot

Differences between A Tempest and The tempest.

In conclusion, A Tempest, Aime Cesaire's version The Tempest by Shakespeare, is a play embodying his idea of Negritude. Through his characterizations of Prospero, Caliban and Ariel, Cesaire presents his anti-colonial attitude and injects black consciousness into the colonized. And Cesaire's thinking on the possibilities to gain freedom is implied in Caliban and Ariel's struggle for their freedom. A Tempest, above all, is a call for consciousness of freedom.

Hitchcock rear window film analysis theme of voyeurism

Jeff is obsessed with watching his neighbors, and even though he discovers a murder in the process, he's basically invading their privacy by being a peeping Tom who's armed with binoculars and a high-end telephoto lens. The audience becomes his partners in crime. As film critic Roger Ebert puts it: The experience is not so much like watching a movie, as like ... well, like spying on your neighbors. Hitchcock traps us right from the first. As his hero, Jimmy Stewart, idly picks up a camera with a telephoto lens and begins to scan the open windows on the other side of the courtyard, we look too. And because Hitchcock makes us accomplices in Stewart's voyeurism, we're along for the ride. When an enraged man comes bursting through the door to kill Stewart, we can't detach ourselves, because we looked too, and so we share the guilt and in a way we deserve what's coming to him. (Source) Hitchcock wants us to take a long, hard look at how we interact with movies and where our pleasure at watching them really comes from. The lesson seems to be: choose carefully what you look at because you might get more involved than you bargained for. Ebert again: We are all asked to join Stewart in his voyeurism, and we cheerfully agree. We lust after Miss Torso in one of the windows, and we sympathize with Miss Lonelyhearts in another. We're aloof and superior to their plights, of course—until the chilling gaze of the killer locks eyes with ours across the courtyard. (Source) Watch the opening credits again. The shades in Jeff's apartment window slowly rise, just the way a curtain in a theater rises before the show starts. Hitchcock knew what he was doing, and he wanted to make sure we understood what shameless peeping Toms we all were—and continue to be over 60 years later.

Lingua franca:

Latin expression for a common language used as a bridge between speakers of different languages-a language than can also be considered a trade language or vehicular language. (The Greek word koine designates also this notion of a common language.) Koine Greek was the lingua franca of the ancient Hellenistic empire, and Latin was the lingua franca of the Roman Empire. In our times, English has become the global lingua franca

Love, who lives and reigns in my thought and keeps his principle seat in my heart, sometimes comes forth all in armor into my forehead; there camps, and there sets up his banner. She who teaches us to love and to be patient, and wishes my great desire, my kindled hope to be reined in by reason, shame, and reverence, at our boldness is angry within herself. Wherefore Love flees terrified to my heart, abandoning his every enterprise, and weeps and trembles; there he hides, and no more appears outside. What can I do, when my lord is afraid, except stay with him until the last hour? For he makes a good end, who dies loving well. Who wrote it? Name: Analysis:

Petrarch Rime sparse sonnet 140 Knight boldly declares himself and is promptly rebuked by the beloved. runs away to hide leaving the poet to reflect on his cowardliness to his servant. She who teaches us to love and to be patient, and wishes my great desire, my kindled hope to be reined in by reason, shame, and reverence, at our boldness is angry within herself. - becomes a joke by distancing himself from embarrassing situation Wherefore Love flees terrified to my heart, abandoning his every enterprise, and weeps and trembles;there he hides, and no more appears outside. - lets the readers in on the joke

A white doe on the green grass appeared to me, with two golden horns, between two rivers, in the shade of a laurel, when the sun was rising in an unripe season. Her look was so sweet and proud that to follow her I left every task, like the miser who as he seeks treasure sweetens his trouble with delight. "Let no one touch me," she bore written with diamonds and topazes around her lovely neck. "It has pleased my Caesar to make me free." And the sun had already turned at midday; my eyes were tired by looking but not sated, when I fell into the water, and she disappeared. Who wrote it? Name of sonnet Analysis

Petrarch, Rime sparse sonnet 190. White doe = virginity, purity unnattainable white doe on the green grass appeared to me, with two golden horns - focused more on the beauty of Laura A white doe on the green grass appeared to me, with two golden horns, between two rivers, in the shade of a laurel, when the sun - creates a beautiful scene to invoke feelings in the reader Much more descriptive and more visual than Wyatt and no talk of hunting. It has pleased my caesar to make me free- caesar = God Caesar is the one who liberates the white doe Petrarch focuses more on his feelings In Petrarch the sonnet begins with a description "A pure-white doe in an emerald glade / Appeared to me, with two antlers of gold," (1.1-2). Wyatt's sonnet stars by challenging his pols "Whoso list to hunt, I know where is a hind," (1.1). Petrarch talks about a woman he was in love with, but he never actually attempts her because Laura was married. He just follows her because he is enchanted by the vision. Wyatt, instead, talks about hunting a woman which means chasing a girl. Because Anne Boleyn is married, the speaker is trying to stop chasing the woman, but something about her makes it impossible. Wyatt attempts to hunt the women despite of knowing that she is impossible to capture "Sithens in a net I seek to hold the wind" (1.8). In Petrarch the sonnet is more focused in the beauty of Laura. The kind of metaphor at the end is a dream of love. While in Wyatt it is tormented love. He mixes love with the situation of power, he is competing with the absolute of Henry.

Loving in truth, and fain in verse my love to show, That she, dear she, might take some pleasure of my pain,— Pleasure might cause her read, reading might make her know, Knowledge might pity win, and pity grace obtain,— I sought fit words to paint the blackest face of woe; Studying inventions fine her wits to entertain, Oft turning others LEAVES, to see if thence would flow Some fresh and fruitful showers upon my sunburn'd brain. But words came halting forth, wanting invention's stay; Invention, Nature's child, fled step-dame Study's blows; And others' feet still seem'd but strangers in my way. Thus great with child to speak and helpless in my throes, Biting my truant pen, beating myself for spite, "Fool," said my Muse to me, "look in thy heart, and write." Not at first sight, nor with a dribbèd shot, Love gave the wound which while I breathe will bleed: But known worth did in mine of time proceed, Till by degrees it had full conquest got. I saw, and liked; I liked, but lovèd not; I loved, but straight did not what love decreed: At length to love's decrees I, forced, agreed, Yet with repining at so partial lot. Now even that footstep of lost liberty Is gone, and now like slave-born Muscovite I call it praise to suffer tyranny; And now employ the remnant of my wit To make myself believe that all is well, While with a feeling skill I paint my hell.

Sir Phillip Sidney From Astrophil and Stella Analysis: Loving in truth, and fain in verse my love to show, That she, dear she, might take some pleasure of my pain,— Pleasure might cause her read, reading might make her know, --- Shows his love through writing so by reading she can understand. Leaves = pun, leaves as in pages and leaves as in leaves on a tree Sunburned = botanical garden metaphor Nature's child - keeping natural metaphor Feet = pun Oft turning others LEAVES- she turns to others sonnets Mostly about a male rivalry, Poet vs Poet. look in thy heart, and write - stop worry and write, combines frustration of love with frustration of writing a sonnet. Nature/ study, study is inferior.

Old World / New world in A Tempest, The Tempest, Walcott

Prospero and Miranda represent the contrast between old world and new world Old World/New World 1: Throughout this play different attributes are given to the 'Old World' being Europe and the civilized world, and the 'New World' or an uninhabited uncivilized island. During the writing of The Tempest, accounts of the New World, the Americas, and expositions of its men, animals and beasts were circulating through Europe. In this exchange between father and daughter, the characters discuss what has been left in the Old World: Dukedom and serving women. For Prospero and his daughter, living on the fringes of civilization means abandoning parts of their old world and implementing facets of the new. Miranda has been educated by her father in Old World terms but she has learned the secrets of the island from Caliban. Old World/ New World 2: Caliban, a native to the island, rails against the institution of language and must be forced to submit. He also attempts to have sex with Miranda by force. Ferdinand, of the Old World, exhibits his desire for Miranda by submitting to her father. Old World/New World 3: Shakespeare's focus on the green and the lushness of the island contrasts it with the European world. The island is viewed as wild, and under-utilized. Gonzalo has a utopian view of the island. He wishes to tame it to the point that it will yield crops, but he also wished to abandon the fetters of civilization: order and hierarchy. In his new world there would be no chaos because everyone would be happy. Old World/New World 4: Two drunken men of the servant class come to a wild island and imagine they are capable of ruling. They secure the loyalty of a native through gifts of liquor and the promise of benevolent rule. Old World/New World 5: In the assassination plot, Caliban instructs the drunkards to destroy Prospero's books, which represent his knowledge and power; they are emblems of the old world. Miranda is promised as a prize for this deed. Caliban describes the noises of the islands as dream-like. His speech about the interaction between dreams and life is poignant. Old World/New World 6: The characters are struck with visions and thrown from a dream into a nightmare. This sort of magic is peculiar to the New World. Act 4 Old World/New World 7: The elaborate ceremony of the spirits is a strange presentation of classical deities in the new realm. In this format, Prospero has introduced his knowledge of the classical pantheon to the spirit Ariel. This scene of the goddesses blessing the couples happens on the fringe of civilization where knowledge meets ignorance. Act 5 Old World/New World 8: The happy ending pleases everyone as they return to the old world. The men return to their restored hierarchy, while Miranda returns happily engaged to Ferdinand. The young lovers themselves enter this hierarchy as a symbol of political union. Ariel is released from captivity upon their safe return, and the servants resume their acceptable duties

When my love swears that she is made of truth, I do believe her, though I know she lies, That she might think me some untutored youth, Unlearnèd in the world's false subtleties. Thus vainly thinking that she thinks me young, Although she knows my days are past the best, Simply I credit her false-speaking tongue: On both sides thus is simple truth suppressed. But wherefore says she not she is unjust? And wherefore say not I that I am old? Oh, love's best habit is in seeming trust, And age in love loves not to have years told. Therefore I lie with her and she with me, And in our faults by lies we flattered be.

Shakespeare The Sonnets : 138 tedious keeping a relationship going/ maintenance of everyday habituality may be rough trust incorporates distrust not really about love but the actual act of sharing love man of reason is betraying his most important attribute paradox, both believe each other, yet they both know each other are lying Simply = means of contradiction I do believe her, though I know she lies, That she might think me some untutored youth ---- believes her so that she thinks hes naive and therefore young. Vain= pun being vain and in vain Exploring the relationship between love and knowledge Sonnet 138 presents a candid psychological study of the mistress that reveals many of her hypocrisies. Certainly she is still very much the poet's mistress, but the poet is under no illusions about her character: "When my love swears that she is made of truth, / I do believe her, though I know she lies." He accepts without protest her "false-speaking tongue" and expects nothing better of her. Cynically, he too deceives and is comforted by knowing that he is no longer fooled by the woman's charade of fidelity to him, nor she by how young and simpleminded he presents himself to be. In a relationship without affection or trust, the two lovers agree to a relationship based on mutual deception. Both agree never to voice the truth about just how much their relationship is built on never-spoken truths: "But wherefore says she not she is unjust? / And wherefore say not I that I am old?" Note that the sentence construction in these two lines is identical, similar to how both the poet and the woman identically feign lying when each knows that the other person knows the truth. he main theme of the concluding two lines is lust, but it is treated with a wry humor. The poet is content to support the woman's lies because he is flattered that she thinks him young — even though he knows that she is well aware of just how old he is. On the other hand, he does not challenge her pledges of faithfulness — even though she knows that he is aware of her infidelity. Neither is disposed to unveil the other's defects. Ultimately the poet and the woman remain together for two reasons, the first being their sexual relationship, the second that they are obviously comfortable with each other's lying. Both of these reasons are indicated by the pun on the word "lie," meaning either "to have sex with" or "to deceive": "Therefore I lie with her and she with me, / And in our faults by lies we flattered be."

Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove. O no! it is an ever-fixed mark That looks on tempests and is never shaken; It is the star to every wand'ring bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me prov'd, I never writ, nor no man ever lov'd.

Shakespeare The Sonnets:116 About love in its most ideal form Whose worth's unknown, although his height be taken. -- loves actually worth cant be known Love's not Time's fool-- love is not at the mercy of time. Within his bending sickle's compass come--- comparison to the grim reaper Within his bending sickle's compass come (10): i.e., physical beauty falls within the range ("compass") of Time's curved blade. Note the comparison of Time to the Grim Reaper, the scythe-wielding personification of death. Whose worth's unknown, although his height be taken (8): The subject here is still the north star. The star's true value can never truly be calculated, although its height can be measured. the star to every wandering bark (7): i.e., the star that guides every lost ship (guiding star = Polaris). Shakespeare again mentions Polaris (also known as "the north star" Sonnet 116 is about love in its most ideal form. The poet praises the glories of lovers who have come to each other freely, and enter into a relationship based on trust and understanding. The first four lines reveal the poet's pleasure in love that is constant and strong, and will not "alter when it alteration finds." The following lines proclaim that true love is indeed an "ever-fix'd mark" which will survive any crisis. In lines 7-8, the poet claims that we may be able to measure love to some degree, but this does not mean we fully understand it. Love's actual worth cannot be known - it remains a mystery. The remaining lines of the third quatrain (9-12), reaffirm the perfect nature of love that is unshakeable throughout time and remains so "ev'n to the edge of doom", or death. In the final couplet, the poet declares that, if he is mistaken about the constant, unmovable nature of perfect love, then he must take back all his writings on love, truth, and faith. Moreover, he adds that, if he has in fact judged love inappropriately, no man has ever really loved, in the ideal sense that the poet professes.

When, in disgrace with fortune and men's eyes, I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself and curse my fate, Wishing me like to one more rich in hope, Featured like him, like him with friends possessed, Desiring this man's art and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, (Like to the lark at break of day arising From sullen earth) sings hymns at heaven's gate; For thy sweet love remembered such wealth brings That then I scorn to change my state with kings.

Shakespeare The Sonnets:29

ROSPERO For this, be sure, to-night thou shalt have cramps, Side-stitches that shall pen thy breath up; urchins Shall, for that vast of night that they may work, All exercise on thee; thou shalt be pinch'd As thick as honeycomb, each pinch more stinging Than bees that made 'em. CALIBAN I must eat my dinner. This island's mine, by Sycorax my mother, Which thou takest from me. When thou camest first, Thou strokedst me and madest much of me, wouldst give me Water with berries in't, and teach me how To name the bigger light, and how the less, That burn by day and night: and then I loved thee And show'd thee all the qualities o' the isle, The fresh springs, brine-pits, barren place and fertile: Cursed be I that did so! All the charms Of Sycorax, toads, beetles, bats, light on you! For I am all the subjects that you have, Which first was mine own king: and here you sty me In this hard rock, whiles you do keep from me The rest o' the island. PROSPERO Thou most lying slave, Whom stripes may move, not kindness! I have used thee, Filth as thou art, with human care, and lodged thee In mine own cell, till thou didst seek to violate The honour of my child. CALIBAN O ho, O ho! would't had been done! Thou didst prevent me; I had peopled else This isle with Calibans. PROSPERO Abhorred slave, Which any print of goodness wilt not take, Being capable of all ill! I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other: when thou didst not, savage, Know thine own meaning, but wouldst gabble like A thing most brutish, I endow'd thy purposes With words that made them known. But thy vile race, Though thou didst learn, had that in't which good natures Could not abide to be with; therefore wast thou Deservedly confined into this rock, Who hadst deserved more than a prison. CALIBAN You taught me language; and my profit on't Is, I know how to curse. The red plague rid you For learning me your language! PROSPERO Hag-seed, hence! Fetch us in fuel; and be quick, thou'rt best, To answer other business. Shrug'st thou, malice? If thou neglect'st or dost unwillingly What I command, I'll rack thee with old cramps, Fill all thy bones with aches, make thee roar That beasts shall tremble at thy din. CALIBAN No, pray thee. Aside I must obey: his art is of such power, It would control my dam's god, Setebos, and make a vassal of him.

Shakespeare The Tempest Act 1 scene 1 Ambiguity of land ownership between Caliban and Prospero, alludes to power dynamics between land rights and entitlement rights between the colonized and the colonizers teacher pupil scene, there is a strange affinity between them, they mirror each other by their speech Language allusion to colonizer and colonists the natives learning the language of the colonizers

MIRANDA You have often Begun to tell me what I am, but stopp'd And left me to a bootless inquisition, Concluding 'Stay: not yet.' PROSPERO The hour's now come; The very minute bids thee ope thine ear; Obey and be attentive. Canst thou remember A time before we came unto this cell? I do not think thou canst, for then thou wast not Out three years old. MIRANDA Certainly, sir, I can. PROSPERO By what? by any other house or person? Of any thing the image tell me that Hath kept with thy remembrance. MIRANDA 'Tis far off And rather like a dream than an assurance That my remembrance warrants. Had I not Four or five women once that tended me? PROSPERO Thou hadst, and more, Miranda. But how is it That this lives in thy mind? What seest thou else In the dark backward and abysm of time? If thou remember'st aught ere thou camest here, How thou camest here thou mayst. MIRANDA But that I do not. PROSPERO Twelve year since, Miranda, twelve year since, Thy father was the Duke of Milan and A prince of power. MIRANDA Sir, are not you my father? PROSPERO Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was Duke of Milan; and thou his only heir And princess no worse issued. MIRANDA O the heavens! What foul play had we, that we came from thence? Or blessed was't we did? PROSPERO Both, both, my girl: By foul play, as thou say'st, were we heaved thence, But blessedly holp hither. MIRANDA O, my heart bleeds To think o' the teen that I have turn'd you to, Which is from my remembrance! Please you, farther. PROSPERO My brother and thy uncle, call'd Antonio-- I pray thee, mark me--that a brother should Be so perfidious!--he whom next thyself Of all the world I loved and to him put The manage of my state; as at that time Through all the signories it was the first And Prospero the prime duke, being so reputed In dignity, and for the liberal arts Without a parallel; those being all my study, The government I cast upon my brother And to my state grew stranger, being transported And rapt in secret studies. Thy false uncle-- Dost thou attend me?

Shakespeare The Tempest Act 1 scene 2 . There is no indication that Miranda ever sets her hands on these fabled tomes, either: Prospero controls the reality of both Caliban and Miranda through language and stories, giving them no other means of education or perspective. Relationship between father and daughter, prospero very controlling typical rolling eyes interaction between father and daughter

That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruin'd choirs, where late the sweet birds sang. In me thou see'st the twilight of such day As after sunset fadeth in the west, Which by and by black night doth take away, Death's second self, that seals up all in rest. In me thou see'st the glowing of such fire That on the ashes of his youth doth lie, As the death-bed whereon it must expire, Consum'd with that which it was nourish'd by. This thou perceiv'st, which makes thy love more strong, To love that well which thou must leave ere long.

Shakespeare The sonnets : 73 That time of year thou mayst in me behold- in me you can see that time of the year black night= metaphor for death That on the ashes -- That = poets desires This thou perceiv'st---This = demise of his youth or passion To love that well- aware of the poets imminent demise ? knowledge makes the young mans love for the poet stronger In this poem, the speaker invokes a series of metaphors to characterize the nature of what he perceives to be his old age. In the first quatrain, he tells the beloved that his age is like a "time of year," late autumn, when the leaves have almost completely fallen from the trees, and the weather has grown cold, and the birds have left their branches. In the second quatrain, he then says that his age is like late twilight, "As after sunset fadeth in the west," and the remaining light is slowly extinguished in the darkness, which the speaker likens to "Death's second self." In the third quatrain, the speaker compares himself to the glowing remnants of a fire, which lies "on the ashes of his youth"—that is, on the ashes of the logs that once enabled it to burn—and which will soon be consumed "by that which it was nourished by"—that is, it will be extinguished as it sinks into the ashes, which its own burning created. In the couplet, the speaker tells the young man that he must perceive these things, and that his love must be strengthened by the knowledge that he will soon be parted from the speaker when the speaker, like the fire, is extinguished by time.

The long love that in my thought doth harbor And in mine heart doth keep his residence, Into my face presseth with bold pretence And therein campeth, spreading his banner. She that me learneth to love and suffer And will that my trust and lustës negligence Be rayned by reason, shame, and reverence, With his hardiness taketh displeasure. Wherewithall unto the hert's forest he fleeth, Leaving his enterprise with pain and cry, And there him hideth and not appeareth. What may I do when my master feareth But in the field with him to live and die? For good is the life ending faithfully. Who wrote it? Name: Analysis:

Sir Thomas Wyatt, the long love that in my thought doth harbor Analysis: Translation of Petrarachs sonnet 140 line 12 in the original poem alludes to the lover's fear of his master, Love, whereas Wyatt changes the poem to mean that his master, Love, is afraid of the beloved. n the first four lines of this poem, Love is personified as a lonely knight who takes shelter in the speaker's thoughts and keeps his home in the speaker's heart. From there, the knight makes bold incursions into the speaker's face, where he displays his insignia in the form of blushes, "spreading his banner" (l. 4). By portraying Love as a separate entity from the lover, the speaker conveys the idea that the lover is a victim who is held hostage by love—whose thoughts, feelings, and outward expressions of love are entirely involuntary. The next four lines focus on Love's object, known only as "She" (l. 5). The beloved is displeased with Love's boldness, preferring that her lover rein in his unruly passions by the threefold approach of right thinking, emotional control, and spiritual reverence. The beloved holds a position of authority over the lover in that she teaches him how to love, "me learneth to love and suffer" (l. 5), as well as imposes her standards as to which expressions of love are appropriate, "with his hardiness taketh displeasure" (l. 8). Consequently, the lover is torn between the vagaries of love's whims and his beloved's censure of love's boldness. Whereas the first eight lines set forth the lover's situation, the final six focus on the resolution of his dilemma. In response to the beloved's displeasure, Love flees into the heart's forest (with the common pun on hart, meaning deer, suggesting that Love is preyed upon by the beloved), where he hides unseen, no longer showing himself in the lover's face. In the final three lines, the lover acknowledges that banished love is his master and concludes that he must be Love's faithful servant, going with him into battle, willing to die there for him, "for good is the life ending faithfully" (l. 14). See also Love that doth reign and live within my THOUGHT, PERSONIFICATION. Sharper more regretful tone In the line she that me learneth to love and suffer- declaration of his presence

Antonionis blowup characters

The Photographer. The photographer is the central character. He controls the world through his camera. Manipulates all the high-class models. Distances and controls the world with his camera. We see it in the scenes with the models. He also does voyeuristic photography--takes covert shots of derilects in the flop-house. In the park he takes photos of what he thinks is a love scene. But through examining the blow-ups he discovers that he's captured a murder. He tries to tell his friends what he's seen, but discovers that he's unable to communicate his knowledge to anyone. Ron is caught in his own life--doesn't listen and can't understand. Patricia can't understand the only blow-up left because it is highly abstract. At the end the Photographer comes to the realization of his own isolation--his total inability to communicate his experience. The blow-up sucks him into confrontation with his existential condition of aloneness. He changes in that he moves from being distanced to becoming involved, from ignorance to knowledge. Patricia. Patricia seems to have feelings for the Photographer. She's unhappy in ways that she can't articulate. The scene in the studio with the Photographer about the murder is a subtle treatment of the inability of people to communicate. She wants help from him, but can't say what the problem is. He tries to explain the murder but she can't understand. They want to communicate to each other, but can't. They're left in their own isolation. Ron. Ron is his friend with whom he can't communicate. In the key scene at the pot party, Ron is high and can't hear or understand. The Woman in the park. She is based directly on the woman in Cortazar's story. She has lured the man into the park in order to be killed. In the scene with the Photographer in his studio, she seems for a moment to connect with the Photographer. But the moment is interrupted--the connection fails.

Hitchcocks rear window ending

The best thing about the ending isn't that Thorwald is in jail and our lovers are back together but the way Hitchcock wraps up all of the stories we've watched unfold through that window. Just as the camera panned across the courtyard at the beginning of the film introducing us to the neighbors and their dramas, it does the same at the end. We see Miss Torso's boyfriend finally coming home from the Army, only to be revealed as a skinny little geek. Miss Lonelyhearts befriends the songwriter whose music saved her life; the couple on the fire escape have a new dog to love; the passionate newlyweds have turned into an ordinary bickering couple; and the thermometer shows us that the heatwave has broken. Lisa and Jeff seem to be doing just fine. Jeff, now in two casts, looks to be going nowhere for a while yet. Lisa seems to have given up on "taming" her beau and reads a travel book while lounging in jeans and loafers instead of expensive dresses. But, as with the newlyweds, not everything seems to have wrapped up neatly. When Jeff falls asleep, Lisa puts down that How to Kill Your Dinner with a Penknife treatise in favor of a fashion magazine. And just as the shades on Jeff's window rise to introduce us to this film, the shades come down as the film ends. Jeff and Lisa's story is definitely to be continued, but we won't be seeing it. As Hitchcock ends the film with the blinds in Jeff's apartment being lowered, our own episode of voyeurism has come to a close.

Antonionis blowup symbols

The blow-ups. The blow-ups reveal the truth of what happened that the Photographer did not see with his eyes. The key blow-up symbol is the one that is so abstracted that one can't tell it's an image of a body. This blow-up gains its symbolic meaning by being related to Bill's abstact painting. The Blow-up becomes a symbol of the inability to communicate. The protest sign, the propeller and the guitar. These are things that the Photographer gets involved with, but are simply distractions. They don't mean anything in particular in themselves, but fit into the pattern of distraction that includes the sex with the two girls, the pot party and the mime's tennis game. They all fit into a pattern of distraction that characterizes his life. Bill's painting. Bill's abstract painting, which has no overt meaning, appears for a second time in the room when Bill and Patricia are making love and the Photographer comes to tell what he's seen. Like the painting, the photographer doesn't communicate. And then the painting is clearly related to the abstract blow-up that can't communicate that it's a photo of a murdered man.

Cortazars blow up and Anonionis blow up comparison The camera

The camera becomes the basis for the photographer s apprehension of meaning in the signs of his experience. André Bazin has noted: "All the arts are based on the presence of man. only photography, through the instrumentality of the nonliving agent - the camera - derives an advantage from his absence." .6 So, significantly, the assumption of the camera identity and the camera syntax, distanced and immobile as points of reference to the physical world, signifies a negation of self for each protagonist, while the ob- jects of his scrutiny provoke his crisis of consciousness through their reci- procity to each other, and to him. The human body, characterized through the erotics of human experience and response, reflects the viewer's state of self- denial and thus becomes the object ot his concern. The relation of bodies to the camera provokes his eventual traumatic revelations

Anotonionis blowup narration

The dominant mode of narration in Blowup is third-person external narration (See: Narration in Film). The story is presented from outside the story-world. The film always stays outside of the characters. There are no Mind-flashes or forms of first-person narration such as flashbacks. However, the camera does take on an active narrative role at certain key points. The camera becomes the story-teller in part of the analysis of the first blow-ups sequence. It takes an active role in reconstructing the meaning of the event. Then the camera turns the blow-ups into a film of stills accompanied with sound. By means of cutting and camera movement, it constructs a coherent narrative of the murder. It isn't just the camera presenting the Photographer's pov shots--simulating his perceptions. The camera becomes an independent actor. The camera also narrates at the end, when it actively follows the imaginary ball that the mimes hit. It moves from simply showing the scene in a impersonal way, into participating in the game of the mimes, following the imaginary ball. Plot

Antonionis blowup themes

The film explores the isolation and the inability to communicate that characterizes the lives of the characters. The Photographer is initiated into the knowledge of his own aloneness and the discovery of his inability to communicate. The Photographer's had an overwhelming experience--he's been a detective and discovered a murder and seen the body. But he discovers that he is unable to communicate the experience to anyone else. He's left with the knowledge of the murder, whcih no one else can share. The blow-ups reveal the truth of the murder to him, but the final blow-up reveals, through its inability to communicate its content, his isolation. The Photographer's life has been distancing of himself from others and a manipulation of others by means of his camera. He's been a voyeur. When the blow-ups suck him into the reality of a murder in which he touches the body of the dead man, he discovers that he can't communicate this experience to anyone. Neither Ron, nor Patricia, nor anyone else can understand or share his experience. The film ends with him falling back into his unsual pattern of distraction by getting involved in the imaginary tennis game. However, as he watches and hears the sound of the ball, he reflects on his own isolation. The film conveys his isolation by focusing on his reaction-shots. We infer his negative thoughts at the end by the look of anguish on his face. The cut to the extreme long shot of him as a small, isolated figure in the middle of the field, communicates to the audience his final aloneness.

Hitchcocks rear window point of view

The film is a traditional chronological narrative—no flashbacks or flash-forwards, no postmodern jumping around or playing with concepts of time and space. Technically, we're bending the rules by calling it a first-person narrative. A real first-person story would use things like voice-over and constant POV shots to get us into the main character's head. Hitchcock doesn't quite do that—but, frankly speaking, he doesn't need to. We spend every second by Jeff's side, seeing what he's seeing and stuck in the apartment just like he is. Except for one brief scene at the very end of the movie, the camera never leaves his wheelchair. That probably qualifies it for first-person status, despite the fact that it doesn't quite fit the strict definition. The only real difference is one of technique—Hitchcock does it all visually.

antonionis blowup language

The film is minimalist in terms of communication through language. In fact one of its points is to demonstrate the non-communication of language. The characters simply can't make contact with each other through language. Speech is an evasion and not a vehicle of communication. The major scenes between the Photographer and Patricia, the woman and Ron are scenes of the failure of communication. Though the dialogue is minimal, it is heavy with symbolic statement. There are a number of thematic statements made in cryptic or ironic speeches throughout the film. Bill's comment about the painting meaning nothing till later and then figuring it out. The Photographer's statement to the Woman: "Nothing like a little disaster for sorting things out." The Photographer's statement to Ron in the restaurant:"I wish I had a ton of money and then I'd be free." The dialogue between the Photographer and the Woman, the Photographer and Patricia about the blow-up, between Ron and the Photographer at the pot party.

Theme of masque in the Tempest

The masque gives a momentary vision of a world without problems, immediacy, and drama. We know, however, that such a state cannot be. Prospero has nearly become entrapped in such a belief. The masque is totally dependent on Prospero; thus, when he begins to lose his awareness, he forgets the immediate action needed to return to the "real" world, Milan. It is because of this slight loss of awareness that Prospero is "touch'd with anger" when he makes the transition from fantasy to reality. The masque provides a bridge for the action of the play to move from the magical island back to the civilized Milan. The poetry of the play also changes with the masque. Both an operatic and a fairytale quality are produced in the masque. Finally, Shakespeare has several different uses for the masque in The Tempest. He has made it a bridge from magic to reality; a celebration of Ferdinand's and Miranda's engagement, and of King James' daughter. It has provided an operatic, musical quality to the play, and a fairytale quality as well. The masque produces a necessary section of the play, and although The Tempest has been performed without the masque it is an addition which almost perfectly rounds out Shakespeare's play.

Anotonionis blowup plot

The plot is the photographer's gradual discovery that his photos of a couple in the park turn out to be a murder of which he is the only witness. The plot is a classic one: An initiation story in which the Photographer moves from ignorance to knowledge.

Cortazars blow up and Anonionis blow up comparison challenge and response

The story and film reveal a remarkable consistency in their treatment of the aesthetic crisis of perception and its ensuing psychological complications. Three stages of challenge and response serve to anchor both variations of the same thematic development: 1) the isolated scene and the participants' reaction; 2) the eventual recognition by the photographer of his error and his subsequent effort to reconstruct the experience through the blow-up; 3) a reaction by the photographer to the full implications of his photo-ontological inauthenticity. It is primarily in this third stage where, as Cortázar states, Antonioni's interpretation appears distinct from that of the original story. In the story the process of self-revelation is intensified as the three stages indicated are carefully reduced to a single painful present tense of action and lucidity; Roberto Michel sorts out and reevaluates his experience as he views the enlargements on the wall of his Paris studio. Attempting to reconstruct the events on the quay he comes to realize that he has become so deformed by the process of verbal and graphic deceits that he cannot retrieve himself from the depersonalization with which he has become so aligned. In the final passage of the story camera-man recedes into the total consciousness of the camera, immobilized as the camera is; he confuses the images of birds and buildings outside his window, thinking them one more photograph on his wall. Cortazar's message is thus the defeat of technological man, his inability to be reborn in the world of reciprocal humanity he has viewed. In the last sequence of the story all humanity is absented; Michel has become metamorphosed into the very lens of the camera as it views the world as a photograph. In the Antonioni version, the final message is perhaps more optimistic, for as the photographer comes to acknowledge the defeat of his previous manner of seeing and of being, he manages to effect what appears to be the beginnings of change within himself. This scene moves back to the park where the traumatizing embrace occurred and from where the dead body had mysteriously disappeared. The concluding shots take place at dawn, a recurrent Antonioni image of hope and rebirth. The photographer views a group of students dressed for rag week, simulating a tennis match. When an imaginary tennis ball is hit off the court, the players gesture to the photographer to retrieve it; making a motion of picking up the ball, he throws it back to them. After a while he can even hear the sounds of the invisible ball as it is hit from one racket to the other.

Hitchcocks rear window title

The title is basically a descriptor: Jeff peeps on his neighbors through the rear window of his apartment, and the view through that window is the audience's, too—it's all we've got. Rear Window also implies something secret—something out of the way, hidden in the back, where most people can't see it. That gives a hint of danger to the proceedings, a sense that maybe we're peering in on things we shouldn't.

Shakespearean or English form:

Three quatrains ending in a closing couplet. Typical rhyme scheme: abab cdcd efef gg. The volta falls here right before the closing couplet. Shakespeare's sonnets are written predominantly in a meter called iambic pentameter, a rhyme scheme in which each sonnet line consists of ten syllables. The syllables are divided into five pairs called iambs or iambic feet. An iamb is a metrical unit made up of one unstressed syllable followed by one stressed syllable. An example of an iamb would be good BYE. A line of iambic pentameter flows like this: baBOOM / baBOOM / baBOOM / baBOOM / baBOOM. Here are some examples from the sonnets: When I / do COUNT / the CLOCK / that TELLS / the TIME (Sonnet 12) When IN / dis GRACE / with FOR / tune AND / men's EYES I ALL / a LONE / be WEEP / my OUT/ cast STATE (Sonnet 29) Shall I / com PARE/ thee TO / a SUM / mer's DAY? Thou ART / more LOVE / ly AND / more TEM / per ATE (Sonnet 18)

Ekphrasis:

Verbal description of a visual work of art.

Whoso list to hunt, I know where is an hind, But as for me, alas, I may no more. The vain travail hath wearied me so sore, I am of them that farthest cometh behind. Yet may I by no means my wearied mind Draw from the deer, but as she fleeth afore Fainting I follow. I leave off therefore, Sithens in a net I seek to hold the wind. Who list her hunt, I put him out of doubt, As well as I may spend his time in vain. And graven with diamonds in letters plain There is written, her fair neck round about: Noli me tangere, for Caesar's I am, And wild for to hold, though I seem tame. Who wrote it ? Name: Analysis:

Whoso list to Hunt, Sir Thomas Wyatt Translation of Petrarach 190 Analysis: Whoso list is to hunt- unrequited love, you can go hunt her, it is asking the reader who enjoys the hunt Wyatt is talking about hunting a women who is married and he hunts despite knowing she is impossible to capture. Noli me tangere- it was a capital crime to hunt the kings deer, also it is a quote from the latin Bible Illustrates gthe duality of pleasing God and pleasing king henry. I seek to hold the Wind = futility As well as I may spend his time in vain- anxiety about being part of courtly atmosphere

Imagism:

a poetic movement that flourished in England, and even more vigorously in America, between the years 1912 and 1917. It was organized by a group of English and American wrtiers in London...as a revolt against what Ezra Pound called the "rather blurry, messy...sentimentalistic mannerish" poetry at the turn of the century. Ezra Pound, the first leader of the movement, was soon succeeded by Amy Lowell; other leading participants were H.D., D. H. Lawrence, William Carlos Williams, John Gould Fletcher, and Richard Aldington. The Imagist claims, as voiced by Amy Lowell in her Preface to the first of three anthologies called Some Imagist Poets (1915-1917), declared for a poetry which (abandoning conventional poetic materials and its versification) is free to choose any subject and to create its own rhythms, is expressed in common speech, and presents an image that is hard, clear, and concentrated. (Abrams, Glossary)

(The) Uncanny: .

according to Freud, the species of the frightening that goes back to what was once well known and had long been familiar. As Freud (unwittingly) demonstrates in his essay, part of the effect of the uncanny is its power to generate a compulsion to repeat

Epistolary novel:

narrative form conveyed entirely by exchange of letters. Hoffmann taps into this form in "The Sandman."