Chaucers Vivid Characters :: essays papers

Chaucers Vivid CharactersEssay- Chaucers Vivid CharactersChaucers Canterbury Tales is so poignant that it almost single-handedly defines a whole epoch in history. It is the people life history in the time period who define the era, and it was Chaucer who described the people living in the Middle Ages. Just describing a few people in an offhand way would not have had a profound impact. Chaucers literary works did have impact because he fictitious characterized every social class using very vivid characters. Describing his characters with some(prenominal) vividness is key for that is what defines the way the reader feels more or less the character and the degree of power of association the reader makes with the character. Hence, the vividness of the character is directly proportional to how pointed his work is which creates the tone. Themes and proportions are tools Chaucer uses to create his tone. The more vivid the character is, the more pointed the message. For example, his w riting is very vivid as to how ugly the Summoner is. Thus indicating Chaucers extreme dislike for what the Summoner represents. Through the use of literary tone, the characters of the Wife of lav and the Summoner are described very vividly.Through The Wife of Bath, Chaucer gives an example of a freethinking individual. In regards to virginity, the Wife of Bath said, advice is not commandment, no He unexpended the thing to our own judgment so. This statement was very extraordinary for its time as it questioned the sanctimonious state of virginity. Moreover, the Wife of Bath is attributed with reasoning powers, which was probably not a common practice when portraying women in those times. The Wife of Bath gives an example of a character that is an independent thinker very much like Chaucer himself. Chaucers tone when describing the Wife of Bath was sensuous. Her face being fair with red hue and her buttocks large as she sat upon an pram gives vivid impression of a tactile and v isual nature. She had a bold face that coincides with her strong character. Not only does the tone conjure up pleasance it also expresses mental thoughtfulness. It questions the churchs foundation of St. Peters ideas about virginity. Chaucer uses the Wife of Bath to indirectly express the churchs contrariety in regards to the natural propagation of the human race and virginity. The Wife of Bath is honest. She feels no shame in dancing the old dance of love.

Linking Magical Realism and the Sublime in A Very Old Man with Enormous

Linking Magical reality and the high-sounding in A Very Old humans with Enormous Wings Marquezs A Very Old Man with Enormous Wings links Magical reality and Sublime publications to one another in such a way that Magical Realism seems to be a genre of the Sublime. This short story was published with a collection of other stories entitled Leaf Storm and Other Stories in 1955. Gabriel Garcia Marquez, a native Columbian, has accomplished a great deal in the field of Magical Realism. This particular short story fulfills the requirework forcets for Magical Realism and, at the alike(p) time, the Sublime. This fact leads one to believe that Magical Realism is, in fact, a genre of the Sublime instead of the Fantastic. The characteristics of Magical Realism match those of the Sublime lots more extensively than those of Fantastical literature. A Very Old Man with Enormous Wings includes many aspects, which may be draw as magical. In the story, an old man with a very(prenominal) poor set of wings is found and kept as a pet for several years. These wings were described by the doctor in the story as ...so natural on that completely human organism that he couldnt understand why other men didnt have them, too (528). The fact that the old man had wings in the first place seems very acceptable to the characters, and this nonchalance is conveyed to the reader. To take an idea or an object that one is familiar with and distorting that image into something unfamiliar is called defamiliarization (Simkins 150). This use of defamiliarization is a very important characteristic of both Magical Realism as hearty as the Sublime. An angel is something with which most are somewhat familiar however, Marquezs angel is a completely different type of angel. One e... ...between Magical Realism and Sublime literature seems very obvious when one examines the criteria for each. Marquezs A Very Old Man with Enormous Wings links Magical Realism and Sublime literature to one another in su ch a way that Magical Realism seems to be a genre of the Sublime. This short story fulfills the requirements of each. However, the requirements are the very same ideas and principles. Thus Magical Realism should be classified as a type of the Sublime. Works Cited Loginus. On the Sublime. Cambridge Harvard UP, 1995. Sandner, David. The Fantastic Sublime. Westport Greenwood Press, 1996. 51-55. Simpkins, Scott. Sources of Magical Realism/ Supplements to Realism in Contemporary Latin American Literature. Magical Realism Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C. Duke UP, 1995 145-159.

Sabiduría y enseñanza en la ciudad en crisis (Platón, Apología 18a7-20c3) :: Spanish Essays

Sabidura y enseanza en la ciudad en crisis (Platn, Apologa 18a7-20c3)ABSTRACT Con Platn se scram el reconocimiento de la educacin como el lugar en que una comunidad mantiene su peculiar instalacin en la realidad y por ello como el terreno de la accin politica eficaz. La paradoxtica, presente ya desde los textos socrticos, es ubicada en el pasaje de la Apologia de Scrates en que la mencin de las acusaciones antiguas permite ver el juego de distintos elementos-la paidea, la opinin pblica, el saber-en un momento de crisis. Esta crisis, tanto de la base poltica tradicional como de la poltica pragmtica, se traduce en un oscurecimiento de que lo que son el hombre y la plis que da lugar a Scrates y a su tarea como consciencia de la quiebra del mundo poltoco. Se desarrolla el alcance ontolgico de ella y sus-paradjicos-consecuencias polticas y educativas.Una usual caracterizacin sociolgica de la educacin la define como los modos de reproduccin de una sociedad. En el fondo, la educacin est e xigida por el hecho de que una comunidad determinada (as sean las grandes sociedades contemporneas) resulta el lugar primario del encuentro del hombre con la realidad, y esta apertura del mundo, por ser siempre concreta, es histrica y finita, y por ello tiene que esforzarse permanentemente para mantenerse abierta, ya que en cualquier momento puede oscurecerse y quebrarse. La educacin es parte decisiva de este esfuerzo.El nombre de Platn parece ligado a una concepcin que, lejos de encontrar un fundamento en la finitud, lo encuentrasi vale la palabraen lo absoluto, dejando a lo finito en una regin ontolgicamente lmite. Y sin embargo esta comprensin de la realidadque el Platn maduro traducir en la doctrina de las Ideasest ligada al intento de rescatar a su particular comunidad de un naufragio (rescate que Platn cree todava desesperadamente posible, aunque en realidad ya era tarde). Ya los textos socrticos (la Apologa de Scrates y el Critn) marcan, en la compleja relacin de Scrates con su ciudad, el reconocimiento, a la vez, del carcter fundante de lo comunitario-poltico y de la quiebra interna de ese fundamento y es justamente esta quiebra la que permite reconocerlo como tal.Estos textos tambin marcan el comienzo de la reflexin platnica sobre la educacin, que el drama socrtico signa inicialmente de violencia. Scrates es la vctima ilustre de una realidad social fallida que se opone con toda su fuerza a quien seala esa quiebra de sus fundamentos y que aparece as como subversivo mucho antes de cualquier propuesta de replantearlos o cambiarlos.

The Merchant Of Venice :: Free Merchant of Venice Essays

The Merchant of VeniceThe defraudgoers of Shakespeares times, a successful drama was one that combined a variety of action, along with a mixture of measure and prose in the language used. This variety was achieved, and character and atmosphere was summarized. Modern playwrights tend to describe their characters in detail in the stage directions, leaving very curt for the reader to discover. However, Shakespeares describing of a character is scarce. Usually, when reading Shakespeares work, the audience has to detect the personality of the character by the characters action in the play, relationship towards other characters in the play , and most of all the characters manner of speech. Most of the times, the passages are of great poetic smash discussing love, dramatic speeches filled with bombast, humorous speeches, and mischievous wordplays.Passages of great poetic beauty discussing love are very common in all of Shakespeares texts. For example in The Merchant of Venice, before B assanio is about to select the correct casket, he is urged by Portia to delay his selection in case he fails. However Bassanio wishes to continue. PortiaI pray you tarry, pause a day or both Before you hazard, for in choosing wrongI lose your company. Therefore forbear awhile.Theres something tells me (but it is not love)I would not lose you, and you know yourselfHate consels not in such a quality.But lest you should not understand my well-And yet a maiden hath no tongue but thought-I would detatin you here some month or twoBefore you venture for me. I could teach youHow to choose right, but then I am forsworn.So will I never be so may you miss meBut if you do, youll make me wish a sin-That I had been forsworn. Beshrew your eyesThey have oerlooked me and divided meOne half(a) of me is yours, the other half yours-Mine own, I would say, but if mine, then yours,And so all yours O, these naughty timesPut bars between the owners and their rightsAnd so, though yours, not yours. Prove it so, permit Fortune go to hell for it, not I.I speak too long, but tis to piece the time,To eke it, and to draw it out in length, To stay you from election.BassanioLet me choose,For as I am , I live upon the rack.This love dialogue between Bassanio and Portia before he chooses is filled with elegant connotation. They are both respective and reactive to one anothe, and they understand each other instantly.

Communism and Mise-en-Scene Technique in the Film Yellow Earth Essay

Communism and Mise-en-Scene Technique in the Film Yellow Earth As one of the earliest films to come out of communist Chinas new film schools in the 1980s, director Chen Kaiges Yellow Earth reveals much about the Chinese communist callers interpretation of the years before 1949 (the year of the Communist victory in China). Yellow Earth takes on the appearance of Communist propaganda films as the plan and themes develop. The minimalist mise-en-scene technique effectively illustrates the activities and rituals of daily rural Chinese life throughout the film. Nowhere in the film is the effectiveness of this technique more patent than in the final scene when Han-Han struggles against the crowd to return to Gu. Many of the scenes in Yellow Earth feature long takes that fully illustrate the true race of time. For instance, characters are often shown walking across the hills and fields from one location to another. Rather than cut these scenes and imply the length of the journey, Kaige leaves the scenes intact, allowing the viewer to fully grasp the vast expanse of space and t...

Comparing Albert Camus The Stranger and Virginia Woolfs To the Lighth

Mans Place in Society and Nature in Albert Camus The fantastical and Virginia Woolfs To the LighthouseA general premise underlying the art of writing is that language shapes and is shaped by the surrounding society (McCarthy 41). Authors of an age attempt to make a message through their writing, and inevitably this telegram to society reflects the temperament of the writer in reaction to his environment and historical context . In this light, Albert Camus The unknown region (1942) and Virginia Woolfs To the Lighthouse (1927) are products of two separate cultures in an overlapping time period Camus sparse minimalistic prose and Woolfs lyrical, indulgent discourse represent two different rhetorical approaches to a similar theme. The French existentialist and the English feminist distinctly manipulate the narrative structure and employ symbols and metaphors of nature to suggest the depersonalization and secondary coil importance of the individual in a society essentially incompatibl e with and indifferent to man. In particular, two excerpts from Camus and Woolf offer a wealth of stylistic devices in connection with their intended themes. From The Stranger, the chosen passage tells of the main characters (Meursalt) confrontation with a threatening Arab and his resulting murder. The selection from To the Lighthouse describes the general passage of time, using a more poetic manner with its emphasis on description over plot. Reform in the world correlates with reform in its literatures method of expression an understanding of Camus and Woolfs modern-day social backdrop provides insight into the origin and purpose of their works. Born in Algeria in 1913, Albert Camus grew up in a tough, working-class Algiers district and ... ...tranger. 1942. New tee shirt Penguin, 1955. pp 57-60. Cruickshank, John. Albert Camus and the Literature of Revolt. Oxford University Press, Inc. 1960. 249. Dyson, Ae, and Morris Beja, eds. To the Lighthouse. London Macmillan, 1970. pp 19 , 198. Gorsky, Susan. Virginia Woolf. Boston Twayne, 1978. pp 15, 28, 49, 105, 108. King, Adele. Camus. Oliver and Boyd Ltd. 1964. 120. McCarthy, Patrick. The Stranger. University of Cambridge Cambridge University Press, 1997. Seltzer J., Alvin. The Tension of Stalemate Art and Chaos in Virginia Woolfs To the Lighthouse. Chaos in the Novel The Novel in Chaos. Schocken Books, 1974. pp 120-140. Sprague, Claire. Virginia Woolf A Collection of Critical Essays. New Jersey Prentice-Hall. pp 1-13. Woolf, Virginia. To the Lighthouse. 1927. New York Harcourt Brace and Company, 1951. pp 131-133.