Wyndham Lewiss Tarr An Exploration of Humour - Literature Essay Samples

Tarr is a novel that describes reality as deplete of an inherent moral code, and Lewis articulates the world as hostile, set in direct opposition to the romantic, Rousseauvian vision of â€Å"wild nature and unspoilt man†. Within this world Lewis questions whether ‘the self’ is intrinsic or is built up of the external self we express to others; paradoxically he endorses and criticises the superficiality of the way we present ourselves to others. This questioning of identity is reflected within the genre of the novel itself, which vacillates between comedy and tragedy. Tarr has been described by T.S. Eliot as â€Å"terrifying† in its scrutiny of â€Å"modern civilisation†, and upon the surface the frequently violent developments in plot ranging from rape to suicide – are more appropriate to a tragedy. And yet the majority of the novel is written in a darkly comic, sardonic tone that would seem to undermine the seriousness of the events describ ed. Contrary to this apparent tone, Lewis’s own views on humour are conflicted, frequently he claims its effect to be that of a drug an opiate to null our grip on reality. The treatment of comedy as problematic, or even dangerous is nothing new – Plato argued that taking pleasure in comedy was abhorrent, claiming that â€Å"taken generally, the ridiculous is a certain kind of evil, specifically a vice†1. However, if we are to accept a world absent of morality, comedy takes a different form – by provoking the reader to laugh at subjects typically seen as immoral (rape, murder and suicide) crucially I will argue Lewis makes the reader complicit in, or rather submit to, this violent world. Within Tarr nature is presented as both hostile and valueless, nonetheless Lewis manages to maintain a comedic tone. This ruthless presentation of the natural world is evident both in outcomes of the plot (Bertha’s romanticizing causes a mental breakdown; Kriesler’s national pride results in manslaughter and suicide) but also in Tarr’s philosophizing and analysis of events in the beginning and latter stages of the novel. For example, in reaction to Anastaysia likening his world-view to that of Rousseau’s, he remarks â€Å"there is no more value in stupidity and formlessness than there is in dung, but they are necessary. The conditions of creation and of life disgust me. This disgust, but acknowledgement of the necessity of, the primal state of man – expressed through scatological vocabulary is reflected in Lewis’s involvement with Vorticism. In the avant-garde magazine Blast he proclaims â€Å"we want to leave Nature and Men alone† w ith the manifesto acting as â€Å"an avenue for all those vivid and violent ideas that could reach the Public in no other way†2. Within this world, in the words of critic Michael North â€Å"human beings actually are mechanical objects†3, indeed the language of man-made machinery pervades the text and is consistently blurred with the natural world: â€Å"Nature was not friendly to him; its metallic tints jarred†. Laughter and humour do not escape this automation, as North continues â€Å"it is the function of laughter, to expose their [human] pretentions to be otherwise [to be anything other than a â€Å"mechanical object†]†; to Lewis laughter and tragedy are intertwined, as in our laughter we delude ourselves into believing we are not machines, but simultaneously in the act of laughing we betray our own machinations. In regard to the relationship between this world to the artist, sex is highlighted as being in direct opposition to Art, with sensua lity possessing corrosive effects, as Tarr exclaims to Anastaysia â€Å"naked men and women are the worst art of all, because there are fewer semi-dead things about them†. This hostility towards sex, in reaction to the hostility of Nature itself, is prevalent in much of Lewis’s writing, including short story Cantleman’s Spring-mate. Here he describes the rape of country girl Stella by newly enlisted First World War serviceman Cantleman, and towards the end of the story, the female body becomes synonymous with the natural world: â€Å"nature tempted him towards her†4. As critic Alex Houen argues â€Å"Nature itself provokes the rape†¦ Cantleman’s actions show that he is incapable of forming any proper ethical understanding†5. This argument can be extended to Kriesler’s rape of Bertha in Tarr, and its deconstruction by the eponymous protagonist: â€Å"The nearest the general run get to art is Action: sex is there form of art: the battle for existence is their picture.† Kriesler, in part due to the displacement of his â€Å"art-instinct† with sex, attempts to fight against nature – or his â€Å"Destiny† (â€Å"Doomed, Evidently†, the chapter 2 title describes this destiny, and was originally intended to be the name of the novel 6) – with an act of sexual assault. Yet the rape itself is proceeded by the ridiculous: â€Å"your arms are like bananas†, and like Cantleman his attempts to emerge victorious with, or assign purpose to, nature crucially proves to be futile, resulting in his suicide. In the preface to the earlier 1918 American edition of Tarr, Lewis makes the claim that the title character â€Å"exalts Life into a Comedy, when otherwise it is, to his mind, a tawdry zone of half art, or a silly tragedy†. The authors idiosyncratic playfulness with capitalization – with the capitals of nationalities often dropped such as in â€Å"But he was mo re german than the Germans (p190) to mock the arbitrariness of national conventions – visually expresses concepts he regards as important. And in the case of the preface, these concepts are critical to the overall genre of the novel itself. While Lewis chooses to capitalize â€Å"Life† and â€Å"Comedy† he refuses to do the same for the genre of tragedy, confining it to the reductive adjective â€Å"silly†. At its heart, the world – filtered and assessed by Tarr is the makings of a tragedy that has been transfused by its protagonist and author into a satire. Fluctuations in genre are experienced most dramatically in the description of rape which quickly veers from the brutal depiction of Bertha (arguably the most sympathetic character in the novel) â€Å"convulsed upon her back, her mouth smeared with blood† to the comparison of her arms to bananas. The rape itself is obscured as â€Å"an iron curtain rushed down upon that tragedy† – the tone and narrative become fragmented, and through use of a theatrical metaphor Lewis consciously prevents the novel from becoming a â€Å"tragedy† – the machine-aged curtain closes the set-piece, subverting traditional storytelling. Tragedy and comedy have always been closely intertwined – both are â€Å"based on the violation of mental patterns and expectations, and in both the world is a tangle of conflicting systems where human live in the shadow of failure, folly and dead†7. And yet what distinguishes tragedy from comedy is that while the former asks i ts audience to hold an â€Å"emotional engagement with life’s problems†, the latter â€Å"embodies an anti-heroic, pragmatic attitude toward life’s incongruities†8. Yet the description of rape and Bertha’s own perspective, adopts elements from both camps in rapid succession, and Bertha’s subsequent perception of Kreisler aligns him with this fragmentation: â€Å"She saw side by side and unconnected, the silent figure engaged in drawing her bust and the other one full of violence †¦ four in all, that she could not for some reason bring together, each in a complete compartment of time of its own.† (167) Kreisler’s external self, split into four, acts as one of the most surreal images in the novel. While it can be interpreted psychologically, perhaps it can also be explained in terms of genre; just as Kreisler splits into multiple selves, the novel is split between its depiction of violence and its relation to tragedy and com edy. This tonal warfare is resumed in Bertha’s opening of the door to reveal Kriesler, which is compared to â€Å"the tearing of a characterless mask off a hideous and startling face† leaving Bertha in a motionless, â€Å"paralysed gesture† in between the emotional extremes of laughter and tears; externalizations of the comic and tragic elements of the novel. Ironically, in their static pose both characters – to an extent embody Tarr’s artistic ideals of which â€Å"deadness is the first condition for art† and â€Å"anything living, quick and changing is bad art†. While Bertha and Kriesler are alive, their rigidness and lack of movement alongside the description of Kriesler as ghostly or â€Å"an apparition from the remote Past, but from a Past almost a Present, a half-hour old, far more startling: the too raw and too new colours of an image hardly digested† blurs this supposedly rigid distinction between â€Å"Life† and â€Å"Art†. Both characters are caught in a vortex (â€Å"the chilly return of a circling storm†) – blurring the continuum between space and time, alongside the blurring of the tragic and comic. However, making light of a subject as morally abhorrent as rape to some critics is further evidence of Lewis’ explicit misogyny, a quality of his writing which Frederick James argues â€Å"no longer exists at the level of mere personal opinion, as is the case, for example, with the various attitudes and â€Å"ideas† of a Balzac or Faulkner†. Lewis’s depiction of women throughout Tarr is plagued with an apparent distain for them: â€Å"A complex image developed in his mind as he stood with her. He was remembering Schopenhauer †¦ A woman had at her centre a kernel, a sort of very substantial astral baby: this brat was apt to swell† (46). The infantilization of women as â€Å"astral baby†, alongside the appeal to Schopenhauer who in his essay On Women writes â€Å"women are qualified to be the nurses and governesses of our earliest childhood by the very fact they are themselves childish†9, is surely proof of Lewis’s rampant mi sogyny filtered into his fiction. Perhaps in conflict with this view – specifically in regard to Bertha’s rape critic Ann Ardis takes the position that the scene, due to its nontraditional presentation, forces the reader to leave behind their moral judgement. â€Å"Lewis also refrains from encouraging the reader to judge Kreisler’s actions on moral or ethical grounds†, she writes â€Å"to read this scene as a representation of violence against a woman is as â€Å"inane†10 as Bertha’s tears, because the morally centered, sequence-oriented reading strategies that work for classic realism (and that would fuel Bertha’s interpretation of Kreisler’s action as a violation of her personhood) simply do not obtain here.† Ardis provides a compelling, arguably controversial, case for her claim that Lewis encourages the reader to put aside their moral code. By avoiding â€Å"classic realism† in the sequence the reader cannot interpret the sequence in the same way that they would a classic realist text. This position can be extended to the discussion of humor; through use of comedy throughout the novel Lewis not only makes us morally impartial to the violence, but he also invites us to laugh at the nature of nature’s absurdity. Despite the fact Lewis may attempt to illicit this response upon the reader, his own views on comedy were riddled with ambivalence. In the first addition of Blast, humor is one of his targets for the firing squad: â€Å"BLAST HUMOUR Quack ENGLISH drug for stupidity and sleepiness. Arch enemy of REAL, conventionalizing like gunshot, freezing supple REAL in ferocious chemistry of laughter.†11 However, in the same edition Lewis suggests humor is acceptable as long as it is structured in the same way as tragedy and vice versa: â€Å"We only want Humour if it has fought like Tragedy. We only want to surface a laugh like a bomb.†12 This militaristic language, reminiscent of futurism (â€Å"We will glorify war—the world’s only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.†13) likens the act of laughing to the explosion of a bomb. As critic Michael North points out B last itself was meant to be â€Å"a gust of satiric humor, aimed like a bomb at the heart of English complacency (†¦) But Blast also blast humour, and though it is possible to distinguish the kind of humour found among the targets of the manifesto from that used by the manifesto itself, these is still a residual sense of difficulty and contradiction†14. This sense of contradiction described by North pervades Tarr, as the titular character proclaims that humor â€Å"does paralyse the sense for Reality, people are rapt by their sense of humour in a phlegmatic and hysteric dream world†. And yet as established in the very prologue (albeit for the 1918 edition), Lewis makes Tarr’s comedic inclinations, as a way of dealing with a reality disposed to tragedy, clear. The concept that humor results in a disconnect from reality and ultimately a â€Å"dream world† solipsism, is reflected in Lewis’s article ‘The English Sense of Humour’. With in the piece, which again likens humor to a drug, he laments that â€Å"accustomed as he is to deadening and drugging everything with his Sense of Humour (lest he should suffer pain or shock by the contact of too crude a reality) in the end the Englishman ceases to respond at all to novel aggressions, or the increasingly unpleasant circumstances in which, historically, he is now liable to find himself†15. It could be argued that Lewis is guilty of committing upon the reader the act his very article describes. Indeed, by provoking us to accept and even laugh at the violent world of Tarr, we are forced – to refer back to Ardis – change our â€Å"reading strategies†16 and set aside our moral judgement. And yet by doing this we are forced to conform to Lewis’s worldview – namely that of a violent world devoid of morals. The result of this is that his own brand of humor, rather than entirely subverting what North describes as the â€Å"herdlike conformity†17 of contemporary comedy, has the effect of forcing the reader to submit to it.Ultimately, the paradoxical nature of Lewis’s opinions of comedy converge with the tenants of Vorticism, in that no single idea is given prominence, rather we are presented with a swirl of conflicting opinions reminiscent of his BLAST and BLESS dichotomy. Indeed, in the same edition of the magazine in which he blasts humor in general, he blesses â€Å"English Humour† claiming it to be the â€Å"great barbarous weapon†18. This is simultaneously in direct opposition to his later chastising of the subject in the Spectator article. The comedy of Tarr resembles this vortex, on the one hand the humor is subversive, reflecting Lewis’s view in Men Without Art of the purpose of satire to refer to â€Å"an â€Å"expressionist† universe, which is receding a little, a little drunken with an overdose of the ‘ridiculous’†19, and yet on the other h and through making us laugh at what should typically be tragic it forces us to conform to his hostile worldview. By the middle of the novel Lewis provokes us to laugh at Kriesler’s threats of suicide to his father (â€Å"If.. no money is sent, it being impossible to live without money, I shall on the seventh of July†¦ shoot myself) and Bertha’s mental and physical dishevelment (â€Å"She, too is german pastry, more homely than you though Homely’s the word†). Lewis also illustrates that recognizing the absurdity of the world in terms of a comedy offers little protection from said world. While Anastaysia and Tarr may hold a sense of self-superiority against Bertha, Kriesler and the â€Å"bourgeious bohemians, they are also condemned to a vicious cycle of sexuality illustrated by the novels end: â€Å"Tarr and Anastaysa did not marry†¦The cheerless and stodgy absurdity of Rose Fawcett required as compensation the painted, fine and enquiring fac e of Prism Dirkes.† The recognition of the absurdity of the machine-like nature of humanity does little to help one escape from being a machine themselves. And in finding this hostile natural funny the reader must accept that Lewis proves his own point, namely that our laughter forces us to withdraw our moral code resembling the world of Tarr itself. And crucially, this humour acts as an act of self-delusion, a tragic, mechanical trick in an attempt to convince ourselves we are not mechanical.Endnotes and Bibliography:1 Bury, Robert Gregg, ed. The Philebus of Plato. University Press, 1897. 2 Lewis, Wyndham. Blast. Vol. 1. Kraus Reprint Corp., 1914. 3 North, Michael. Machine-age comedy. Vol. 2. Oxford University Press, 2009. P1144 Lewis, Wyndham. Cantlemans Spring-mate. Little review, 1917. 5 Houen, Alex. Terrorism and modern literature: from Joseph Conrad to Ciaran Carson. OUP Oxford, 2002. P139 6 Lewis, Wyndham, and William K. Rose. The Letters of Wyndham Lewis. New Direction s Publishing Corporation, 1963 p223 7 Morreall, J. (2012). â€Å"Philosophy of Humor† The Standford Encyclopedia of Philosophy. URL: https://plato.stanford.edu/entries/humor/ [Accessed 10 Jan. 2018].8 ibid9 Schopenhauer, Arthur. Essays of Schopenhauer. The Floating Press, 2010. P122 10 Ardis, Ann L. Modernism and Cultural Conflict, 1880–1922. Cambridge University Press, 2002. P10411 Lewis, Wyndham. Blast. Vol. 1. Kraus Reprint Corp., 1914. 12 Ibid 13 Marinetti, Filippo Tommaso. The founding and manifesto of futurism. Le figaro 51, no. 1 (1909). 14 North, Michael. Machine-age comedy. Vol. 2. Oxford University Press, 2009. P11615 Lewis, Wyndham â€Å"The English Sense of Humour, The Spectator, 15 June 1934 16 Ardis, Ann L. Modernism and Cultural Conflict, 1880–1922. Cambridge University Press, 2002. P10417 North, Michael. Machine-age comedy. Vol. 2. Oxford University Press, 2009. pp117-11818 Lewis, Wyndham. Blast. Vol. 1. Kraus Reprint Corp., 1914. 19 Lewis, Wynd ham. Men Without Art. Russell Russell, 1934.

Iwc1 Literature, Arts and Humanities Essay - 10028 Words

IWC1 Test 1.02 Module Pre-Test Question 1: Multiple Choice The historical revival of Classical culture began during the: a) Middle Ages b) Renaissance c) Baroque Era d) Romantic Era Feedback: The correct answer is b. The historical revival of Classical culture began during the Renaissance. Question 2: Multiple Choice Which of the following was a key feature of ancient Chinese humanism? a) An emphasis on theoretical philosophy. b) A subordination of intellectual life to religious faith. c) An elevation of intellectual life over religious faith. d) An establishment of a monastic upper class. Feedback: The correct answer is c. Chinese humanism elevated intellectual life over religious faith. Question 3: Multiple†¦show more content†¦Question 3: Multiple Choice Which of the following American poets helped establish jazz poetry? a) Robert Frost b) Rita Dove c) Maya Angelou d) Langston Hughes Feedback: The correct answer is d. Langston Hughes helped establish jazz poetry. Question 4: Multiple Choice Which of the following is a primary color? a) yellow b) green c) orange d) purple Feedback: The correct answer is a. Yellow is a primary color. Question 5: Multiple Choice A watercolor painting to which an opaque white has been added is called a ________________. a) fresco b) tempera c) gouache d) acrylic Feedback: The correct answer is c. A gouache is a watercolor painting to which an opaque white has been added. Question 6: Multiple Choice Which of the following artistic disciplines fostered Pictorialism? a) Painting b) Printmaking c) Photography d) Landscape Feedback: The correct answer is c. Photography fostered Pictoralism, a movement which used soft focus, special filters and other effects to attempt to match painting and printmaking. Question 7: Multiple Choice What is the exact duplication of elements (shapes, forms, etc) on either side of a central axis? a) Balance b) Symmetry c) Asymmetry d) Focal area Feedback: The correct answer is b. Symmetry is the exact duplication of elements (shapes, forms, etc) on either side of a (usually imaginary) straight-lined central axis. Question 8: Multiple Choice What is a type of kinetic

A Quick Looks Shows Childrens Toys are Gender Specific Essay

Gender roles in toys are overwhelmingly obvious. The breakdown has not changed in so many years that we all comply with and follow without question. Taking a trip to the local Toys R Us store showed me just how obvious the line was drawn for the sexes, showing a specific division of the two. The stores layout clearly establishes the line between girl’s toys and boys toys. There are very few isles that will intermingle within the sexes. For this project I selected the following age groups; infant, preschool and school age with a focus on girls toys. Infant toys were the one age group where the genders comingled. My first selection is the Laugh and Learn Love to Play Sis. This plush dog displays dominate colors of pink and purple, has a†¦show more content†¦Preschool children toys start to really draw a deep line between boy and girl toys. The first toy I found was the Baby Alive. This pink package certainly shows their target audience as female. Hasbro provides three races of these babies, Hispanic, Caucasian and African American. This toy line is marketing to all the little girls that want to be a mommy already. The research of Becky Francis (2010) in â€Å"Gender, Toys and Learning† describe the effect of toys towards a child’s development by gender bias, she shows that girls are given more nurturing toys . The Baby Alive doll shows this bias. These toys are specifically marketed to girls of all races to learn how to take care of a child. Care Bear is another preschool girl specific toy. These plush toys come in many colors, but the only ones on the shelf that day were pink purple. The bears are advertised as cuddly, sweet and made for hugging, which can be targeted to any gender but were only be found in the girl section. I found single isle that had any that can cross over to either gender. First there are the Monster University plush toys, Art Squishy. Both are purple and non suggestive to gender. 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Essay on Advantages and Disadvantages of Genetic Manipulation

Advantages and disadvantages of genetically manipulating babies The technology of genetic manipulation is allowing the future to be full of possibilities whether they are improvements or disadvantages. Presently, genetic manipulation is allowing us do amazing things like designing babies. It can allow us to make sure that the future child does not have incurable diseases or genetic disorders, and the features of the baby can almost be selected from its parents. However, many may believe that genetic manipulating to produce designer babies is not an ethical way and natural way to create the baby. People are also questioning whether the parents of the baby have the actual right to genetically manipulating their baby. Using Genetic†¦show more content†¦Charlie Whitaker was a child that suffered from Diamond-Blackfan Anaemia, which was a disorder of his bone marrow. Charlie’s parents want to save him from dying, so they wanted to have a designer baby as their last chance. 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This direct manipulation works by using modern DNA technology. This ‘involves the introduction of foreign DNA also known as synthetic genes into the organism of interest’ or curiousity. Genetic engineering does not

Essay about Lord of the Flies Evil - 1010 Words

The Power of Evil Evil: A noun meaning profound immorality, wickedness, and depravity. Everyone has a little bit of evil in them, but it’s up to that person if they want to show it or not. In Lord of the Flies, by William Golding, a group of boys show the evil within themselves while being stranded on an island. Because of the situation that has been thrust upon them, they soon discover the true evil they are capable of. In the book, the boys show evil through their lust for power, the behavior that the boys express, and their murderous actions. When the boys first arrive on the island, they are all nothing but British school boys who had lived in society where rules and regulations are established. The rules and regulations,†¦show more content†¦Golding shows this when Jack tells Piggy, â€Å"Shut up, Fatty† (Golding 21). When Jack calls Piggy â€Å"fatty† it shows that Jack has no respect for Piggy and he doesn’t care about his feelings. Also, another example of disrespect is when Samneric betrayed Ralph. At first, Samneric are loyal to Ralph because they felt secure. In the last chapter however, as soon as Jack threatens and tortures the two, they change sides and submit to Jack’s authority and join his tribe. After they were forced to join Jack’s tribe, they betrayed Ralph by telling Jack where he was hiding, â€Å"He meant he’d hide in there?† â€Å"Yes-yes-oh-!† (Golding 192). This is what leads to Samneric selling out Ralph. Last but not least, in Lord of the Flies, murderous actions took place in the story that reveals humans are in fact inherently evil. Simon and Piggy’s death are both pivotal points in the novel. Simon, who is the passive and timid type, awoke to a parachutist in front of him. After seeing this, he then realize that the beast, which the boys have mistaken for, is a harmless object and is not the deadly beast. Soon after, Simon gets killed wh en he tries to tell the other boys that the â€Å"beast† is just only a parachutist. In an attempt to inform the boys, Simon finds them having a feast. The boys are dancing and chanting, caught up some kind of frenzy. The group of boys did another reenactment of a pig hunt when suddenly the boys see a shadowy figureShow MoreRelatedLord of the Flies- Evil948 Words   |  4 PagesEvery human being is savage at heart, no matter how hard they try to oppress it. Evil is an instinct, a part of human kind, but what exactly is evil and what defines it? Mr. Golding believes that evil is intrinsic to human beings; he shows some examples of evil in the Lord of the Flies, in a form called bullying. Bullying increases the bully’s self-confidence, while it lowers the victim’s, in this case Jack harass Piggy to increase his self-assurance. Humans have two desires that conflict with eachRead MoreThe Genesis of Evil in Lord of the Flies1005 Words   |  5 Pageshuman psyche ; the id, ego and superego. William Golding analyzes this further in his novel, Lord of the Flies, which is about a large group of boys that crash-land on a deserted Island after fleeing a dangerous England in the times of WWII. These young boys are used to entertain the idea of savagery vs. civilization and how evil lies deep within us all. After reading Lord of the Flies, it is possible that the evil within the boys is driven by fear, power, and the loss of innocence. To begin, fear isRead MoreGood And Evil In Lord Of The Flies Analysis1207 Words   |  5 Pagesâ€Å"Evil Springs from within and that the struggle to maintain civilization depends on the ethical nature of each individual.† - â€Å"Background† Throughout the Lord of the Flies, readers learn that people, including children, are not made of pure goodness. Deep inside there is an evil element consistently trying to rise to the surface of their minds. Golding proves that eventually the evil within the children will destroy them and the good around them. This is also proven in two other pieces of literature;Read MoreLord of the Flies Descriptive Good or Evil1070 Words   |  5 PagesLord of the Flies The novel The Lord of the Flies is based on one significant question that philosophers have been puzzled by for centuries – are humans essentially good, or are they evil? Jean-Jacques Rousseau, a famous French philosopher, theorized that humans are instinctively good, however, when given an aggravating situation, then their minds become warped and are set into a bad state. Thus, humans are naturally good, but it is society that demeans them.Read MoreInherent Good and Evil in Lord of the Flies1585 Words   |  7 PagesInherent Good and Evil in Lord of the Flies The Lord of the Flies by William Golding is tale of a group of young boys who become stranded on a deserted island after their plane crashes. Intertwined in this classic novel are many themes, most that relate to the inherent evil that exists in all human beings and the malicious nature of mankind. In The Lord of the Flies, Golding shows the boys gradual transformation from being civilized, well-mannered people to savage, ritualistic beasts. From theRead MoreGood vs. Evil - Lord of the Flies807 Words   |  4 PagesGood vs. Evil Star Wars, Superman, James Bond—all of these are stories which chronicle the ever-present warfare between good and evil. What exactly is good? How does one describe evil? The answers to these questions are highly subjective, and could be debated for years on end without ever reaching a final conclusion. However, it is widely agreed that each person is inherently born with two sides; one of which is good, the other evil. It is this sense of inherent good and evil in all of us thatRead MoreThe Prominence of Evil in Lord of the Flies, by William Golding799 Words   |  3 PagesIn the dictionary, the definition of evil is morally wrong or bad; malicious. Lord of the Flies, by William Golding, exemplifies how everyone in society is more evil than good and how it can get the best of all. The book actively traces the problems of society back to human nature and savagery that lies within the human race. Golding shows how the lacking parental control no rules, is the downfall of the ir humanity in as much as they lose the characteristics society and civilization gives themRead MoreGood Vs. Evil In Lord Of The Flies And Beowulf944 Words   |  4 PagesPower in all the wrong places Good v. Evil, it’s way more than just a concept, it’s more of a lifelong struggle inside of you. What more could you do when evil is shown all around you? Many of us may see the struggle between good and evil in the people we come across everyday. Flawed individuals may be perceived as good but are bad in the eyes of someone else; it all comes down to how you see it. The exposure to things and memories you make help impact the good in you. In order to further evaluateRead MoreGood Vs. Evil : The Lord Of The Flies And Wwii1450 Words   |  6 PagesKnowledge Good vs. Evil: The use of good and evil in the Lord of the Flies and WWII The Lord of the Flies by William Golding has shocked and stunned most everyone in the world that has read it because of the connections it makes to World War II people and countries. It provides deep insight on how civilization will eventually not exist or will be corrupted because of the evil that is found in everyone. For example, the greatest power civilization has is the power of knowledge, represented by piggyRead MoreEssay on Evil Entrap Everyone: Lord of the Flies841 Words   |  4 PagesEvil Entraps Everyone America is organized, technologically advanced, and easily accessible; Imagine a scenario in which our society vanished out of thin air, leaving humans with only our natural instincts and nature? A similar fictious event occurred at an unknown location on an island, isolating young boys Ralph, Piggy, Jack and many other children in the novel â€Å"Lord of the Flies† by William Golding. Lastly, the boys innocence is turned to savagery when being alone on the island corrupts them

Nationalism And Democracy Are Intertwined Within The State

Nationalism and democracy often are co-existent with each other at any time within the state. These interactions that they have with each other culminate in both benefits and problems for society, or sometimes produce a neutral reaction. This essay will explore these interactions that could either be beneficial, detrimental, or neutral in the ways that nationalism and democracy are intertwined within the state. The important notion that nationalism brings to democracy is the concept of conflict. Nationalism creates these tensions between the different members of society as they all seek fair or preferential treatment from the state. Therefore, arguments, tensions, and dissenting opinions are inside every state and if democracy can organize these issues, the state will run smoothly. The opposite is true as well, as extreme nationalism may destroy the state. This requires democracy to ensure that the correct amount of nationalism exists so that society will agree with its government an d progress. The inability to monitor it, however can interrupt the democratic process and degrade the state’s well being. Nationalism creates pride in one’s identity and beliefs, which increases the chance that they will want their wishes to be represented. As Donald L. Horowitz argues, one of the larger factors of democratic failures is ethnic conflict. He writes, â€Å"Ethnic identity provides clear lines to determine who will be included and who will be excluded.† This describes the impact ofShow MoreRelatedThe Public And Political Space Essay1514 Words   |  7 Pagesinstitutions have had an unbiased and continuous stance and only outside pressures were in play. This assumption is unsupported since some of the reading referenced the overall growing number of more extremist groups, in different parts of society, within a state-centered country that influence religion. None of the authors discuss how this social change has mirrored on an institutional level. There is also a gap in assessing the theological component. Although this legal ban, which later became a fatwaRead MoreThe Conflict Of The Independent Republic Of Azerbaijan1471 Words   |  6 PagesUniversity did not articulate any references to Azeri nationalism in their slogans. Obviously, the Azeri community is more likely to play a role in determining the future direction of Iran’s political evolution than in igniting an ethnically-based separatist movement. Having proven its centuries-long loyalty to the Iranian state and territorial integrity, Azeris are also likely to work within the current political system to address their grievances. 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Experiencing Poetry Organizer Essay Example For Students

Experiencing Poetry Organizer Essay What emotion was the author trying to express? Structure: How is the poem organized (lines, stanzas, etc. )? What is unique or interesting about the structure of the poem? Does the poem rhyme? Meaning: What is the poem saying about life or love? Do you agree or disagree with this message? Explain. Are there any other reasonable ways to interpret this poem? Publication: What kind of magazine or other publication would be the best place for this type of poem? Selected Poem Title: Apart (Less Spars)let appears to be about how the poet may be trying to forget about a past relationship. For the most part the poem was understandable. I really enjoyed the 4th line in the 1st stanza, it makes it easier to relate to how disturbed the narrator really is. The poet doesnt use a lot of imagery but he does use metaphors and similes which makes it easier to understand and visualize how he is feeling. The author uses metaphors, similes, and personification. These poetic devices helps create a visual on how the poet is feeling and helps the reader comprehend what the author is trying to say. I believe the emotion that the author was trying to explain is: sadness/ despair. The poem has 4 stanzas, each containing 4 lines. The poet uses repetition throughout this entire poem. This is unique because at the beginning of each stanza and then again at the end of the Tanta the author says do not write This helps emphasize how the author wants to cut off all communication from whoever hurt them so badly. The poem does in fact rhyme. It has an ABA rhyme scheme throughout the whole poem. To me I feel that the poem is giving a negative connotation on love. The way I interpret this poem is that the author is Just so fed up and frustrated with whatever happened between him and his ex-lover that he never wants to speak with them again. I completely agree with the poet. If you get out of a relationship and really loved and cared about that arson then the only way to get over it is to cut off communication and forget about that person entirely. I believe the magazine Love Stinks would be the most appropriate article to place this type of poem in. The magazine is for readers who have been hurt in their past relationships. It comforts them to let them know they are not alone in their sadness or bitterness. When the poet says To knock at my heart is like knocking on a tomb (Simpson, line 4) This shows how cold and hard his heart is after being hurt by love. This will provide comfort for someone who is heart broken.