1. Explain The Role Of Sexual Fantasy

Many songs have deep and emotional messages throughout them, but few can match the aptitude portrayed in “The Dead Heart” This is depicted with the help of the text structure. “The Dead Heart” was made up of 8 stanzas. The rhyme pattern is ABCC, and changes throughout different stanzas this is to show the displeasure of the Indigenous people, when white men came and took their land. Indigenous people felt many things during this time period, happy and satisfied weren’t what they felt, instead they felt: hopeless, depressed, unfortunate and miserable. There are constant slant rhymes in the song, an example includes: Know your custom don't speak your tongue, white man came took everyone” The pure reason why “Midnight Oil” made these two sentences slant rhyme opposed to normal rhyme is to show the discomfort and distress when the British took their land, their most prized possession and their home. The structure used throughout “The Dead Heart” is phenomenal and truly captivates the true emotion the artist’s intended. Not only is the structure used extraordinary, but the poetic devices used truly entice the audience and elicit an emotional response.

The play “Blackrock”, written by Nick Enright, focuses on very delicate issues. The themes such as mateship and peer pressure, responsibility/guilt and masculinity resonate in my own personal life quite strongly. By studying and analysing this text it can be determined if the themes and values that are trying to be emulated either challenge or confirm my own beliefs and experiences.

When writing a collection of poems, most poets chose to focus on maintaining certain themes throughout their literature and Cornelius Eady is not an exception. Cornelius Eady’s collection of poems in Brutal Imagination focus on issues such as racism, family crisis, internal conflict, and death. The first part of the collection circles around a servant who works for Susan Smith and is the caretaker for her children. The story centers around the perspective of the servant who is also the overarching narrator. The story describes old version of United States when racism was still bluntly present and affected individuals identities and financial opportunities. Based off the information presented in the collection, the servant can possibly be male. The general plot follows deeply into the difficult life of the male servant through examining the issues he faces. The first poem within the collection set-ups the rest of the story with context for the readers giving them a few expectations about what they should look forward to reading further. Eady draws the reader through integrating an origin for the male servant and his connection to Susan Smith’s family.

Now this story talks about the feeling’s blacks or colored and how they still remember slavery. In both poems they use some form of

Sexuality and personal growth has and always will be a topic of conversation in real life and even in fiction short stories. The idea of sexuality has just recently not only became an open idea to discuss but one to also write and publish about. Both Alice Munro and John Updike both illustrate the idea of sexuality and personal growth in very different ways. “The Found Boat” by Alice Munro, deals with sexuality in an aggressive manner while “A&P” by John Updike, deals more with the idea of sexuality rather than sexuality itself. They also have very similar elements of fiction that include (but is not limited to) characters, theme and conflict. The characters relate in both

When the two station attendants try to exploit the men, McMurphy helps them gain the upper hand by posing as criminally insane (Fick). Even though the patients “become men”, adult sexuality is conspicuously absent from the novel. It is mainly the men’s cause to “remain boys on their own terms” (Fick par. 8). McMurphy’s women are boys’ companions. Candy and Sandy are good bad girls. “McMurphy’s sexuality complements a personal consistency that obliterates the distinction between past and present. Returning from the fishing trip, for example, he stops by his childhood house and tells the men of his own sexual initiation” (Fick par. 9).

The author describes the purpose for masking sex scenes in literature is to make it a more symbolic event. Simply describing two people taking part in intercourse does not reveal as much as “hidden” intercourse. The author states that coded sex scenes are “more intense than literal depictions.” This may be due to the fact that the words needed to describe the event taking place would be the most intense words. The scene needs to have the same air and effect that intercourse does. Writers take ordinary everyday events and intensifies them in order to get to the intimate level of intercourse. Literal intercourse in literature does not have the same effect as coded intercourse because everyone expects the intercourse as it already is describing.

When Allison came out to her father about lesbian and the experiences she was having, her father convinced her to read certain books and also he talks about experiencing things. In “Rape Fantasies” the magazines led to the wonders of how the characters in the story would be raped and what the outcome would be. In “Rape

image into our heads of a sexual exchange from everyone. In the first chapter the author

Another important aspect of the novel is that of sexuality and of same-sex desire. Froehlich states that, in the late-nineteenth and early-twentieth centuries,

In John Patrick Shanley’s play, “Doubt: A Parable”, and Paula Vogel’s play, “How I Learned to Drive”, both have strong themes of sexuality in the forms of sexual predation and pedophilia. Although these two stories are considerably different, the message is the same. “Doubt” is a play that concerns a mystery over whether or not a boy (Donald) has been raped by a priest, and “How I learned to Drive” is a play about a woman (Li’l Bit) who reminisces about the sexual molestation and the emotional manipulation she had to endure at the hands of her uncle. Although these plays both have main theme of sexuality, they each have vastly different settings, desires, and outcomes. In this essay, I will compare and contrast the theme of sexuality in both of these plays.

Nafisi chooses two famous novels to feature in her class. Both novels covered extensively in Nafisi’s classroom share a common theme: dreams. Throughout this section, the audience is introduced to the primary theme that recurs repeatedly, that of dreams and their relationship with reality. The protagonist Humbert Humbert of the novel Lolita and Jay Gatsby of Great Gatsby both fantasize of possessing another human, even succeeding to a certain point. Both characters are able to attain their prey in body, but never in spirit. Both Lolita and Daisy succumb to their hunters physically, but never mentally or of their own free will. There is a strong comparison to be made between the men of these two novels and the

The raison d’etre of the Western is arguably to celebrate masculinity, but Brokeback Mountain is a revisionary Western that challenges definitions of masculinity. Discuss this statement with reference to Jane Marie Gaines’s and Charlotte Cornelia Herzog’s comments on the homoeroticism of the Western.

The imagination is the first site of an individual’s existence. It is within the imagination that the individual, through consciousness and unconsciousness, comes to know his or her true self, including one’s desires. Sigmund Freud influenced the studies of psychology and psychoanalysis, defining the unconscious as, “the storehouse of instinctual desires and needs. Childhood wishes and memories live on in unconscious life, even if they have been erased from consciousness. The unconscious is, in a sense, the great waste-paper basket of the mind – the trash that never gets taken out: ‘in mental life nothing which has once been formed can perish -- … everything is somehow preserved and … in suitable circumstances … it can once more be brought to light’ (Freud 1930: 256). Laura Mulvey beautifully expresses desire in, “Visual Pleasure and Narrative Cinema”, as, "Desire, born with language, allows the possibility of transcending the instinctual and the imaginary”, which may be understood as the imagination propelling forward with sexual desires (837). In many ways, poets of the Romantic Period, with the use of the imagination, reveal unconscious sexual desires through their writings. Much of this sexual drive triggered by repressed desires exists within Wordsworth’s poem, The Prelude. One may argue that these poets utilized the imagination as an instrument for relief from sexual desires. The imagination, one may say, is exceedingly

…a naturalistic paradigm which establishes a causal continuity among sex, gender, and desire…an authentic-expressive paradigm in which some true self is said to be revealed simultaneously or successively in sex, gender, and desire…