Aesthetics in Pasolini's Elegy 'The Ashes of Gramsci'

Ultimately, Rossetti’s descriptions of the woman are again stereotypes that do not explore the true identity of the woman, but she is a symbol of the Victorian ideal woman. Yet, it could be argued that Rossetti is using this stereotype to challenge this stereotype, and is not succumbing to the lure of using stereotypes, but in fact objecting to the superficial and without depth characters that appeared in Victorian literature and art. The denouement of “not as she is, but as she fills his dream” appears to strengthen this point as the woman in the painting has been denied all sense of self as she has been changed into something she has not, and is left to provide for his interpretation. Thus, Rossetti does use stereotypes within In An Artist’s Studio, however she uses them to object to the Victorian ideal of a woman, and the repetitiveness in art and literature because they do not represent women for what they are, and exist for the male gaze as in this poem.

In the poem "Feliks Skrzynecki", Skrzynecki explores how events shape the identity of an individual by highlighting rifts in the poet’s and his father's relationship and identifying how they affected the poet’s identity.

In this discussion, I hope to put a different spin on surrealism and the grotesque by drawing on the works of Sartre, and if we're not too dizzy from spinning when all is said and done, I shall have put together a way to investigate the grotesque in Modernist art and contemporary life. After a summary of the surrealist's use of Freud and a look at Sartre's criticism of surrealism, we will look at surrealism in Sartre's work and derive an existentialist definition of the grotesque and examine how this might reconfigure the surrealist goal of liberation. Surrealist art is almost always analyzed in terms of Freudian psychoanalytic theory because the surrealists openly announced Freud's study of the psyche as the inspiration for the practice of surrealism. Andr‚ Breton, author of the many surrealist "Manifestoes" and the self-appointed spokesman and scribe of the surrealist movement, eulogized Freud, who died in 1939, by writing that: ". .

Palestrina had a simple but complex way when it came to his strategic plan in this piece. The piece is text­ driven as is written as a simile. Palestrina used Aesthetic appeal, emotional power, and intellectual depth to make this piece a true masterpiece. Part of Palestrina is strategic plan was to write the piece as a simile. He used the translation from Psalm 42, “ As a deer longs for springs of water, so my soul longs for you”. First off, this line is represented throughout the motet, like a simile. The deer longing for springs of water is a simile as to how the soul longs for God. Each part is put into three sections, because Palestrina is comparing “ As a deer longs for springs of water” and “ my soul longs for you”. Palestrina also uses “so” or “ita” to put the simile together, he uses this to show what is being compared and to help show that the deer longs for water is the same as the soul longs for God. Palestrina also shows text­painting when has the notes flowing just like the flowing of water when it says water. The springs of water is a comparison to God. Also, he when it states in the piece ,” my soul longs” the notes go down because the soul is connected to Earth. This is also a connection to how the notes go higher when it reaches God because God is up in heaven. As a result, the strategic plan was to make the piece a simile and

With the language being written in a colloquial style, it illustrates a more true and realistic approach while underlining the speaker’s statement to the Pope in a much stronger way. The choice of using words that solely relate to the native culture such as “isistawina” (27) and “matotsan” (42) demonstrate the effort the speaker is publicly displaying to maintain and uphold her customs. The use of no capitalization can relate to the idea that the poem is written in a vernacular language, but also provides evidence that the speaker does not believe the she or her culture, is better than another. It is not her objective to prove her culture should become more dominant, but to provide awareness of the past history and the impact caused from it. Communicating and expressing the poem with the heavy dialect not only signifies the importance of the speaker’s culture, as well adds humour and a sense of satire as a result of the improper diction.

Ross Gay’s book Against Which, portrays his poetry to readers allowing them to gain understanding of the cruel world that one lives in. Moreover, the unusual brutalities that people are inevitable confronted with in life. The common denominators within Gay’s poems such as violence, love, fear, and loss allows the reader to visualize characters’ transformation within his poems. In a world of calamity, Gay has created poems that portray the corporal conforming to gender and sex but also human development. Using a reader-response criticism lens, I will be demonstrating my interpretation of Ross Gay’s poems and the meaning that I believe to be a common interpretation of his work. Within, Gay’s poems, “It Starts at Birth” and Angels Out of Reach” one is able to see a pattern of human transformation. By experiencing pain, love, loss, fear, and wisdom one is able to see Gay’s characters evolve through the narrators and readers gaze. In doing so, one is able to reflect on Gay’s poems and gain wisdom themselves.

“In a comparative study of texts we see that the connections between texts are realised through the different textual forms used by each composer.”

The Other is configured in the two writers’ works as victims of power play, their unjust mistreatment subsequently exposing underlying social inequalities. Through adopting the Gothic medium characteristic of Romanticism, the texts induce within the reader emotions of terror and pity towards the marginalised, leaving a profound effect which impactfully conveys the intended social criticism.

Christina Rossetti's Poetry: Controlled and Passionate Rossetti's poetry has been described as both controlled and passionate. Making clear what you understand by the terms discuss which of these two views you have more sympathy with and why. Refer closely to at least three of the set poems.

The film however, operates in two distinct modes: the narrative of a profoundly human struggle for survival that remains common to all, and the unromantic depiction of Italian class struggle in the postwar era. In the latter mode, the film illustrates a series of behaviors, and social structure that remain indifferent to Antonio and his desperate situation. It identifies Antonio and his family by their situational relationship, with the various groups present in Rome during the postwar period. E.g., Antonio’s family is displaced from his local group of communists, churchgoers, and market folks

In the essay I am going to compare and contrast the way in which different attitudes to war are presented in the poems ‘Dulce et Decorum est’. And ‘Vitai Lampada’. Both poem are a bout war but they are wrote in completely different ways.

In the passages Ralph 124C 41+ and “Rappaccini`s Daughter”, the protagonists have analogous interests and goals, while the themes match as well. Both stories are of life, death, love, and nature. In the two passages, the authors use love, specifically to create motives for the protagonists, and also to use the themes of nature and death.

understanding of how each of these are conveyed in Roma Città Aperta and Rocco e

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.

Through the voice and eyes of the short story’s main character Pablo Ibbieta (a prisoner of the Spanish Civil War), the reader is able to digest human nature in the context of death. Sartre does an adequate job at providing a distinction between the physical and emotional characteristics of lively human beings who expect to live long and human beings who are facing death. For example, he describes Juan’s (one of the prisoners sentenced to death) hands and body to be grey