Arthur Felig By Arthur Felig Analysis

From start to finish, Death has seen both horrors and wonders. However, in his profession, Death mainly witnesses the horrific parts of life, and he needs the reader to know that he is not immune to the suffering he

I saw it with perfect distinctiveness –all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could nothing else of the old man’s face or person; for I had directed the ray as if by instinct, precisely upon the damned spot.” (70) After hearing the old man’s heart beat rapidly and loudly from being frighten, the narrator decides to strike and suffocate the old man with his own bed.

In chapter twelve there is a study done by Maria Nagy in the nineteen thirties which suggests three major stages in the development of death related concepts in childhood. Maria Nagy examined almost four hundred children between the ages of three and ten living in Budapest shortly before the Second World War. Nagy conducted a number of tests between different age groups in her sample; the results suggested three distinct but unassailable stages in children’s concepts of death. I found this to be quite fascinating, especially comparing the stages to what I can recollect of my own mindset at those periods. Nagy’s first stage encompasses children under the age of five; these children have no concept of the definitive nature of death and instead view it as a continuation of life elsewhere

“The eye is the lamp of the body. If your vision is clear, your whole body will be full of light” (). Ever since the creation of mankind, the eyes exist as the window to the soul. Taking one look into a person's eyes can leave you with more knowledge than ever thought imagined. Love, anger, lust, hatred, sympathy and guilt can all express themselves in just one glance. William Faulkner knew of this interesting trait and applied it to his 19___’s novel “As I Lay Dying”. Each character possesses their own unique traits and personalities which drive them to fulfill their end mission: burying their mother in Jefferson. To express their personalities, Faulkner incorporates a variety of similes and metaphors all relating to the eyes. This technique sheds light of their selfish ways. These selfish qualities, not the love for their mother, cause the Bundren children to succeed in their mother's dying wish.

In the year 1625, Francis Bacon, a famous essayist and poet wrote about the influences of fear on everyday life. He stated, “Men fear death as children fear to go in the dark; and as that natural fear in children is increased with tales, so is the other” (Essays Dedication of Death). Clearly, external surroundings affect perceptions of fear as well as human nature in general. Although C.S. Lewis published the novel, Out of the Silent Planet, over three centuries after Bacon wrote his theory on fear, Lewis similarly portrayed external surrounding to manipulate perceptions of fear. From the first chapter of the novel, Lewis revealed fear to be a weakness that leads to ignorance. It was this

“Strawberry Spring” offers the reader an opportunity to “show that we are not afraid” of facing our fears (King, “Why We Crave” 1). After all, anyone who has heard of Stephen King will automatically know that reading one of his stories may result in a thrill. For example, near the beginning of the narrator’s encounter, “a junior named John Dancey” happened upon a “dead girl lying in a shadowy corner of the Animal Sciences parking lot” (King, “Strawberry Spring” 2). Accordingly, the explicitly specific imagery used to reveal the brutality of Gale Cerman’s death is quite unsettling! Most of us spend our entire lives avoiding our “hysterical fear” of death, and allowing us to read such a description is “daring [our] nightmares” (King, “Why We Crave” 1). “Strawberry Spring” fulfills Stephen King’s claim that one reason we watch and read horror is to show “that we are not afraid” (1).

faces were distorted with terror.”(ch2, pg 20-1) The author is drawing a sharp mental image of

In the opening paragraphs of the article, Quindlen uses imagery as a way of getting the reader’s attention and feelings involved right away in order to hook their interest. Quindlen talks about funerals for teens killed too soon in auto accidents, “...the services held for teenagers killed in auto accidents… The

He first emphasizes how ample and bright the place is. He also narrates how there are “poisonous particles… as motes in sun-beams, into the lungs” (40). He expresses how suffocating this place is with a cough (14). The fact that the women don’t cough and are “used to it” is like saying they don’t breathe anymore. He describes the women as the “blank-looking girls, with blank, white folders in their blank hands” (12). He portrays these women as cadavers being preserved in this cold place, like a morgue. He says, “…face pale with work, and blue with cold; an eye supernatural with unrelated misery” (11). He is intentionally making the reader feel they are dead alive through the description of a physical death, then a social and emotional death.

Sight is one of the few senses that a young child is able to use freely. A young child can have an outlook that looks completely different than what an adult has. In An American Childhood, Dillard explores her Pittsburgh and sees many things including, which she describes as, “a black phalanx” (34). This metaphor is explicit because a phalanx is meant for a mass of people, not a few nuns that are walking down the street. Phalanx describes these nuns well because it is a word Dillard attributes to something she sees as unknown and mystifying. The mystifying nuns represent one of the first real things that Dillard sees in Pittsburgh that frightens her. Dillard uses this metaphor as a sign of fear when amongst the nuns, but the reader can see through her word choice that the awareness she has of the world is pretty open. Dillard is able to see nuns in her travels and think deeply about her thoughts.

As I look into Omayra’s eyes her chilling image serves as a paradox. Her eyes mirror the horror of death as it stands before her yet, the rest of her visible body appears at ease. Frank Fournier captures Omayra as she sinks between the two extremes of life and death and her zombie like appearance alone makes her image so much more intriguing than Isabel Allende’s essay. However, without Allende’s essay, I would not have known the true story behind this image. Omayra is not acting and she is not a zombie either. In fact, based on Allende’s description, she has more probably experienced more mixed emotions during her time here than any other human being nearby. For this reason I believe that the image and the essay work well as a pair. Without the reading this image would have no certain direction and without the image this reading would not have such resonance.

The gruesome and ghastly ramifications of this era, brought with it a somber and grave darkness to the imaginations of writers and painters that would last for decades. Consequently, surviving daily living being

When one looks at the current state of the course from the structural perspective, one does not have look far as there was no system of governance, leadership or structure in place in regard to The University’s FYE course offerings due to the dismantling of the office by the previous administration, recently however that has changed. I mentioned earlier in my analysis that a task force has been assembled which will take on the initiative of providing structure and direction in regard to our FYE course offerings. The initiative for structure and robust FYE courses began with Provost Andrew Hsu, the University of Toledo’s current Executive Vice-President for Academic Affairs. The execution of this initiative has been left to Dr. Brian Ashburner who is currently the Vice Provost for Student Affairs, who reports to Dr. Hsu. Dr. Ashburner will be given the authority over the group as well as provide the vertical and

The sister prepares the evening meal, making her contribution to the family; and calls on the boy to come and eat. The saw in the boy?s hands was still running and when he took his attention away from his work, and that split second of carelessness cost him an extremity. His instincts raised his arm upward to keep all the blood from spilling out immediately. When he realized what was happening, the boy finally realized he was to young to be doing a man?s work. The boy ?saw all spoiled,? and now knew his whole childhood had vanished and it was impossible to get it back. The boy frantically called out to his sister to make the doctor keep his hand on. The boy?s body must have instantly gone into shock and not felt the absence of the hand. When the doctor arrived he gave him some ether to make him go to sleep. The little boy began to lose his pulse and soon he was a stranger to the world. The people surrounding the boy never expected the loss of his hand to tragically end the little boy?s life. Frost?s almost appalling casual description of death shocks the reader enough to make them think. ?Since they were not the one dead, turned to their affairs,? describes the environment of the survivors. They are forced to move on with their life and keep working because they cannot afford to stop and mourn.

The story states, There is a story by Loren Eisley that states, “One day a man was walking along the beach when he noticed a boy picking something up and gently throwing it into the ocean.” Approaching the boy, he asked, “What are you doing? “ The youth replied, “Throwing starfish back into the ocean. The surf is up and the tide is going out. If I don’t throw them back, they’ll die.” “Son, the man said, “don’t you realize there are miles and miles of beach and hundreds of starfish? You can’t make a difference!” After listening politely, the boy bent down, picked up another starfish, and threw it back into the surf. Then, smiling at the man, he said…”I