Summary Of ' Why Literature ' By Ruben Dario 's A Roosevelt Essay

Marxist literary criticism flourishes from Karl Marx and Engel’s theories on revolutionary change. Through the implicit and explicit detail of a novel, Marxist criticism unravels a text’s underlying economic purpose. A Marxist will read a text and expose “social contexts in ways which the author themselves would not admit” (158). A professor from the Indira Gandhi National Open University (IGNOU) teaches authors inevitably impose their social class ideology on their work, consequently inserting an ideology within the lines of the novel reflecting the struggles of

In the passage “Why Literature Matters” by Dana Gioia, Gioia states that the decline of interest in reading in America is decreasing. She then claims that this lack of interest will hold negative effects on the future of our society. Gioia uses facts and evidence to support her claim.

Alan Moore and George Orwell’s stylistic writing choices and parallels between fascist governments and the methods used to oppose them in their pieces “V for Vendetta” and “1984” with the use of rhymes and television to represent a biased sense of view and salvation left in history, and how the Party uses their own symbols to repress that salvation.

Herman Melville 's Benito Cereno (1856) and Frederick Douglass 's The Heroic Slave (1852) provide social commentary on the evils, injustices and dehumanizing effects of slavery. Melville 's "Babo" and Douglass 's "Madison Washington" are similar in motive—the pursuit of liberty and destruction of slavery. The ways in which these characters are perceived, however, differ and stem directly from the author 's construction of the narrative. By examining the slave uprisings within the both texts, it is clear that Melville creates a story that depicts “Babo’s” rebellion as maliciously calculated, while Douglass paints the portrait of Madison 's resistance as rightfully deserved and necessary. Douglass 's novel is overtly an abolitionist narrative, unlike Melville’s Benito Cereno, which is quite ambiguous in its didactic message. Critic, William L. Andrews, notes that “The Heroic Slave uses the techniques of fiction to remodel the raw materials of history into a more meaningful and usable truth ” (Andrews 11). There is transparency in Douglass 's goal for the novel—to expose and unveil the atrocities of slavery (separation of families, murder of loved ones, perpetual subjectivity, etc.) and denounce preconceived notions of black inferiority. Madison Washington is a slave, but also a human being—not

Thomas C. Foster’s book, How to Read Literature Like a Professor, tackles the process of uncovering the underlying complexities and symbols that authors incorporate into their literary works. In its most lucid form, Foster’s message is that, when reading a work of literary merit, anything you may postulate has a deeper meaning most likely does, since skilled authors do not include items and occurrences just to include them. The dystopian literature novels 1984, Animal Farm, and Brave New World follow this trend as they interpolate different motifs with deeper political and symbolic context; however, Foster’s statements do not only apply to written literature. The movie V For Vendetta, released in 2005, connects to How to Read Literature Like

Chavez’s main rhetorical strategy was pathos. Pathos led to how the story impacted the reader’s beliefs; pathos is used to affect the feeling of the reader. It is effective because it allows the reader to connect with what is being said. Chavez uses the pathos argument to show American’s feelings, “the American people and people

Benidalys Rivera is one of seven women to give birth while in the Western Massachusetts Regional Women’s Correctional Center in 2013. In 2013, Benidalys was convicted to serve two and a half years in Chicopee jail for trafficking cocaine. She started to have contractions in her cell, late in the evening. One of the male correctional officers immediately put shackles on her hands, and he left the shackles on her in the hospital labor room. He told Benidalys that he would take the off the shackles on her ankles when she reaches active labor. However, she never entered active labor and the shackles never were taken off. The doctors had to perform a caesarean section (Berg). Benidalys walked around the hospital “she felt embarrassed as nurses and other patients looked on” (Berg) while having only her assigned nurse for comfort. Benidalys took care of her infant for only two days before they had to separate. The infant, named E.J. taken with the biological father’s family, and Benidalys taken back to the institution. Growing up for two and a half years without visiting his mother because the father’s family lived far away from the prison (Berg). The Department of Corrections of each state needs to consider the well-being of incarcerated women and their children in order to prevent the poor upbringing of the children, to prevent repeat offenders, and to create laws protecting

He calls out to the loving, protective parents of America saying that “we can have no joy, knowing that this government is not sufficiently lasting to ensure any thing which we may bequeath to posterity.” (22). He believes that the strife of revolution would bring many years of peace and prosperity for the generations to come and anything otherwise would be “leaving the sword to our children” (26). This use of pathos forced families to be selfless for their children’s sake, to give them a better

Ghostly representations of “the other” imagine a social evil that has not been put to rest. These images reoccur in the Western canon, marking the persistence of slavery long after its abolition. Haunting, ghosts and skeletons in Benito Cereno act as a vehicle through which the suppressed return to the stage with a message. The ghosts carry with them all that the imperialists wanted to control, including emotions, and more precisely, the emotions of the oppressed. I argue that ghosts and skeletons comprise an area of tension in which the appearance of the “other” reveals that the dominant party’s control is incomplete. Yet, the presence is merely ghostly due to the constant policing and lack of respect for the Other. These ghosts also break through the boundaries of the dominant culture’s paradigms and identities (Harpham 17), signaling potential political crisis. This text signals the fear of the retaliation of the Other through ghostly representations by projecting on to the other, their own identities of brutality and irrationality. “Benito Cereno” by Herman Melville overturns the racist images of the colonized by relocating evil in the order of slavery. Hauntings carry the perspectives and powers of the slaves by preserving the dead amidst the living and the past amidst the present, they muddle up the concept of time and therefore defy the Western dream of complete control.

In this essay I am going to discuss whether or not we can consider Lazarillo de Tormes as a subversive text and the reasons behind why or why not we may believe it to be so. To accomplish this, I will explore the background behind Lazarillo, the different methods and literary devices used to convey dual meaning and give the text an undertone of subversion.

Hector Berlioz wrote the Symphonie fantastique at the age of 27. He based the program on his own impassioned life and transferred his memoirs into his best- known program symphony. The story is about a love sick, depressed young artist, while in his despair poisons himself with opium. His beloved is represented throughout the symphony by the symbolic idee fixe. There are five movements throughout symphony. The program begins with the 1st movement: Reveries, Passions symbolizing the artist's life prior to meeting his beloved. This is represented as a mundaness and indefinable searching or yearning, until suddenly, he meets her and his longing abruptly ceases and is replaced by volcanic love. The

There was a frequent reference to “a poet” whose work was widely respected in this novel. The Count de Satigny (who was Esteban Trueba’s ‘suitable’ choice of a husband for Blanca) referred to the work of the poet as “the best poetry ever written, and nothing could compare to it”. When Jaime and Nicholas became adults, the poet became more widely accepted as Clara had formerly predicted the first time she heard him recite in his ‘telluric voice’ in one of her literary soireés. It was evident that the poet lived and wrote about the right of the citizens to live their lives the way they wanted to, making their own decisions and expressing their own opinions without being controlled. For this reason, the funeral of such a poet became “the symbolic burial of freedom”.

Literature is an imitation of societal values and is thus a reflection of the human experience of a time period. Written works emphasize the elements of culture, by means of characters, particular events, setting and theme, specific to the time period in which it was composed. Furthermore, literature mirrors the troubles or hardships of society and projects the core values that define said society. Thus, as culture has changed over time, literature has remained a critical facet in representing time periods of the past. Essentially, the culture of a time period is manifested through writing in the projection of society’s values, symbolism of the center of community and literature itself.

“Do not focus too much on the branch or the leaf, lest you forget that they are part of a tree, or too much on the tree, lest you forget that it is part of a forest”. (Llosa II). Just what does the author mean by this quote? What is he referring to when he says this? Does wants the reader to see the bigger picture rather than focus on themselves or the world they live in right now or to think about the future, present, and past generations and see the big picture of life and what it can offer?

            While Marxist critics must admit that they themselves are helpless to avoid the effects of hegemony, the critical project of Marxist literary criticism remains steadfastly committed to the attempt to identify and understand the mediating contexts in which the forces of hegemony exert pressure on a text, its author, and its audience. These contexts manifest themselves within specific historical, economic, political, cultural, etc... conditions. In order to discover such contexts, a work of art cannot be uprooted from the specific temporal circumstances in which it is read or created and regarded as an isolated purely original entity. Literature, for better or worse, is mired in history.