The Reality Effect By Roland Barthes

How has technology affected mankind over time? How has it affected the youth of our country? How has it affected the adults? We rely on the internet for almost everything, do we still have the power to detach ourselves from it? The article, “The Virtues of Reality” written by Ross Douthat caught my attention with a thesis that is quite realistic. Douthat theorizes that the main cause of both the youth becoming safer over time along with the adults growing more immature is the virtual reality that the internet provides us with. Douthat then leaves the readers with a thought to ponder about. He questions if we as human beings have become so reliant on technology, that we can’t take a step back. What I wish to know is why should we need to take a step back when the world that we live in has infused technology along with the internet into everything that we do in life?

Her choice of words paints vivid pictures and instills strong feelings appropriate to the situation written at hand. The diction reveals what the characters look like as well as their personality, or clues to their personality. It moves the story forward by showing how the events transition with her choice of words and in the way she reveals characters or happenings. Brooke Hauser's choice of figurative language conveys how dire a situation may be, how joyful it may be, and how the features of the characters appear to be in comparison to objects. Her use of figurative language makes it easier to picture the characters as well as obtain an idea of how the characters may feel at the time. The figurative language reveals, in detail, the appearance of the characters as well as their personality. An example would be on page forty-seven, which says, "...the farmer's face, its broad planes darkened in shadows like a field under a passing cloud." Brooke's use of figurative language moves the story forward by revealing new characters, the feelings of characters, and/or new locations. The author's use of sensory detail contributes greatly to the struggles and emotions of the students. In the way she uses it, she shows how horrific an event may be, how disheartening something may be, and/or how cheerful and jovial something may be. She uses sensory details to reveal the, typically physical, features of characters.

Immigrating to America is a process in which many people all across the world entrust as their one way ticket to a better life. Whether they do so legally or illegally, coming to the United States ensures better opportunities, economically, politically, and so on, to people who would have otherwise been worse off in their countries of origin. Even so, the common understanding of being “better off” can be considered a misconstrued concept when it comes to living in the states. Many families that choose to immigrate to the U.S. fail to realize the cultural hardships that newcomers tend to face once on American soil. Anything from racial discrimination or bias at work, in neighborhoods, at school, etc., can all be challenges that people encounter when making a move to the U.S. Such challenges are described by Richard Rodriquez in his autobiography Hunger of Memory. In this passage, he explains how cultural differences between Mexican and American ways of life have shaped him into the person that he is today. He also chooses to highlights the problems that he faces growing up in a predominately white neighborhood, while attending a predominantly white institution. Much of his writing consists of the cultural differences and pressures he feels to assimilate to Western culture and how this process, in turn, changes him into the person that some may find to be unethical, but nonetheless, someone he is proud of.

d. Whether the work, taken as a whole, lacks serious literary, artistic, political, or scientific value.

In the short story "The Guest" by Albert Camus, Daru's predicament goes hand in hand with France's difficulties and Camus' self-appreciation. In the short story “The Guest” we are introduced to see Daru’s concern to attend the political situation in the French North

The most significant part of the entire text is that most of the readers will never feel the pain of author. The ability not to be able to relate and understand someone’s struggle is very impactful.

Many people say that war is worse than Hell because innocent people die in it. In Beah’s life, this is most definitely true. Throughout the war, Beah goes through many hardships and witnesses the deaths of innocent loved ones, and Beah’s writing reflects how he felt during these times. Beah uses rhetorical strategies like diction, imagery, and detail choice to convey the emotional process he had to undergo in order to survive.

His diction let’s you sense the carelessness and monotony of the characters lives. This style of writing shows the reader that the worth and value of the individual is not

aims his focal point at imagery to provide vivid and rich details. Literary devices play a crucial

J.M.E McTaggart’s ‘The Unreality of Time’ is respected today as his foremost and best known work within Academia. It is appropriate that this work shares the title of one of his most enduring Philosophical projects, establishing that Time is unreal or does not exist. In regards to the question ‘Did He Succeed?’ while being a perfectly typical critical Philosophical essay topic, it would be beyond the scope of this essay to definitively say Yes or No. The standards of Western Philosophy just seem to be that for any of those enduring questions that have been the topic of study for in some cases nearly three thousand years in the discipline to be said to be definitively answered, the standard and breadth of evidence would be so great that no one would be asking if a Philosopher really did succeed in his project nearly a century after his death. So in this essay I will discuss how McTaggart attempted to establish the unreality of time, but in the context of not trying to argue he actually established it beyond doubt. McTaggart sought to establish the unreality of time by means of demonstrating how flawed conventional conceptions within Philosophy of Time were. So I will also seek to demonstrate he did at least establish that current conceptions of time were flawed and throw serious doubt upon then.

Throughout his novel Everything Flows, Vasily Grossman provides numerous occasions for defining freedom. In the midst of attempting to give meaning to freedom, Grossman greatly invests in wrestling with the issue of why freedom is still absent within Russia although the country has seen success in many different ways. Through the idea and image of the Revolution stems Capitalism, Leninism, and Stalinism. Grossman contends that freedom is an inexorable occurrence and that “to live means to be free”, that it is simply the nature of human kind to be free (200-204). The lack of freedom expresses a lack of humanity in Russia, and though freedom never dies, if freedom does not exist in the first place, then it has no chance to be kept alive. Through Grossman’s employment of the Revolution and the ideas that stem from it, he illustrates why freedom is still absent from Russian society, but more importantly why the emergence of freedom is inevitable.

One of these qualifications is that the story’s plot is more important than its characters. In “The Pit And The Pendulum,” the reader knows very

The play No Exit, by Jean-Paul Sartre, is about three people that die and go to hell. Joseph Garcin, a journalist executed by a firing squad for trying to desert during a war; Inez Serrano, a post-office clerk murdered by her lover which left a gas stove on while she slept; and Estelle Rigault, a woman who married an older rich man and died due to pneumonia. They all expected physical torture in hell. However, all they found was a plain room with some furniture that always had the light on, no windows, no beds, and nothing that would reflect or work as a mirror. The three of them were trapped inside the room. After discussing among themselves, they confessed their crimes and deduced that the torture was psychological. They also realized that they had been placed together so that each of them was to become the torturer of the other two. Each character began to ask things from the others to fulfill a need they all had, which only led them to more despair. Due to this, Garcin concluded that “hell is other people” (pag26). A. Petrusso argues in his article “No Exit” that the three main characters of the play have in common a display of cowardice. Certainly, all of them seem to be cowards at some moment and one character exhibits it more than the others. He also argues that certain actions and behaviors are merely the cowardice of the character when in fact, it rather seems more like fear. The examples and arguments used by Petrusso seem to simply catalog the main characters as

Put aside your stance on homosexuality, and put yourself into the shoes of someone who is a homosexual. Imagine how you would feel if the world did not accept who you are as a person because you are different. Only because you didn’t find the opposite sex attractive to you. In Jonathan Safran Foer’s book Everything is illuminated we find out that Alex confesses his love for Jonathan near the end of the book as he becomes more comfortable with Jonathan. Why does Alex not tell Jonathan from the beginning? Is he uncomfortable being open that he is a homosexual?

the whole novel: “the linguistic pattern of choices realizes a primitive pattern of cognition, which in turn is the key to the tragic vision of the novel.”(Leech & Short, 2001: 32) Halliday being the widely acknowledged precursor of functional stylistics, the eminent German linguist-critic Leo Spitzer (1887-1960), is likewise father of literary stylistics. In his insistence that the smallest detail of language can unlock the “soul” of a literary work, he maintains the task of stylistics is to provide a hard-and-fast technology of analysis: I would maintain that to formulate observation by means of words is not to cause the artistic beauty to evaporate in vain intellectualities; rather, it makes for a widening and deepening of the aesthetic taste. It is only a frivolous love that cannot survive intellectual definition; great love prospers with understanding. (Leech & Short, 2001: 2) A question which is often asked in this connection is “At which end do we start, the aesthetic or the linguistic?” The image used by Spitzer of the “philological circle”, the circle of understanding, however, seems to suggest there is no logical staring point. Spitzer argues that the task of Linguistic-literary explanation proceeded by the movement to and fro from linguistic details to the