...English Mock; Improved Paragraphs: One incident in the novel that I do not think is an act of justice is Justine’s trial for the murder of William Frankenstein. Justine was condemned to death after being charged for the murder of William. However, as a reader we know that Justine did not kill William and that it was an act of wrongdoing by the creature. This therefore leaves Justine innocent. In addition to Justine’s innocence, Elizabeth also spoke out and gave a statement telling the court what Justine was really like and that she is not a murderer. However, the courts are not moved by this and do not show compassion for Justine. Elizabeth then goes on to say that “men appear to me as monsters, thirsting for each other’s blood”. A “monster” is a supernatural being, a fictional creature who is seen to be evil and does not think about the goodness for anyone else but themselves. In this incident, the judge and the jury in the court, charging Justine could be seen as monsters. This is because they do not take into account the statement from Elizabeth or the fact that Justine may be innocent. It is if that Justine being innocent is just absurd and fiction instead of fact. The phrase “thirsting for each other’s blood” suggests the competition and rivalry between men. As human beings, when we are “thirsty” we need to drink in order to survive. It is an act of human nature. However here, this phrase could be a metaphor for the judges. It could be interpreted that men need to show...
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...Reading Between the Lines: An analysis of Mary Shelley’s Frankenstein, or, the Modern Prometheus, using Horace Walpole’s The Castle of Otranto as an example of male discourse about women Louise Othello Knudsen English Almen, 10th semester Master’s Thesis 31-07-2012 Tabel of Contents Abstract ................................................................................................................................................ 3 Introduction .......................................................................................................................................... 5 Historical Context .............................................................................................................................. 10 The View on Women and Their Expected Roles in the late 18th and 19th Century ....................... 11 - Mary Shelley disowns herself .................................................................................................. 11 - Mary Shelley’s Background .................................................................................................... 12 Women’s Role in Frankenstein ..................................................................................................... 13 Men’s Role in Frankenstein ........................................................................................................... 13 - Women in Society and Women as Writers .........................................................
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...literary works of fiction, authors use diverse images and symbols in order to trigger a particular reaction from the audience. Some authors, however, use traditional images in new contexts challenging the audience's perception of those iconic characters. Authors often argue that characters can have different meanings and symbolism in different cultures and different times. The best example of these new meanings is seen through the writing about iconic monsters in different time periods. From the analysis’ of Beowulf and Grendel: The Truth Behind England’s Oldest Legend by John Grigsby and Grendel by John Gardner, the character of Grendel in both books is the symbolic meaning of how society is afraid of the unknown. When people are confronted with an unfamiliar circumstance, it is human nature to twist the unknown into something frightening and unacceptable....
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...Matt Klaus Professor Firestone Com 4030 4 March 2012 Feminist Criminology, Aileen Wuornos, and the Future of Third Wave Feminism Crime committed by women is on the rise, especially in the area of violent crimes such as murder (Balfour’ 739). This has produced a new form of feminist studies in an area called feminist criminology. What hasn’t been studied as extensively is the question of why women kill. I argue that by using the individuality concept of third wave feminism and doing more research in the field of feminist criminology, patterns of criminal behavior may be established which may prevent severe female crime such as murder. This paper seeks to explain how advancing the study of feminist criminology is good for the U.S. legal system and could have changed the outcome for Aileen Wuornos. In this paper I will discuss what third wave feminism is, then I will discuss what feminist criminology is and how it applies to the Aileen Wuornos case, and lastly I will show that with advanced studies into the field of feminist criminology, odds of severe crimes committed by women could decrease. The third wave of feminism is not easily describable. However, it can be framed by saying that it is a movement that continues to advance the women’s rights agenda of the second wave (Zimmerman et al. 77). Unlike the second wave which was intended to give a voice to all women, the third wave tends to reflect more on the individual. By focusing on personal narratives, responsible...
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...A Regrettably Inadequate Defence of Abortion This essay shall examine and critique Judith Jarvis Thomson’s analogy of the sickly violinist, as it relates to the moral permissibility of abortion. I shall conclude that the analogy is ultimately too dissimilar from a general case of abortion to be an accurate representation of the mother-foetus relationship. I will further conclude that at best the analogy only provides justification for abortion in cases of rape, and when a developing foetus becomes a threat to the mother’s life. The Impermissibility Argument Much of the debate concerning the permissibility of abortion surrounds the notion of ‘personhood’, specifically whether a developing foetus qualifies as such a being. Opponents of abortion expend much energy arguing for the conferring of personhood to the moment of conception, whilst the proponents argue this would be a misclassification. One would not call a pinecone a pine tree; to label a foetus as a person is similarly inappropriate (Thomson: Page 47). Thomson argues this tact distracts from the primary concern of abortion, for even if one grants that a foetus is a person, one’s work is still ahead of them to argue against the permissibility of abortion (Thomson: Page 48). The argument runs as follows: P1: As a person, the foetus has the right to life. P2: As a person, the woman has the right of autonomy concerning her own body. P3: The right to life is more important than the right to autonomy over one’s...
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...narrator · The primary narrator is Robert Walton, who, in his letters, quotes Victor Frankenstein’s first-person narrative at length; Victor, in turn, quotes the monster’s first-person narrative; in addition, the lesser characters Elizabeth Lavenza and Alphonse Frankenstein narrate parts of the story through their letters to Victor. climax · The murder of Elizabeth Lavenza on the night of her wedding to Victor Frankenstein in Chapter 23 protagonist · Victor Frankenstein antagonist · Frankenstein’s monster setting (time) · Eighteenth century setting (place) · Geneva; the Swiss Alps; Ingolstadt; England and Scotland; the northern ice point of view · The point of view shifts with the narration, from Robert Walton to Victor Frankenstein to Frankenstein’s monster, then back to Walton, with a few digressions in the form of letters from Elizabeth Lavenza and Alphonse Frankenstein. falling action · After the murder of Elizabeth Lavenza, when Victor Frankenstein chases the monster to the northern ice, is rescued by Robert Walton, narrates his story, and dies tense · Past foreshadowing · Ubiquitous—throughout his narrative, Victor uses words such as “fate” and “omen” to hint at the tragedy that has befallen him; additionally, he occasionally pauses in his recounting to collect himself in the face of frightening memories. tone · Gothic, Romantic, emotional, tragic, fatalistic themes · Dangerous knowledge; sublime nature; texts; secrecy; monstrosity motifs · Passive women; abortion ...
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...Thailand (Katazyna’s article) * Mae Nak’s duality of loving and obedient wife/unclean and evil monster: common perception of woman and shows male insecurity about women * Any attempts to introduce non-supernatural plots to Thai horror so far met with strong resistance. People believe there is a reason to kill, cause and effect. The only way to show killing outside this cause and effect pattern is to involve black magic (Khmer black magic, known as long khong in Thai) * Conventional Thai ghost: Appear to audience as indistinguishable from living characteristics until it chooses to reveal its identity * Phil Tai Hong conventions: 1. Materialise in the vicinity of their death site. 2. Linked to specific humans who they use as channels of communication with the world * Contemporary Thai horror: Ghosts rely on technology as their site of manifestation and channel of communication (Natre in Shutter crawls out of photograph). 2. Ghosts can transform themselves into digital image radio waves. 3. Metaphorization of ghosts to bring out certain concepts (use of cinematic metaphors) * Director Arayangkoon in The Victim & The House * Director Paween Puri in The Body #19 (Mary Ainslie’s article) * Director Pakpoom Wongpoom and Banjong Pisan (Phenomena Motion Pics): Shutter; 2004 (highest grossing Thai movie for 2004, 4th overall) * New Thai Cinema started with the Thai sakon nostalgia element, which is a blend of Thainess and selected international...
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...VOLUME EDITOR S. WALLER is an Associate Professor of Philosophy at Montana State University Bozeman. Her areas of research are philosophy of neurology, philosophy of cognitive ethology (especially dolphins, wolves, and coyotes), and philosophy of mind, specifically the parts of the mind we disavow. SERIES EDITOR FRITZ ALLHOFF is an Assistant Professor in the Philosophy Department at Western Michigan University, as well as a Senior Research Fellow at the Australian National University’s Centre for Applied Philosophy and Public Ethics. In addition to editing the Philosophy for Everyone series, Allhoff is the volume editor or co-editor for several titles, including Wine & Philosophy (Wiley-Blackwell, 2007), Whiskey & Philosophy (with Marcus P. Adams, Wiley, 2009), and Food & Philosophy (with Dave Monroe,Wiley-Blackwell, 2007). P H I L O S O P H Y F O R E V E RYO N E Series editor: Fritz Allhoff Not so much a subject matter, philosophy is a way of thinking.Thinking not just about the Big Questions, but about little ones too.This series invites everyone to ponder things they care about, big or small, significant, serious … or just curious. Running & Philosophy: A Marathon for the Mind Edited by Michael W. Austin Wine & Philosophy: A Symposium on Thinking and Drinking Edited by Fritz Allhoff Food & Philosophy: Eat,Think and Be Merry Edited by Fritz Allhoff and Dave Monroe Beer & Philosophy: The Unexamined Beer Isn’t Worth Drinking Edited by Steven D. Hales Whiskey & Philosophy:...
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...300 Jonathan Hewitt ENG 225 Cicely Denean-Cobb October 2, 2012 The film I have chosen to do my critique on is Zack Snyder’s 300. 300 is a film about King Leonidas, the King of Sparta, and his 300 Spartan warriors who all stood up against the God-king Xerxes and his massive Persian army from annihilation. After watching the film very closely for my critique I believe there is a serious underlying theme that everyone has the right to be free and sometimes you have to stand up and make sacrifices to keep your freedom. Standing up for freedom is never an easy task as shown in 300 but, everyone deserves to be free. In discussing the storytelling, acting, cinematography, editing, sound, style and directing, the impact of society on the film, genre, a formalist approach to analysis, and the overall textual theme of 300 I will attempt to back up my belief. Storytelling 300’s narrative structure is the first-person point of view of Dilios, a Spartan solider under the command of King Leonidas. The film is presented in chronological order and takes place in Sparta and Thermopylae, Greece. The major conflict in the film is that the Persian army has come to Sparta and requests their submission or will kill them and enslave their women and children. King Leonidas makes the decision to stand up to the Persians but; is not allowed to go to war with the Xerxes, the Persian God-king, because the Ephors deny him the right. The Ephors are later found out to be traitors. Unfortunately,...
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...roles and duties of the husband and wife are based on religious codes. Most marriage laws that are based on religious edicts favor men. Genesis, the story of creation reveals how God created Man and Woman and placed them in the Garden of Eden. There, they dwelt as equals as both were created in the image of God and thus had undifferentiated roles, duties, shared the same status and their relationship was a ‘partnership of equals’. It was only after the deception of the serpent and their subsequent banishment from the Garden did a disparity in their relationship arise. “And the Lord God said unto the woman, ‘…and thy desire shall be to thy husband, and he shall rule over thee.’ (Genesis 4:16-18) “The man named his wife ‘Eve’ because she was the mother of all those who lived.” (Genesis 8:20) Here we have the original charter, which serves as the...
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...Otherness: Essays and Studies 1.1 October 2010 Haunting Poetry: Trauma, Otherness and Textuality in Michael Cunningham’s Specimen Days Olu Jenzen Early conceptions of trauma are intimately linked not only with modernity but specifically with the height of industrialisation (Micale and Lerner 2001). This is converged in the opening of Specimen Days particularly in the image of an industrial accident at the ironworks where a young man is killed by the stamping machine. His young brother, replacing him at the machine after the funeral, then experiences an apparition of the dead brother still trapped inside the machine, which leads him to believe that all machines house entrapped ghosts of the dead. Writing on the Victorians’ anxieties about internal disruption caused by the advent of the railway, Jill Matus (2001, 415) has pointed out that, Freud himself remarked in Beyond the Pleasure Principle (1920), [that] there is ‘a condition [which] has long been known and described [and] which occurs after severe mechanical concussions, railway disasters and other accidents involving a risk to life; it has been given the name of traumatic neurosis’ (12). Freud’s remark brings to the fore the traumas of the industrial age as both individually and publicly experienced and negotiated. This condition of trauma as private and public, individual yet also societal is held in tension throughout Cunningham’s novel. Reflecting on the otherness of trauma and its vexed relationship to representation...
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...when it was first published in the June 26, 1948 issue of The New Yorker. Shirley Jackson's implicit critique of the brutality underlying the rituals and values of America's small towns outraged magazine readers, many of whom cancelled their subscriptions (see the Encyclopedia Britannica for more on the tale's publication history). As a side note – Jackson based "The Lottery" on her life in North Bennington, Vermont (source). Some of us here at Shmoop happen to be from that fine state, and we'd like to assure all potential tourists that despite what you may read in "The Lottery," you don't have to worry about sudden stoning in the Green Mountain State. Anyway, back to the matter at hand. The anonymous, generic village in which "The Lottery" is set, in addition to the vicious twist the story gives to a common American ritual, enhance the contemporary reader's uneasy sense that the group violence in the story could be taking place anywhere and everywhere, right now. Jackson's skillful warping of a popular pastime has become an American classic, establishing her position as one of the great American horror writers. Why Should I Care? So, if you've ever been hanging out with a group of friends and done something truly stupid, you may have heard the refrain, "If your friends jumped off a bridge, would you jump, too?" Your answer is probably "no," but Shirley Jackson disagrees. She thinks you – and anyone and everyone – would race off that bridge if your community decided it was...
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...PREFACE This major project examines the indispensable desiderata of Transcendentalism in comparison to the Dark Romantics background and how these technicalities prepare this work of art as an influential synthesis of human imagination incorporated with mystic facts. Transcendentalism and Dark Romanticism were two literary movements that occurred in America during roughly the same time period (1840—1860). Although the two had surface similarities, such as their reverence for Nature, their founding beliefs were quite different, enough to make one seem almost the antithesis of each other. Moreover one’s genesis is ventured out from other; i.e. Dark Romanticism from the roots of Transcendentalism or precisely the lacunae are best determined for raising up the term called Dark Romanticism. Contents S. No. Page no. Chapter 1.........................................................................................................4-14 Chapter 2.........................................................................................................15-23. Chapter 3..........................................................................................................24-27 Resolution.........................................................................................................28-29 Work Cited................................................................
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... | Not long ago, I was having lunch in a KFC in Harlem, sitting near eight African-American boys, aged about 14. Since 1) it was 1:30 on a school day, 2) they were carrying book bags, and 3) they seemed to be in no hurry, I assumed they were skipping school. They were extremely loud and unruly, tossing food at one another and leaving it on the floor. Black people ran the restaurant and made up the bulk of the customers, but it was hard to see much healthy “black community” here. After repeatedly warning the boys to stop throwing food and keep quiet, the manager finally told them to leave. The kids ignored her. Only after she called a male security guard did they start slowly making their way out, tauntingly circling the restaurant before ambling off. These teens clearly weren’t monsters, but they seemed to consider themselves exempt from public norms of behavior—as if they had begun to check out of mainstream society. What struck me most, though, was how fully the boys’ music—hard-edged rap, preaching bone-deep dislike of authority—provided them with a continuing soundtrack to their...
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...FEMINISM IS FOR EVERYBODY Passionate Politics bell hooks South End Press Cambridge, MA CONTENTS Copyright © 2000 by Gloria Watkins Cover design by Ellen P. Shapiro Cover illustration by Laura DeSantis, © Artville Any properly footnoted quotation of up to 500 sequential words may be used without permission, as long as the total number of words quoted does not exceed 2,000. For longer quotations or for a greater number of total words, please write to South End Press for permission. INTRODUCTION Come Closer to Feminism 1. 2. Library of Congress Cataloging-in-Publication Data Hooks, Bell. Feminism is for everybody: passionate politics / Bell Hooks. p.cm. Includes bibliographical references and index. ISBN 0-89608-629-1 - ISBN 0-89608-628-3 (pbk.) 1. Feminist theory. 2. Feminism - Philosophy. 3. Feminism Political aspects. 4. Sex discrimination against women. 1. Title. FEMINIST POLITICS Where We Stand 1 CONSCIOUSNESS-RAISING A Constant Change of Heart 7 3. SISI:ERHOOD IS STILL POWERFUL 4. Vll 13 00-036589 South End Press, 7 Brookline Street, #1, Cambridge, MA 02139 06 05 04 7 8 9 Printed in Canada 19 OUR BODIES, OURSELVES Reproductive Rights 25 6. HQl190 .H67 2000 305.42'01 - dc21 FEMINIST EDUCATION FOR CRITICAL CONSCIOUSNESS BEAUTY WITHIN AND WITHOUT 31 7. FEMINIST CLASS STRUGGLE 37 8. GLOBAL FEMINISM 44 5. 9. WOMEN AT WORI( 48 10. RACE AND GENDER 55 ...
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