...Tennyson links public and private spaces and their promotion of female passivity to illustrate societal as well as psychological and domestic examples of passivity. In Mariana, the “rusted” and “crusted” atmosphere of decay is representative of Mariana’s psychological deterioration and the stagnant “blacken’d waters” and “moated grange” act as an obstruction to her integration with the outside patriarchal world. This reflects the wider Victorian attitude regarding the home as “the centre of virtue and the proper life for women” and brings to light the impact that passivity in the greater context of society has on the role she plays in her private relationship. This idea of external influences is echoed much less figuratively in ‘The Handmaid’s Tale’ where “decreased birth rates” stimulated a change in the functioning of the governmental system and the politically organised passivity of women, creating a dystopian vision of patriarchy. A change in societal structure resulting in female passivity is also present in ‘Othello’. Desdemona’s transition from an assertive female who “challenge[s] that [she] may profess...
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...‘Dystopian fiction is less about the powerful and more about the powerless’ To what extent is this true in The Handmaid’s Tale and 1984? Dystopian fiction usually revolves over a power struggle between an oppressor and the oppressed, alternatively this can be given the label of powerful and powerless. However, the exposure given to one of these groups is often inclined to be imbalanced. For example, The Giver by Lois Lowry has biased exposure towards the powerless due to the simple fact of the third person limited narrator perspective from Jonas, a member of the aforementioned sector of respective society. This is similar to the 1984 narrator where Winston is never truly aware of what goes on when he wasn’t physically present. But, it could be for this exact reason that in 1984 the dystopian genre inclines towards the powerful, highlighting the hold over the powerless. Contrary to this, The Handmaid's Tale (THT) has blurred lines as to whether the dystopian fiction prevalent in the novels are more or less about the powerful. This is majorly due to conflicting plotlines and enigmatic characters, significant in both of the books. For example, the character of Nick could be characterized for the powerful and powerless. Nick behaves with Offred in a manner which confuses the reader about his loyalties. Ultimately, this essay will aim to prove an option that is a fusion between the two rivals of dystopian fiction offering the complex concept of the powerful powerless. The powerful...
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...Chapter 8 of The Handmaid’s Tale begins with the introduction of three new carcasses hanging at The Wall. The hostile leaders of Gilead hung a priest, indicating that their fastidious and strict ideas of religion are far superior, and the practice of other religions will not be left unpunished. In addition, the hanging corpses of two men were displayed as a penalty for “Gender Treachery,” referring to homosexual activity. This suggests that Gilead restrains their citizens from rebelling against the society’s concept of gender customs. These executions are used to threaten and intimidate the community into submission as to prevent a revolution. As they leave the Wall, Ofglen behaves redolently: “‘It’s a beautiful May day,’ Ofglen says. I [Offred] feel rather than see her head turn towards me, waiting for a reply.” It seems as if Ofglen is attempting to communicate a signal. Offred recalls a memory of Luke telling her about the meaning of Mayday: Help me. Perhaps Ofglen turned her head expectantly to catch a reaction from Offred at the subtle hint of distress. However, Offred does not seem to catch on and replies, “Yes, […] Praise be”....
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...IB LA HL Allee Devault Handmaids Tale Imagery Essay December 8, 2011 Imagery and how it relates to characters inner feelings in Margret Atwood’s Handmaids Tale The use of imagery is a staple in every novel; it gives a much needed visual connection with the themes stated in the novel. In The Handmaid’s Tale, Margaret Atwood demonstrates the use of imagery to further solidify the reader’s comprehension of the tense relationship between the characters, Serena Joy and Offred. On page 153, Atwood describes a scene in which, Offred is coming back from the market, and comes upon Serena Joy working in her garden. As we know from previous dialogue in the book, Offred and Serena Joy do not have a very good relationship, (i.e. Serena Joy doesn’t speak to Offred unless she absolutely has to). In this scene, Atwood isolates the image of Serena Joy’s garden, using the type of flowers in the garden and their colors to express how the problematic aspects of the society affect the relationship between Serena Joy and Offred. Atwood states that there are many flowers in Serena Joy’s garden, yet the only flower she mentions by name is the Iris. Irises in many of cultures are viewed as symbols of messages from God, faith, hope, and bravery. In the society of Gilead, religion is the basis of existence. The idea that irises in some cultures are viewed as messages of God, the placement of the flower in Serena Joy’s garden represents how the relationship between...
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...The theme of oppression is constant throughout both The Handmaid’s Tale and The Crucible. Both show how religion can be twisted into a form of control in society and they show the huge detrimental and devastating effects this control can have. Arthur Miller’s The Crucible shows the horror and appalling nature of the Salem witch trials of 1692, but beneath this surface it shows the parallels to aspects in Miller’s own life at this period, with the idea of McCarthyism going out of control in America. McCarthyism was a result of the second red scare in America in the late 1940´s/1950’s. It was a fear driven movement that swept across the United States where the threat of a Communist world revolution seemed like a very real threat. In response to this branches of the government set up organisations such as HUAC (The House Un-American Activities Committee) to help fight Communism from infiltrating the state. Unfortunately in the end it simply led to a ´witch hunt´ in which people were brought to trial and accused of being communist, Miller amongst them. HUAC and McCarthyism were simply examples of how when those in power feel threatened they will do anything to maintain their position which is what Miller set out to show in The Crucible. In The Handmaid’s Tale, Atwood took a different approach, with a dystopian text which shows a world in which women are heavily oppressed and religion is used as a tool to brainwash and control the population. Atwood has made a point of showing how...
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...coping while under different circumstances? The Handmaid’s Tale by Margaret Atwood shows a women’s life within a totalitarian society. Offred, the protagonist and narrator, struggles to remain sane within herself, this is express through her internal battle of balance of hope between her past, and the present she is in. As she tries to handle the different situations, her coping methods vary with her state of mind within the circumstance. Offred’s struggle is manifested in two different occasions through the book. Her hope to stay sane in one situation is done by her reminiscing the past she had and telling us that her past life identity must be hidden from others, while under different circumstances she copes by convincing herself that the present is where all her attention should be, and who she is now is who she must remain to survive. As Offred struggles to keep her sanity, she uses different methods to cope with her situations. Towards the beginning of the book, in Chapter 14, Offred tells us that she has “another name” however using it is forbidden. She also says “ I keep the knowledge of this name like something hidden, some treasure. I’ll come back to dig up, one day. I think of this name as buried”. This statement shows how she want to keep her identity hidden from this world, so one day if free to go from this situation she can come back for her name, as she connotes her name with a treasure. The whole passage from this extract about her name, is told in a very...
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...Compare and contrast the theme of control in The Handmaids Tale and Nineteen Eighty-Four Control is a central theme in both dystopian texts and control is present in both novels. Both societies in the novels are heavily controlled and restricted, but the key difference is in the regime used by the respective governments in each text. In The Handmaids Tale the government’s ideologies are theosophical whereas Nineteen Eighty-Four is based on socialism. These ideologies play a key role in the ways that control is presented in each novel. The governments use different forms of control to maintain their regimes and power and these include: indoctrination through control of hierarchy, language and religion. The governments act as totalitarian regimes which constantly monitor the lives of its citizens to keep them under their control. Orwell took inspiration from the plight of Britain during the time the novel was written; 1948. Britain had just come out of a horrifying war that devastated the world - World War Two - and her economy and overseas relations were in deep water. Britain’s economy was at its lowest in decades and very unstable; her Empire was dissolving in to the common wealth and international relations were quickly turning sour. Similarly to The Handmaids Tale, Nineteen Eighty-Four warns against governments’ overwhelming acquirement of power. Orwell himself was well-versed in the world of politics and strategies deployed by governments to gain control. He was also a traditional...
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...What is literature? * Creative writing of recognised artistic value. * Written works of fiction and non-fiction in which compositional excellence and advancement in the art of writing are higher priorities than are considerations of profit or commercial appeal. * Literature is literally "an acquaintance with letters" as in the first sense given in the Oxford English Dictionary (from the Latin littera meaning "an individual written character (letter)"). The term has generally come to identify a collection of texts. The word literature as a common noun can refer to any form of writing, such as essays or poetry; Literature as a proper noun refers to a whole body of literary work, world-wide or relating to a specific culture... * lit·er·a·ture n. 1. The body of written works of a language, period, or culture. 2. Imaginative or creative writing, especially of recognized artistic value:"Literature must be an analysis of experience and a synthesis of the findings into a unity" 3. The art or occupation of a literary writer. 4. The body of written work produced by scholars or researchers in a given field: medical literature. 5. Printed material: All the available collected literature on the subject. 6. Music: All the compositions of a certain kind or for a specific instrument or ensemble: the symphonic literature. Good literature has something important to say about life. If we take the time to read and understand the literature...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...Dear Senior: In less than a year, you will be preparing for your freshman year of college. By that time, you should be familiar with a wide range of English, American, and Global literatures. The list of masterworks on the back of this sheet offers a guide for what are considered seminal works in the English-language tradition. We will read and discuss several of the texts during next year’s Advanced Placement English Literature and Composition course. (I AM NOT ASKING YOU TO READ THEM ALL – DON’T BE SILLY!) Reading ahead and reading a work twice is always advisable. In any case, a broad background of reading will benefit you on the AP English Literature test, as well as in your college English classes. Summer Reading: Bulfinch, Thomas The Age of Fable: Stories of Gods and Heroes^^ Foster, Thomas C. How to Read Literature Like a Professor* Hamilton, Edith Mythology^^ Shakespeare, William MacBeth Optional: Cotterell, Arthur & Storm, Rachel The Illustrated Encyclopedia of World Mythology# These books should all be available at your local library or bookstore (you may also order online). *If you do not already own a copy of How to Read Literature Like a Professor, you should get a copy. We will be referring to it throughout the year as we dissect and discuss literary works. ^^I have provided .PDF copies of these works through Edmodo. Please do NOT print copies of these works. #This book is a great resource to have for college, particularly if...
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...Mini-Research Essay i) Mary Rowlandson's A Narrative of the Captivity and A Restoration is a captivity narrative. Harriet Jacobs's Incidents in the Life of a Slave Girl is a slave narrative. While they are considered distinctive genres, they share some characteristics. Look at the excerpts you have from them in your reading. How are they similar? How are they different? Be sure to provide evidence from the texts to support your conclusions. Answer the above questions in a 1,000-1,250-word essay. ii) Prepare this assignment according to the MLA guidelines found in the GCU MLA Style Guide, located in the Student Success Center. An abstract is not required. iii) Include three outside sources. These sources may be printed work or you can make use of the Grand Canyon University online library. You might find these databases helpful: EBSCO Host's Literary Reference Center and LION. Both are available through GCU's online library. Comparing Rowlandson’s Captivity Narrative with Jacobs’ Slave Narrative The fugitive slave narrative and the Indian captivity narrative are distinctive genres in the American literature; however, they share some characteristics and frequently are subject to comparison. The first captivity narrative in the American literature was Mary Rowlandson's A Narrative of the Captivity and Restoration in 1682, in which she wrote about her awful captivity experience by the Indians. Over sixteen decades later, Harriet...
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...American Pop: Popular Culture Decade by Decade. Ed. Bob Bacthelor. Westport, CT: Greenwood Press 2009. 978-0-313- 34410-7. 4 vol. 1,604p. $375.00. Gr. 9-12. This four volume set gives students a broad and interdisciplinary overview of the many and varied aspects of pop culture across America from 1900 to the present. The volumes cover the following chronological periods: V 1. 1900-1929, V 2. 1930-1959, V 3. 1960-1989 and Vol. 4. 1990-Present. There is an Introduction for each volume focusing on the major issues during that period. There is a Timeline of events for the decade which gives extra oversight and content to the study of the period and an Overview of each dcade. Chapters focus on specific areas of pop culture (Advertising, Books, Entertainment, Fashion, Food Music and much more) supplemented with sidebars containing stories, photos, illustrations and Notable information. There are endnotes for each decade and a Resource Guide and Index. Volume 4 also contains a Cost of Products from 1900-2000, and an Appendix with Classroom Resources for teachers and students and a Cumulative Index. Students, teachers and the general reader will love sifting through the experiences of Americans as they easily follow the crazes, technological breakthroughs and the experiences of art, entertainment, sports and other cultural forces and events that influenced each generation. Reference– Popular Culture ...
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...A Passage to India E. M. Forster Online Information For the online version of BookRags' A Passage to India Premium Study Guide, including complete copyright information, please visit: http://www.bookrags.com/studyguide−passageindia/ Copyright Information ©2000−2007 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare &Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994−2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994−2005, by Walton Beacham. All other...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...ПРАКТИЧЕСКИЙ КУРС АНГЛИЙСКОГО ЯЗЫКА 4 курс Под редакцией В.Д. АРАКИНА Издание четвертое, переработанное и дополненное Допущено Министерством образования Российской Федерации в качестве учебника для студентов педагогических вузов по специальности «Иностранные языки» Сканирование, распознавание, редактирование Июнь 2007 Москва гуманитарный издательский центр ВЛАДОС 2000 Практический курс английского языка. 4 курс под ред. В.Д. Аракина ББК 81.2Англ-923 П69 В.Д. Аракин, И.А. Новикова, Г.В. Аксенова-Пашковская, С.Н. Бронникова, Ю.Ф. Гурьева, Е.М. Дианова, Л.Т. Костина, И.Н. Верещагина, М.С. Страшникова, С.И. Петрушин Рецензент кафедра английского языка Астраханского государственного педагогического института им. С.М. Кирова (зав. кафедрой канд. филол. наук Е.М. Стпомпель) Практический курс английского языка. 4 курс: П69 Учеб. для педвузов по спец. «Иностр. яз.» / Под ред. В.Д. Аракина. - 4-е изд., перераб. и доп. - М.: Гуманит, изд. центр ВЛАДОС, 2000. 336 с.: ил. ISBN 5-691-00222-8. Серия учебников предполагает преемственность в изучении английского языка с I по V курс. Цель учебника - обучение устной речи на основе развития необходимых автоматизированных речевых навыков, развитие техники чтения, а также навыков письменной речи. Учебник предназначен для студентов педагогических вузов. ББК 81.2Англ-923 2 Практический курс английского языка. 4 курс под ред. В.Д. Аракина ПРЕДИСЛОВИЕ Настоящая книга является четвертой частью серии комплексных учебников...
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