...house itself as being angry. If that's the case, then Hayden's giving us a little dose of personification, because he's saying the house has human feelings. It’s possible that the whole atmosphere is so soaked with anger that the speaker feels it coming through the walls. That means they've been around a while, and they're not going away anytime soon. And "chronic" is an odd word choice. Usually when we hear the word chronic, we think of...
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...blaze. No one ever thanked him. I’d wake and hear the cold splintering, breaking. When the rooms were warm, he’d call, And slowly I would rise and dress, Fearing the chronic angers of that house, Speaking indifferently to him, Who had driven out the cold And polished my good shoes as well. What did I know, what did I know Of love’s austere and lonely offices? Poem “Those Winter Sundays” is wrote by Robert Hayden, generally seen as a crafted lyric on a universal theme---paternal love, describing a past day and showing a present reverence for author’s father. The title “Those Wither Sundays” emphasizes the time background. It is Sundays, not Tuesdays or Fridays. Sundays are days at home, days completely belongs to ourselves, days that we see our families the most. Hayden recalls the past and realizes how much he had to thank his father. It was a normal Sunday in winter when the author was a little boy; his father got up early, made the fire with his “cracked hands”, woke him up and polished shoes for him. The theme is presented directly and explicitly through every rich physical detail. The poem doesn’t use a masculine pronoun; it sounds more like a woman’s. Through the choice of the gender of voice, I can see the speaker is a soft and sensitive man. Subtle wordings such as “blueblack cold”, “cracked hands”, “banked fires” sketch a simple scene with fine details; the repetition of K sounds (clothes, cold, cracked, ached, weekday), plosive B’s (blueblack, banked, blaze)...
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...abuse: this is when sexual contact is made without the consent of the person or when the person has been tricked or force into taking part in sexual activities. This can happen to males and females. This can include sexual penetration with any object, fingers or penis. Being exposed to pornographic elements, touching someone up or kissing is also a way of sexual abuse. Those are many signs and symptoms due to the sexual abuse: you can find some bruising around the person’s genitals and breast, urinary tract infections, vaginal/anal bleeding which will stain the underwear, nightmares and sleepless night, fearful and withdrawn. .Emotional/psychological abuse: this can be when a person takes power and control over someone else with words and gestures. This can be the use of threat, name calling, yelling, humiliation, bullying, not listening, swearing and other verbal conduct, or any...
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...503479 14 EJT0010.1177/1354066113503479European Journal of International RelationsSolomon E IR J Article The affective underpinnings of soft power European Journal of International Relations 2014, Vol. 20(3) 720–741 © The Author(s) 2014 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1354066113503479 ejt.sagepub.com Ty Solomon University of Glasgow, UK Abstract The concept of soft power occupies a prominent place in International Relations, foreign policy, and security studies. Primarily developed by Joseph S. Nye, the concept is typically drawn upon to emphasize the more intangible dimensions of power in a field long dominated by overtly material (i.e. military) power. Recently, some scholars have reframed soft power — specifically the key notion of attraction — as a narrative and linguistic process. This literature, however, has downplayed some of the other deep-seated underpinnings of soft power, which this article argues lie in the dynamics of affect. Building upon the International Relations affect and aesthetics literatures, this article develops the concept of soft power as rooted in the political dynamics of emotion and introduces the concept of affective investment. The attraction of soft power stems not only from its cultural influence or narrative construction, but more fundamentally from audiences’ affective investments in the images of identity that it produces. The empirical import of these...
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...Australian Multiculturalism: Its Rise and Demise Brian Galligan and Winsome Roberts University of Melbourne Refereed paper presented to the Australasian Political Studies Association Conference University of Tasmania, Hobart 29 September – 1 October 2003 Brian Galligan, Winsome Roberts: Australian Multiculturalism Multiculturalism merits special attention because of its significance as a national policy of accommodating migrants from diverse cultural backgrounds. Multiculturalism is more significant because of the larger claims it made about the actual or preferred character of the Australian people and national culture. These embellishments were promoted by a relatively small coterie of elites, as Mark Lopez has painstakingly documented,1 and became standard formulations used in official accounts of Australian national identity and citizenship. While the sting has gone out of multiculturalism and the national debate has moved on to issues of citizenship and refugee policy, multicultural formulations still inform official documents. According to this view, Australia is now made up of people of diverse cultures that should be given equal status with the Australian mainstream. Australian citizenship is then invoked as the glue that binds these different groups into a national unity. The multicultural account of Australia as a nation of diverse cultural groups has been taken over by the Australian Citizenship Council in its prescriptions for Australian Citizenship for...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...FOR NICK Finally . . . Always 7:09 A.M. Everyone thinks it was because of the snow. And in a way, I suppose that’s true. I wake up this morning to a thin blanket of white covering our front lawn. It isn’t even an inch, but in this part of Oregon a slight dusting brings everything to a standstill as the one snowplow in the county gets busy clearing the roads. It is wet water that drops from the sky—and drops and drops and drops—not the frozen kind. It is enough snow to cancel school. My little brother, Teddy, lets out a war whoop when Mom’s AM radio announces the closures. “Snow day!” he bellows. “Dad, let’s go make a snowman.” My dad smiles and taps on his pipe. He started smoking one recently as part of this whole 1950s, Father Knows Best retro kick he is on. He also wears bow ties. I am never quite clear on whether all this is sartorial or sardonic—Dad’s way of announcing that he used to be a punker but is now a middle-school English teacher, or if becoming a teacher has actually turned my dad into this genuine throwback. But I like the smell of the pipe tobacco. It is sweet and smoky, and reminds me of winters and woodstoves. “You can make a valiant try,” Dad tells Teddy. “But it’s hardly sticking to the roads. Maybe you should consider a snow amoeba.” I can tell Dad is happy. Barely an inch of snow means that all the schools in the county are closed, including my high school and the middle school where Dad works, so it’s an unexpected day off for him, too. My mother, who...
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...Table of Contents Title Page Copyright Page Dedication IF I STAY Acknowledgements DUTTON BOOKS A member of Penguin Group (USA) Inc. Published by the Penguin Group | Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, U.S.A. | Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario M4P 2Y3, Canada (a division of Pearson Penguin Canada Inc.) | Penguin Books Ltd, 80 Strand, London WC2R 0RL, England | Penguin Ireland, 25 St Stephen’s Green, Dublin 2, Ireland (a division of Penguin Books Ltd) | Penguin Group (Australia), 250 Camberwell Road, Camberwell,Victoria 3124, Australia (a division of Pearson Australia Group Pty Ltd) | Penguin Books India Pvt Ltd, 11 Community Centre, Panchsheel Park, New Delhi - 110 017, India | Penguin Group (NZ), 67 Apollo Drive, Rosedale, North Shore 0632, New Zealand (a division of Pearson New Zealand Ltd.) | Penguin Books (South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank, Johannesburg 2196, South Africa | Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England This book is a work of fiction. Names, characters, places, and incidents are either the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. Copyright © 2009 by Gayle Forman “Waiting for Vengeance” © by Oswald Five-0, Serenade , Grinning Idiot Records. All rights reserved. No part of this publication...
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