In the article “Human Salvation in an Evolutionary World: An Exploration in Christian Naturalism” by Karl Peters, Peters states salvations is “not primarily to a future life after death but a transformation in this life of both ourselves and this world” (Peters, 845). Salvation is not only something that can be found after death; people can finds salvation at any point by deciding to make a transformation in their lives to better themselves as well as the world around them. However, most humans seek salvation to find solace in the critical moment of their death; individuals find comfort in the belief of life after death or an eternal sole. Several people find salvation through religious means. In Christianity, salvation is reached through the open acceptance of Christ into one’s life by promising to live their life by God. Christians believe in life after death if a person lives their life by god and accepts Jesus Christ then they will go to heaven, however, if a person fails to let go of their sins or does not live accept Christ then they will not find eternal life in heaven. Both “The Jilting of Granny Weatherall” by Katherine Anne Porter and “I Heard a Fly Buzz- When I Died” by Emily Dickinson depict characters who fail to find salvation after death because of their inability to see God in the physical form; the authors illustrate this using different literary elements including style, symbols and allusions.
Author’s style is defined as the distinct literary manner that makes his or her expression of content unique from other authors; Katherine Anne Porter and Emily Dickinson have different styles that contribute to a better understanding of the themes of their work. In “The Jilting of Granny Weatherall” Porter uses the strea...
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...ull Text (H.W. Wilson). Web. 13 Apr. 2014.
Laman, Barbara. "Porter's The Jilting Of Granny Weatherall." Explicator 48. (1990): 279-281. Humanities Full Text (H.W. Wilson). Web. 13 Apr. 2014.
Mayer, David R. "Porter's The Jilting Of Granny Weatherall." Explicator 38.4 (1980): 33. Literary Reference Center. Web. 13 Apr. 2014.
Peters, Karl. "Human Salvation In An Evolutionary World: An Exploration In Christian Naturalism." Zygon: Journal Of Religion & Science47.4 (2012): 843-869. Humanities Full Text (H.W. Wilson). Web. 20 Apr. 2014.
Porter, Katherine Anne. “The Jilting of Granny of Granny Weatherall.” Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Ed. X.J. Kennedy and Dana Gioia. Blinn Custom Ed. New York: Pearson, 2010.79-85. Print.
Wilson, Eric. "Dickinson's Chemistry of Death." Atq 12.1 (1998): 27. Literary Reference Center. Web. 13 Apr. 2014.
"Unit 2: Reading & Writing About Short Fiction." ENGL200: Composition and Literature. New York: McGraw-Hill, 2011. 49-219. Web. 19 Apr. 2014.
Style in literature is essential to create proper perception from the reader. This is equally as important as establishing appropriate tone. For this propose Ethel Wilson compliments such standards in her works “The Fog”, “Hurry, Hurry” and “The Window.” Wilson’s stylistic techniques are unmatched in uniqueness or assessing human nature versus physical nature. In the fore mentioned texts, Ethel Wilson composes her style from elements of symbolism, motif and character development to flourish understanding of the central idea of responsibility in the human mind when hidden behind nature.
Edward Taylor’s Upon Wedlock, and Death of Children and Upon a Wasp Chilled with Cold are similar in their approach with the illustration of how beautiful and magnificent God’s creations are to humankind. However, each poem presents tragic misfortune, such as the death of his own children in Upon Wedlock, and Death of Children and the cold, enigmatic nature of human soul in Upon a Wasp Chilled with Cold. Taylor’s poems create an element of how cruel reality can be, as well as manifest an errant correlation between earthly life and spiritual salvation, which is how you react to the problems you face on earth determines the salvation that God has in store for you.
Each author has their own style that is reflected in their poetry. Emily Bronte, author of the poem “Ah! Why, Because the Dazzling Sun,” is known for her whimsical style (Emily). Some authors stick to one common pattern in the style of their poems; on the other hand, Bronte utilizes many different elements to make her writings unique. Bronte takes words and tells a story through her poetry, and that ultimately is why her name has gone down in literary history. From Wuthering Heights to her many other poems, and even under the pseudonym of “Ellis Bell,” Bronte includes a multitude of writing styles to make her works memorable. The poem contains a rich source of figurative
When a writer starts his work, most often than not, they think of ways they can catch their reader’s attention, but more importantly, how to awake emotions within them. They want to stand out from the rest and to do so, they must swim against the social trend that marks a specific society. That will make them significant; the way they write, how they make a reader feel, the specific way they write, and the devotion they have for their work. Washington Irving, Nathaniel Hawthorne, and Edgard Allan Poe influenced significantly the American literary canon with their styles, themes, and forms, making them three important writers in America.
Reid, Alfred. “Emerson’s Prose Style: An Edge to Goodness.” Style in the American Renaissance: A Symposium. (1970): 37-42. Rpt. in Nineteenth Century Literature Criticism. Ed. Laurie Lanzen Harris. Vol. 1. Detroit: Gale Research Inc., 1981. 306.
In literature, themes shape and characterize an author’s writing making each work unique as different points of view are expressed within a writing’s words and sentences. This is the case, for example, of Edgar Allan Poe’s poem “Annabel Lee” and Emily Dickinson’s poem “Because I could not stop for Death.” Both poems focus on the same theme of death, but while Poe’s poem reflects that death is an atrocious event because of the suffering and struggle that it provokes, Dickinson’s poem reflects that death is humane and that it should not be feared as it is inevitable. The two poems have both similarities and differences, and the themes and characteristics of each poem can be explained by the author’s influences and lives. “Although Emily Dickinson is known as one of America’s best and most beloved poets, her extraordinary talent was not recognized until after her death” (Kort 1).
There is no doubt that the literary written by men and women is different. One source of difference is the sex. A woman is born a woman in the same sense as a man is born a man. Certainly one source of difference is biological, by virtue of which we are male and female. “A woman´s writing is always femenine” says Virginia Woolf
In both Emily Dickinson and Walt Whitman’s works, they emphasize some differences in their writing. In Dickinson’s works she shows that her works are short and simple poems, while Whitman’s poems and often long and complex. With Dickinson showing that her works are short and simple, while Whitman brings on a more sophisticated style, it truly shows that they use their own unique style of writing. In both Whitman and Dickinson works they have been known for being such unique artist and being original, while people try so hardly to impersonate their style, but they are unable to come close to accomplishing it. Whitman wrote in ambitious proportions, while creating a style of rhythmic structure, creating stanzas and complex lines.
Strunk, William and White, E. B. The Elements of Style (4th ed.). Allyn & Bacon, Boston, MA, 2000.
Emily Dickinson became legendary for her preoccupation with death. All her poems contain stanzas focusing on loss or loneliness, but the most striking ones talk particularly about death, specifically her own death and her own afterlife. Her fascination with the morose gives her poems a rare quality, and gives us insight into a mind we know very little about. What we do know is that Dickinson’s father left her a small amount of money when she was young. This allowed her to spend her time writing and lamenting, instead of seeking out a husband or a profession. Eventually, she limited her outside activities to going to church. In her early twenties, she began prayed and worshipped on her own. This final step to total seclusion clearly fueled her obsession with death, and with investigating the idea of an afterlife. In “Because I could not stop for Death”, Dickinson rides in a carriage with the personification of Death, showing the constant presence of death in her life. Because it has become so familiar, death is no longer a frightening presence, but a comforting companion. Despite this, Dickinson is still not above fear, showing that nothing is static and even the most resolute person is truly sure of anything. This point is further proven in “I heard a Fly buzz”, where a fly disrupts the last moment of Dickinson’s life. The fly is a symbol of death, and of uncertainty, because though it represents something certain—her impending death—it flies around unsure with a “stumbling buzz”. This again illustrates the changing nature of life, and even death. “This World is not Conclusion” is Dickinson’s swan song on the subject of afterlife. She confirms all her previous statements, but in a more r...
Williams’ views on style are more diverse. According to him, style should be more about the audience the writer is writing to rather than the writer himself. Williams explains how to write or the reader. In his last chapter Williams states how to write in a constructive voice, how to the flow of information affects the reader, what words to use when the reader has prior knowledge of the subject and when he or she does not, and how to be clear for the reader.
Edgar Degas had said, “Art is not what you see, but what you make others see,” this sentiment is critical to understanding Impressionism as an art movement and later as a literary one. Literary Impressionist authors adopted the techniques of the artists. Both artist and author use a layering to construct impressions of their subjects. Berthe Morisot’s painting, Woman at Her Toilette, in which the painting of her subject appears to be wearing jewelry, but closer examination of the work, reveals that she used the layering of the paint to give the painting texture which creates this impression. Like Morisot, Muriel Sparks also uses the layering of her words to create an impression of her subject, Miss Jean Brodie, in her novella, The Prime of Miss Jean Brodie. This layering contributes depth and complexity that is prevalent in the impressionistic style of art and literature. Jesse Metz, in the introduction of his book, Literary Impressionism and Modernist Aesthetics, speculates that if literature is considered an impression then it “makes surfaces show depths, make[s] fragments suggest wholes,” which also can be seen within the art style (1). Whereas the artist uses paint and brush to create an impressionistic painting, author Muriel Sparks uses the layering character perception to create the subject of her text.
Abrams, M.H., ed. The Norton Anthology of English Literature. 6th ed. Vol. 2. New York: Norton, 1993.
In the beginning, Mills discusses theoretical elements and has labeled this section as “General Theoretical Issues” and the second part is comprised of analysis having three sub chapters. The main section of the book examines feminist models of the text and investigates language typologies. According to Sara Mills, language is a form of social communication, a tool to transfer information and a set of mutually decided linguistic choices in any system (Crystal: 1995, 18). Language functions as sharing of thoughts in a framework where options are equally exclusive. Mills criticizes the traditional method to deal with legendary writings which often neglect the fact that the writer has no command over the stuff, being delivered by him or her. Another drawback of this conventional approach is that only the texts which have literary worth are selected for analysis (e.g. the works of Shakespeare, D.H. Lawrence, Beckett and so on) and women’s writings for stylistic analysis are often overlooked. TorilMoi (1985) and Elaine Showalter (1978) are of the view that “women’s writings have frequently been barred from standard status, by the procedure named phallocentric