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Feminism in virginia woolf
Feminism in virginia woolf
Feminism in virginia woolf
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Virginia Woolf’s essay “Death of the Moth” describes her encounter with a moth as it fights furiously to escape her windowpane before it is claimed by death. The speaker’s first instinct as they intently watch the moth’s struggle is to help it, but as she goes to do so, they realize that the moth is engaged in the same inescapable struggle faced by all living creatures as they try to prevent death from robbing them of life. By witnessing the moth’s death, the speaker is compelled to ponder the philosophical implications that incur within the circular pattern of life and death. She is conscious of death’s omnipotent inevitability, but concludes that the ever-present possibility of death serves as a primary motivational force necessary for life to have value and meaning. Since death cannot be overpowered, the way an individual struggles to survive and preserve life even in its final moments is more valuable than the mundane, meaningless activities pursued with apathy.
As she continues to observe the moth, she begins to see the creature as a metaphor for life itself. The speaker describes him as he flies from one corner of the room to another as if “a fiber, very thing but pure, of the enormous energy of the world had been thrust into his frail and diminutive body” (1-2). From the speaker’s perspective, he was “nothing but life” (2). Yet, his existence is composed of simple activities, which means that he represents life in its most primal form to the speaker. Yet even in this primal form, she still perceives him as “form of the energy that was rolling in at the open window and driving its way through so many narrow and intricate corridors in my own brain and in those of other human beings” (2). The mention of energy serves ...
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... “The Death of the Moth” makes comparisons about the life and struggles of a delicate insignificant moth to the similar struggles faced by all human life. Although the moth is a very simple. primal form of life, only concerned with breathing and eating, Woolf still relates to its struggle to survive to the same struggle all people face in leading meaningful lives and overcoming obstacles with as much strength as she had just witnessed in the moth’s battle with death. When confronting death, humans are just as weak and frail as the moth and are powerless to escape their fates. Yet, unlike the moth, humans struggle to find as much enjoyment as the moth did with his aimless flights in the mundane tasks filling almost every moment of their lives. All living creatures are merely mortals fighting for time and forgetting to make the most of the time they still have left.
The insect keeps the meat fresh by not immediately killing its prey. Instead, it cuts carefully around body parts integral to life, first eating the ones least necessary to survival and ending with vital ones. Gould likens this process to that of drawing and quartering; an antiquated execution procedure practiced by humans, writing, “As the king’s executioner drew out and burned his client’s entrails, so does the ichneumon larvae eat fat bodies and digestive organs first… preserving intact the essential heart and central nervous system” (Gould 2). Gould refers to the human victim as a “client,” a word which connotes partnership and consent, making it seem as though the person in question agreed to their own death. As Gould extends the executioner metaphor to the wasp through his use of analogy, one is lead to believe that the victim of the wasp willingly consents to his death as well. Furthermore, the grisly process detailed in the passage seems quite ordinary, as the reader is desensitized to the violent actions of the wasp through Gould’s cold, clinical word choice, or lack thereof. The stark contrast between the wasp’s brutal actions and the lack of descriptive language denys one an opportunity to fully comprehend the agonizing death of the insect’s victim. This portrayal of the wasp plays directly into the religious perspective by depicting it as an insensitive being with a shocking lack of compassion for its victim. As morality is defined by the ability the determine right from wrong, the wasp appears to be totally immoral as it mercilessly murders another creature for its own
"The Loss of the Creature" starts off with the definition of beautiful, which is a key point throughout his essay. Next, he moves in to his example of a family of tourists, and their experience (through his eyes) at the Grand Canyon. He describes his theory of the sightseer, and the discoverer; "Does a single sightseer, receive the value of P, or only a millionth part of value P" (pg 1) Value P, being the experience, and the beauty in which that person collected. Following the sightseers was a couple who stumbled upon an undisturbed Mexican Village. The couple thoroughly enjoyed their first experience, but could not wait to return with their friend the ethnologist. When they did return with him, they were so caught up in what his reaction would be; there was a total loss of sovereignty. Due to their differences of interest in the village, the couples return trip was a waste. The second part of the essay includes a Falkland Islander who comes across a dead dogfish lying on the beach. Furthermore, he explains how a student with a Shakespeare sonnet, has no chance of being absorbed by a student due to the surrounding's or package of the class room. The two students are receiving the wrong messages, on one hand we have the biology student with his "magic wand" of a scalpel, and on the other hand the English student with his sonnet in its "many-tissued package". Both students are unaware of the real experience they could undergo, and the teacher might as well give the dogfish to the English student and the sonnet to the biology student because they will be able to explore and learn more within the different setting, and without the surroundings and expectations (pg 6).
... seeing and feeling it’s renewed sense of spring due to all the work she has done, she was not renewed, there she lies died and reader’s find the child basking in her last act of domestication. “Look, Mommy is sleeping, said the boy. She’s tired from doing all out things again. He dawdled in a stream of the last sun for that day and watched his father roll tenderly back her eyelids, lay his ear softly to her breast, test the delicate bones of her wrist. The father put down his face into her fresh-washed hair” (Meyer 43). They both choose death for the life style that they could no longer endure. They both could not look forward to another day leading the life they did not desire and felt that they could not change. The duration of their lifestyles was so pain-staking long and routine they could only seek the option death for their ultimate change of lifestyle.
While staying at Mel’s home, the adolescent female narrator personifies the butterfly paperweight. The life cycle begins with the narrator “hearing” the butterfly sounds, and believing the butterfly is alive. The butterfly mirrors the narrator’s feelings of alienation and immobility amongst her ‘new family’ in America. She is convinced the butterfly is alive, although trapped inside thick glass (le 25). The thick glass mirrors the image of clear, still water. To the adolescent girl, the thick glass doesn’t stop the sounds of the butterfly from coming through; however, her father counteracts this with the idea of death, “…can’t do much for a dead butterfly” (le 31). In order to free the butterfly, the narrator throws the disk at a cabinet of glass animals, shattering the paperweight, as well as the glass animals. The shattering of the glass connects to the shattering of her being, and her experience in fragility. The idea of bringing the butterfly back to life was useless, as the motionless butterfly laid there “like someone expert at holding his breath or playing dead” (le 34). This sense of rebirth becomes ironic as the butterfly did not come back to life as either being reborn or as the manifestation of a ghostly spirit; instead its cyclic existence permeates through the narrator creating a transformative
Both Virginia Woolf and Annie Dillard are extremely gifted writers. Virginia Woolf in 1942 wrote an essay called The Death of the Moth. Annie Dillard later on in 1976 wrote an essay that was similar in the name called The Death of a Moth and even had similar context. The two authors wrote powerful texts expressing their perspectives on the topic of life and death. They both had similar techniques but used them to develop completely different views. Each of the two authors incorporate in their text a unique way of adding their personal experience in their essay as they describe a specific occasion, time, and memory of their lives. Woolf’s personal experience begins with “it was a pleasant morning, mid-September, mild, benignant, yet with a keener breath than that of the summer months” (Woolf, 1). Annie Dillard personal experience begins with “two summers ago, I was camping alone in the blue Ridge Mountains of Virginia” (Dillard, 1). Including personal experience allowed Virginia Woolf to give her own enjoyable, fulfilling and understandable perception of life and death. Likewise, Annie Dillard used the personal narrative to focus on life but specifically on the life of death. To explore the power of life and death Virginia Woolf uses literary tools such as metaphors and imagery, along with a specific style and structure of writing in a conversational way to create an emotional tone and connect with her reader the value of life, but ultimately accepting death through the relationship of a moth and a human. While Annie Dillard on the other hand uses the same exact literary tools along with a specific style and similar structure to create a completely different perspective on just death, expressing that death is how it comes. ...
Death remains the most horrifying thought among (mentally healthy) people on Earth. This fear of the unknown and no knowledge of what happens after death best describes the term extinction in this context. Mary Shelley’s character, Victor Frankenstein, demonstrates extinction when he refuses to return to his apartment, “I did not dare return to the apartment which I inhabited…” (Shelley 36). Not only does the thought of death terrify humans, but also the thought of not living on Earth: the only familiar concept in human minds. It provokes people to protect their lives by living to the fullest in a successful manner. Extinction stimulates the mind to think of death. One less dramatic form of extinction is the fear of mutilation.
In his paper “The Makropulos case: reflections on the tedium of immortality” Bernard Williams asserts his central claim that when immortality is feasible it is intolerable; further, it is reasonable to regard death as an evil. He argues his position by utilization of The Makropulos case, or the case of E.M. This character and circumstance is derived from a play by Karel Capek. E.M. is a woman of three hundred and forty two years. She has survived so long due to an immortality draught concocted by her father, a physician, long before the play’s action. E.M. explains her problem with immortality is that her unending life has become incredibly dull, her emotions have become cold and indifferent. She feels that in the end, everything has happened before and life has become unsatisfying. She stops taking the immortality draught and death overtakes her. This invokes the optimistic thought that immortality may be rewarding, if certain desires continue to be satisfied. Williams expands on the idea of these desires, called categorical desires and inherent motivation, but first we should confirm the views of death that make the conversation of immortality desirable.
Insects may be the bane of some people’s existence, but the creatures are truly strong globes of energy, going about their lives, flitting to and fro. Thoreau and Woolf both captured this essential spirit in their writing. In “Battle of the Ants” and “The Death of the Moth,” both writers observe other life forms, but the way in which they perceive the insects struggles vastly differs. According to an online biography, Thoreau’s exposure to transcendentalism as well as his friend and mentor Ralph Waldo Emerson both shaped his writing to emphasize “the importance of empirical thinking and of spiritual matters over the physical world,” whereas Virginia Woolf’s parents raised her to be free thinking which resulted
One article article analyzing The Death of the Moth writes: “With the use of the pronoun “he,” we see how Woolf anthropomorphizes the moth, and in that vein she continues the metamorphosis… He is not just a representative of a species; he is an individual” (Dubino). By changing her description from moths in general to this single moth, Woolf has created a subject that can be given human-like thoughts and feelings. She refers to the moth as “he” throughout the rest of the essay to personify
Franz Kafka's The Metamorphosis is a masterfully written short story about Gregor Samsa, a man who devotes his life to his family and work, for nothing in return. Only when he is transformed into a helpless beetle does he begin to develop a self-identity and understanding of the relationships around him. The underlying theme of The Metamorphosis is an existential view that says any given choice will govern the later course of a person's life, and that the person has ultimate will over making choices. In this case, Gregor?s lack of identity has caused him to be numb to everything around him.
...orm of a bug, a form that knows nothing but work. By ignoring the purpose of being an insect, Gregor defeats the purpose of living in his new form of life, and in effect, dies.
In order to understand the entirety of a society, we must first understand each part and how it contributes to the stability of the society. According to the functionalist theory, different parts of society are organized to fill discrete needs of each part, which consequently determines the form and shape of society. (Crossman). All of the individual parts of society depend on one another. This is exhibited in “A Bug’s Life” through the distinct roles the ants and grasshoppers play in their own society. The two species are stratified in such a way that they each contribute to the order and productivity of the community. In the movie, the head grasshopper states that “the sun grows the food, the ants pick the food, and the grasshoppers eat the food” (A Bug’s Life). This emphasizes social stability and reliance on one another’s roles. The grasshoppers rely on the ants for food, while the ants rely on the grasshoppers for protection. This effective role allocation and performance is what ensures that together, the ants and grasshoppers form a functioning society to guarantee their survival.
Perhaps of the greatest fears possessed by humanity is the fear of death. There is no real idea of what happens when one dies, and that terrifying uncertainty leads most to avoid even the thought of it at all costs. With an invisible clock ticking human existence away, there remains the question of what is the meaning of life? Ray Bradbury’s short story The Last Night of the World not only forces its audience to reflect on the hypothetical of today being the last day, it offers an idea of what is important about the time people have on Earth. Through clever ambiguity, subtle mood building, and reflective dialogue, Bradbury suggests that it isn’t from the world on the grand scale that the answer is found, nor is it in personal grandeur or fast
In the poem “The lesson of the moth”, Don Marquis tells a story of a moth who has a weird attraction to a bright light. The author uses a cockroach who finds a moth trying to break into a light bulb to get inside to the light to get his point across. When he had asked the moth why he keeps trying to break into the bright light the moth says “it is better to be happy for a moment and be burned up with beauty than to live a long time and be bored all the while so we wad all our life up into one little roll and then we shoot the roll that is what life is for it is better to be a part of beauty for one instant and then cease to exist than to exist forever and never be a part of beauty”. (Marquis). I felt like the message the author had for his readers is great because I felt like he was saying that if you don't have something worth living for then what is the point to continue to live for if you have nothing to motovaite you to keep going.
Life then death, life after death, or life and death, and so on. These phrases represent the varying understandings throughout the world’s cultures of the relationship between life and death and its relationship to living creatures. Throughout, it is understood that all organisms spend time on earth in a specific form and after some time that form will wear away and the physical form of that being will die--the body will no longer function and can return to the earth and nutrients from which it came. However, the disagreement lies in whether or not there is a literal end to that organism’s existence, or its being, its spirit. Both a culture’s understanding of this relationship and historic influences, cause variations of cultural attitudes toward life and death.