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Essay on the history of terrorism
Essay on the history of terrorism
Essay on the history of terrorism
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The Secret History: theme of beauty. Donna Tartt’s novel, The Secret History, is a story about a small group of college students studying Greek. A major theme of this novel is beauty, illustrated by the students fascination with the concept, the lengths taken to achieve it, and the narrator, whose romanticised interpretation of the world around him was used to hide the harsh edges of everything that he considered to be beautiful. . Early into the novel, the group’s teacher, Julian tells the class: “beauty is terror. Whatever is beautiful, we quiver before it”. This is the first direct exposure that the reader gets of the theme. In the epilogue, Richard recounts the first sentence he ever learnt in Greek, “beauty is harsh”. These two statements …show more content…
The chapter opens with the following paragraph: “does such thing as ‘the fatal flaw’, that showy dark crack running down the middle of a life, exist outside literature? I used to think it didn’t. Now I think it does. And I think that mine is this: a morbid longing of the picturesque at all costs”. This statement is Richard’s admittance into his strive to see or create a false sense of beauty in his surroundings. Richard moved to Hampden College as an attempt at escaping his depressing home life, creating a new identity for himself and pretending to have had a wealthy typical Californian childhood, rather than the truth: that he grew up isolated in a small town with a low class and careless family. As well as changing his own identity to come across as more appealing to his peers, he tended to idolise people, his idea of them making them seem ethereal and almost godlike. This occurred particularly with the Greek group. At first, Richard sees them from a distance, describing them as unapproachable and also as having “a variety of picturesque and fictive qualities”. He became fascinated by them, this fascination continuing throughout their
To seek to discuss the novel’s construction, for instance, in more comprehensively detailed terms, is to find oneself confronted by the necessity of accounting for the kinds of provocation, refusal, or contempt that seem evident in its many ostensible narrative defects or excesses—for instance, the text’s hasty and foreshortened treatment of plot, its repeated implausibilities and coincidences, its arbitrary, dis integrated, extemporized phases of narration, its gaps and enigmas, the sheer extendedness of its wandering, abandoned, destitute, disorientated, or surreal intervals, its gothic elements, its banal and dismissive resolution of the narrative of the ghostly nun, its exploration of altered, delirious, griefstricken, and disintegrated states of mind, its misleading use of narrative cues, its broadcasting of divergent and synthesized elements within a sentence or paragraph, and so
Romantic literature, as Kathy Prendergast further claims, highlighted things like splendor, greatness, vividness, expressiveness, intense feelings of passion, and stunning beauty. The Romantic literary genre favored “parts” over “whole” and “content” over “form”. The writer argues that though both the Romantic literary genre and the Gothic art mode were medieval in nature, they came to clash with what was called classical conventions. That’s why, preoccupations with such things as the supernatural, the awful, the dreadful, the repulsive and the grotesque were the exclusive focus of the nineteenth century Gothic novel. While some critics perceived the Gothic as a sub-genre of Romanticism, some others saw it as a genre in its own right (Prendergast).
... good thing, however in the case of the old writer, it is something that is very unique. To the old writer, being a grotesque is not being strange and ugly, but letting one truth run one’s life and create falsehoods out of all other parts of life. This quirky definition, given by the old writer, shapes Winesburg, Ohio and each and every story that lies within in the books. As the book is read more characters are revealed. However, the level of difficult of revealing the grotesque of the characters becomes more difficult. This is due to the fact that each character is grotesque in their own way. There is no single way to be a grotesque. Each character being a grotesque allows the old writer’s definition or theory to shape each story in the book. Not a page goes by where Anderson isn’t alluding to a truth that a character holds or why that truth makes them grotesque.
In the text “The Life You Save May Be Your Own” by Flannery O’Connor, a common mood emerges from the somewhat humorous yet unfortunate work. A mood of grotesqueness among the characters and overall story as it presents itself, generally, making the audience feel quite uneasy and uncomfortable while reading it. Grotesque is a literary style, which comically and somewhat repulsively represents a distorted character or a series of twisted actions or thoughts that embody a character. The text creates a grotesque mood simply because the actions carried out by the characters resemble an extreme sense of despair and uneasiness, yet the way in which it is executed is somewhat funny and jocular to the reader, therefore creating an awkward overall mood
To set the tone in the story the author had to describe the surroundings of the characters. For example the author states, "with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit." when giving a detailed response of how he feels about the house. This helps show that the author himself feels depressed when in sight of the building and gives the reader a thought of how the house looks. Other textual evidence in the passage also shows a feeling of suspense like the quote, "There was an iciness, a sinking, a sickening of the heart - an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. " which is how the author feels when he thinks about the house. The author cannot bear to imagine the house because he has a dark and negative imagination with different fears he thinks can come to life because of how unsettling the house makes him feel. While suspense is a direct indication of a depressed and dark tone, some other Gothic elements can be used indirectly to describe negative values in the story.
Sontag, Susan. “Beauty.” The Black Book: A Custom Publication. 3rd ed. Ed. Sam Pierstorff. Modesto: Quercus Review Press, 2012. 34-36.
In the poem we only know Richard Cory by what the people see and think about him. His feelings, other than when he commits suicide, are never truly stated. Throughout the poem the only thing we learn about Richard Cory are the images that the everyday people have of a man who is seen almost as a king. In the second line of the poem, the villagers express that they feel inferior to Cory when they say “We people on the pavement looked at him” (2). The people referring to themselves as “people on the pavement” might be inferring that the people are homeless; in their opinion Richard Cory is seen as a king “He was a gentleman from sole to crown” (3). and they are just his admiring subjects. Even the name Richard Cory is and allusion to Richard Coeur-de-lion, or King Richard 1 of England. Then, the public goes on to describe Richard as a true gentleman, “And he was always quietly arrayed,/ And he was always human when he talked” (5-6). These lines show that the public think that Richard Cory never truly came off as very wealthy because he believed that even the poorest person deserved politeness and respect. The word “always” in lines five and six could suggest that th...
In the opening line of the novel, the narrator provides a vivid description of the his decaying surroundings:
...The Sidney estate is remarkable in its humbling and simplistic nature. The social classes all live harmoniously because of respect and understanding of what each class brings. The peasants, servants, Jonson himself, Sidney’s, and the King all have differing social statuses. It is the ability to not look down upon one another that makes the social order so remarkable. In a sense it is a paradigm of a typical English society, and conversely a watered down utopia for all who knows Penshurst to be a part of. Jonson’s “To Penshurst” is a staple of country house poetry and reflects the magnificence of the natural beauty of the estate. Furthermore, Penshurst incorporated a heartwarming community that managed to capture Johnson’s attention by providing a humbling and inviting experience to all of those who inhabit the beautiful Sidney estate known as Penshurst.
A man already in decay, having given my best years to feed the hungry dream of knowledge,—what had I to do with youth and beauty like thine own! Misshapen from my birth-hour, how could I delude myself with the idea that intellectual gifts might veil physical deformity in a young girl’s fantasy! … Nay, from the moment when we came down the old church-steps together, a married pair, I might have beheld the bale-...
...ther." (14) Each of the grotesques depicted follow a unanimous theme of being gifted, creative dreamers. Unable to satisfy their hunger for life and expression, their desolation is multiplied. The most critical theme found throughout Anderson's stories is the clear reflection of real life. The problems faced by the people are actual troubles faced by society at large. The only difference is that these tribulations, as well as their effects, are exaggerated to make a point. Everyone lies to himself or herself at one time or another, and living outside one's heart is not uncommon. All individuals have some way of uniquely expressing themselves, some passion to focus their lives on. Perhaps Anderson is trying to warn us that the decision to establish all of one's existence on an absolute truth transforms people into grotesques, and thus their truths into lies.
...years later, it becomes clear that for all the emphasis put on art, on creation, and on mass production—nature is central to our human experience. We can symbolize this natural connection with art—but the art itself always harkens back to something that elicits an emotional response from the viewer. For Leontes, a statue of his presumably deceased wife, Hermione triggers a sorrowful reaction. Art indeed embellishes life as it does with flowers, but we are always working from some perspective, some emotion, before we are merely creating art. “The Winter’s Tale” takes on the challenge of investigating whether or not art can in fact breathe outside the womb of nature, and as we witness art break down, and nature hold the characters together, it becomes resoundingly clear that art seeks to react to nature, but that it cannot work without maintaining nature at its core.
Richard’s name in itself contains the word rich and therefore he is representative of wealth and riches. Robinson develops the ideas of the townspeople wanting Richard’s wealth when he states “In fine, we thought he was everything / To make us wish that we were in his place” (11-12). If one interprets this line as a metaphor, Richard is wealth and the people of the town wish for his status. The envy of the townspeople is noted in the last stanza of the poem with the lines “so on we worked and waited for the light, and went without the meat, and cursed the bread”. This line implies that the people were working towards wealth or a higher status like Richard’s but in waiting they were unsatisfied with what that currently had and viewed the meat and bread as insufficient to meet their
...e ability to achieve anything in life. Hopefully, readers would learn from this novel that beauty is not the most important aspect in life. Society today emphasizes the beauty of one's outer facade. The external appearance of a person is the first thing that is noticed. People should look for a person's inner beauty and love the person for the beauty inside. Beauty, a powerful aspect of life, can draw attention but at the same time it can hide things that one does not want disclosed. Beauty can be used in a variety of ways to affect one's status in culture, politics, and society. Beauty most certainly should not be used to excuse punishment for bad deeds. Beauty is associated with goodness, but that it is not always the case. This story describes how the external attractiveness of a person can influence people's behavior and can corrupt their inner beauty.
Goldsmith’s speaker begins nostalgically for the “loveliest village of the plain,” (1) by listing the town’s virtues which include “The never-failing brook, the busy mill, The decent church [.]” (11-12) Goldsmith uses this imagery to contrast the current state of the village, he goes on to say that “These were thy charms—But all these charms are fled.” (34) Here, the speaker urges readers to admonish the loss of the village’s charms by destroying the imagery created by the first 33 lines. He continues the description of the land as “forlorn” (76), but while the villagers were forced to abandon the area, the speaker’s nostalgia implies that he chose to leave. This nostalgia implies that the speaker’s depiction of the village could be highly romanticized. The speaker likens the loss of the village with a much greater problem, “The country blooms—a garden, and a grave.” (302) He suggests that this is not an isolated problem, but an epidemic that is happening all over the country. The village is lost to make room for a garden and a grave; the first belongs to the nobility and the later to the peasant. His portrayal of the New World supports th...