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William carlos williams the use of force literary analysis
William carlos williams the use of force literary analysis
William carlos williams the use of force literary analysis
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The early Twentieth century saw the rise of many new poetic movements, which can also be considered “-isms,” some of which were Imagism and Objectivism. Imagism came about in 1909 just as the Twentieth century was beginning and was successor to the symbolism movement. While symbolism consisted of intense complexity and was often difficult to interpret, Imagism brought about intellect and emotions in the common language of the Twentieth century audience. As in Ezra Pound’s, “In a Station of the Metro,” she writes, “faces in a crowd;” which was not only a common sight in the early Twentieth century, but also common language of the people of the time? In addition, Imagism consisted of much freedom of the subject upon which it was written and of sight and sound usage. Opposing its predecessor, Imagism created an image rather than an entire scene or picture. “In a Station of the Metro” consists of two lines that express a simple image of every day, Twentieth century life. It creates and provides the images of multiple “faces in the crowd;” and “Petals on a wet, black bough,” as opposed to describing the entire metro station or the tree in whole. In the creation of the single image, imagism also kept the language simple in respect that it was very punctual and often terse just as the two lines of “In a Station of the Metro.”
Imagism soon gave rise to another “-ism”; Objectivism. Just as Imagism, Objectivism consisted of simple language and terse subjects; it was short, sweet, and to the point. Objectivists, such as William Carlos Williams, often stressed the value of the objective world. In his poem, “This Is Just to Say,” Williams expresses the value of “the plums that were in the icebox.” Objective poetry was meant to capture t...
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...f the “Black Logos.” While not necessarily being religious, he makes reference to God, Heaven, and the Star of Bethlehem. In addition to this characteristic, McKay also expresses the complexity of being Black in a White world by using intense imagery such as, “eyes of steely blue” (in reference to eyes of a white women), and “little lads, lynchers that were to be.” He refers to the White people as Fate for the Black people and yet, contradicts God as both White people and Black people. He says that while White people think they are a high and mighty God, Blacks truly are God because just as Jesus was persecuted as a minority, so are the African-American people. This poem, in addition to many other poems by Claude McKay, truly gives voice to the emotions and difficulties of an African-American poet during the times of slavery up to the end of the Harlem Renaissance.
The White House, white as snow, permitted certain African Americans to be allowed in and the rest still free to not be free. Salvation was as gracious as a flock of doves on a beautiful day. McKay said basically the way they were fighting wasn’t strong enough and that they needed to dig deeper inside themselves to succeed. He thought to himself that segregation
lust. To his Coy Mistress is a pure lust one even though in parts may
...xperienced about not being able to eat at the table when guests would come which refers to how White America has been treating Black America. He then comes to the conclusion that this too shall pass and believes that he will be able to overcome his oppression. McKay portrays his experiences by speaking in a more mature tone about the significant events that have occurred and tries to find a way to tolerate the oppression. He lets White America know that what they have done to Black America was wrong. He shows that even though white America has alienated African Americans and treated them with disrespect, he will not stoop to their level although he is angry about it. The writers make it clear that their poems may differ yet they hold the same meaning of that White America has wronged Black America but it shall pass and in the future they will regret their actions.
Humor and Irony are a unique combinations Collins displays in many of his poems, challenging the readers to interpret his work in different perspectives. In “Introduction to Poetry,” Collins offers a witty comparison between the definition of poetry and various other experiments. He asks the reader to “hold [the poem] up to the light/ like a color slide” (1-3), “press an ear against its hive” (4), “drop a mouse into a poem” (5), “walk inside the poem's room” (7), and “waterski across the surface of a poem” (9-10). Rather than stiffly explaining the definition of a poem, he finds creative and humorous approaches to explain his methods of enjoying the poems, and promote the readers’ interest towards discovering the true meaning of poetry. Just as the surrounding would seem different through color slides, he asks the readers to see the world in diverse viewpoints while reading and writing poems. Moreover, by listening to poem’s hive, dropping a mouse, and walking inside its room, Collins encourages readers to discover the concealed depth of poetry. He comments ...
In the essay “Ways of Seeing” written by John Berger, Mr. Berger makes his attempt to inform an audience with an academic background that there is a subjective way that we see things all around us every day and based on our previous experiences, knowledge, and other things that occur in our lives, no two people may see or interpret something in the same way. In the essay Mr. Berger uses art as his platform to discuss that we should be careful about how people look at things. Mr. Berger uses rhetorical strategies such as ethos, pathos, and logos. These rhetorical strategies can really help an author of any novel, essay, or any literature to truly get the information they desire across to the audience in a clear and concise manner.
Both authors took a leap by publishing works that criticized their oppressors, a leap that put them each in harm’s way. Each poet was able to inspire and educate in their own way, using their own personal touches; Hughes, working to inform his people and unite them against a common enemy through passionate prose, and McKay, working to ignite the passions of his audience in order to compel them to take a forceful stand. The importance of both perspectives operating in unison cannot be understated. A broader set of perspectives and beliefs about the same issue is effective in inspiring a broader, larger, and more diverse group of readers. The sad image that Hughes creates was most likely effective in reaching even the white Americans who already enjoyed their full freedom, by opening the eyes of whites and other unoppressed races to the plights of early African-Americans. In contrast, McKay’s poem was most likely more effective in rallying African-Americans specifically. The advantage of these (though not greatly) differing messages was immense, and underlines the importance of differing viewpoints, and also inspired different groups of people, in order to bring about a more rapid, and more universally agreed upon change. Against a tyrannical force such as a racist majority, these two viewpoints
...for equal rights. In some poems McKay even called for violent acts to change the laws, however, as an educated man, reason prevailed. As result he adopted religion, and his poetry, like himself became conflicted. Out of this confliction came some of the most powerful African American poetry in history. Claude McKay poured his soul onto to paper, and as a result, it seeps in to all who read it.
Claude McKay was an important figure during the 1920's in the Harlem Rennaisance. Primarily a poet, McKay used the point of view of the outsider as a prevalent theme in his works. This is best observed in such poems as "Outcast," "America," and "The White House." In these poems, McKay portrays the African-American as the outsiderof western society and its politics and laws and at times, the very land that he is native to.
Questioning Marxist aesthetics is essential to an understanding of the enlightenment movements. Art, in its nearly infinite forms, is the vehicle for knowledge of a subjective kind. Through visual, linguistic, audio, or dance any number of messages and ideas may be conveyed, and these ideas may then be interoperated. The aesthetic form is what constitutes good or great art. It puts forth a structure by which one can judge a piece beyond the mere technical skill that is presented in it, though that is an important issue. The aesthetic form puts forth the notion that art sublimates reality, creating another reality that brings into question this one. Creating this fictional reality is the responsibility of art. According to Marcuse “renunciation of the aesthetic form is abdication
There is beauty and there is beauty. The two are not mutually exclusive, but rather represent two poles on a continuum. At one pole is the beauty that is associated with a sense of lightness and balanced order. It has a faintly decorative quality to it. At the other extreme is the much darker form of beauty that we associate with profundity and truth. This latter form of beauty I will analyze in terms of the containment of the sublime. The distinction between these two extremes of beauty has less to do with the objects under consideration, whether a flower, a sunset, a poem, a painting, or a piece of music, than it does with the attitude of the considerer of the object. That is, anything that possesses beauty of the first kind can also be viewed as possessing beauty of the second kind, if the attention of the viewer is directed appropriately. The differential across the continuum is constituted by the degree of awareness of the element of the sublime in the beautiful.
In "The Intentional Structure of the Romantic Image," one encounters a piece of the twentieth-century discussion of the philosophical considerations of language. One can say that Paul de Man really takes the view of Romanticism akin to that of Martin Heidegger's view of poetry in general. Heidegger states that poetry must be a kind of "speaking being" or the creation of something "new" through language.(Note 1) Language itself stands upon itself in poetry according to Heidegger. De Man picks up the broad discussion of what language is with his discussion of the Romantic image. The main thesis of this essay lies in the difference between the everyday consciousness that one has of the concrete world and the consciousness which one achieves through the Romantic image. De Man says that these two functions of the consciousness differ and that the objects one finds in concrete nature are essentially different from those found in Romantic imagery.
Bishop’s use of imagism in “One Art” helps the reader to comprehend the ability of the speaker to move on from lost items such as a mother’s watch or loved houses.
In the beginning of the twentieth century, literature changed and focused on breaking away from the typical and predicate patterns of normal literature. Poets at this time took full advantage and stretched the idea of the mind’s conscience on how the world, mind, and language interact and contradict. Many authors, such as Fitzgerald, Steinbeck, and Twain, used the pain and anguish in first hand experiences to create and depict a new type of literature, modernism. In this time era, literature and art became a larger part of society and impacted more American lives than ever before. During the American modernism period of literature, authors, artists, and poets strived to create pieces of literature and art that challenged American traditions and tried to reinvent it, used new ways of communication, such as the telephone and cinema, to demonstrate the new modern social norms, and express the pain and suffering of the First World War.
John Berger presents a multifaceted argument regarding art, its interpretations, and the various ways of seeing. Berger asserts that there is gap between the image that the subject sees and the one that was originally painted by the artist. Many factors influence the meaning of the image to the subject and those factors are unique to the subject themselves. Seeing is not simply a mechanical function but an interactive one. Even the vocabulary is subject to specialized scrutiny by Berger; an image is a reproduction of an original product, while only the product itself may truly be a ‘painting’. Images are seen at an arbitrary location and circumstance – they are different for everyone – while the product, which is in one place, is experienced
Imitation is a foundational concept in the creation and study of literature. The fundamental assumptions embedded in imitation create a distinct and divisive method of perception. Imitation requires a basic belief in separation: appearance apart from reality, form apart from content. Literary works possess a dual existence, where the surface becomes most useful in its ability to reveal the substance contained within. Because the truth remains concealed, it can only be discerned or discovered through imitation. Thus imitation exists as an intermediary in a variety of artistic representations, each aspiring for an accurate depiction of meaning, perhaps even the basic truths of human existence. For Plato, however, art imitates a world that is already far removed from authentic reality, Truth, an inherently flawed copy of an already imperfect world. Art as an imitation is irrelevant to what is real. Many critics since Plato have attempted to reestablish the essential value of art by redefining or renegotiating the boundaries between imitation and authentic reality, between the text itself and meaning.