Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Analysis of love and a question
Analysis of love and a question
Analysis of love and a question
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Analysis of love and a question
Should the Reader Forgive Humbert?
Lolita, by Vladamir Nabokov is a controversial book that elaborately represents and forces the reader to deal with a pedophiles obsession with his 12-year-old stepdaughter. As the reader finishes reading Lolita, he must establish a meaning for the novel which hinges heavily upon whether or not he should forgive Humbert for his rape of Lolita and for stealing her childhood away from her. This rape is legally referred to as a statutory rape because Humbert is having sex with Lolita who is under the age of consent. Humbert also figuratively rapes Lolita of her childhood and a normal teenage life. This decision to forgive Humbert will rely upon Humbert's words as he realizes what he has done to Lolita. In order for the reader to be able to forgive Humbert he must determine if Humbert is truly sorry for his actions.
One must overlook the fact that Vladimir Nabokov has written, Lolita has no moral in tow. (314). Nabokov has obviously anticipated the reader's response to his novel and so he discloses that he sees no moral value in the book. This is obviously a false statement that is used to complicate the book and make the reader think. Lolita is full of moral choices and situations that learned readers will recognize and make judgments on. Most readers have a conscience and thus look for the moral contained in the story. This argument thoughtfully represents Nabokov's Lolita with real world morals.
An ethical or moral reading of Lolita would lead the reader to the question of forgiveness of Humbert for his actions toward Lolita. To fully understand all that is involved in this question it is necessary to examine the word forgiveness. The word "forgiveness" has been used extensively throughout...
... middle of paper ...
... to see that Humbert is sorry for his sexual rape of Lolita and is regretful for taking her childhood away. Given that he is genuinely sorry for his actions there is a greater chance that the close reader will forgive Humbert for his molestation of Lolita.
Bibliography
Couturier, Maurice "Poerotic mode 'Lolita' and 'Ada'" "Novel and
Censorship, or Eros' Bad Faith."
http://www.libraries.psu.edu/iasweb/nabokov/coutur2.htm (3/12/67)
Nabokov, Vladimir, The Annoteted Lolita, notes Alfred Appel Jr., (New York: First Vintage Books. 1991)
Neufeldt, Victoria, Webster's New World Dictionary (New York: Simon, 1990), p. 380
Oxford English Dictionary, 1996 http://www.oed.com, query=forgivenes
Unger, Merrill F., Unger's Bible Dictionary, (Chicago: Moody Press, 1970), p. 377
Vladimir Nabokov, rev. of Lolita, by Charles Rolo, The Atlantic Monthly, Sept. 1958
Lastly, I would like to discuss the issue of Libertinism. Libertinism was a movement that started in the eighteenth century; about the time Dangerous Liaisons was written. It was a movement of questioning religion and God and of scandalous affairs. The people of this movement no longer thought the world is controlled by God, but by your own actions. The characters of Valmont and Merteuil were prominent Libertines. The book is definitely an example of this movement. It completely represents the values that come from Libertinism.
In Harry Mulisch’s novel The Assault, the author not only informs society of the variance in perception of good and evil, but also provides evidence on how important it is for an innocent person experiencing guilt to come to terms with their personal past. First, Mulisch uses the characters Takes, Coster, and Ploeg to express the differences in perspective on the night of the assault. Then he uses Anton to express how one cannot hide from the past because of their guilt. Both of these lessons are important to Mulisch and worth sharing with his readers.
Rpt. in Twentieth-Century Literary Criticism. Ed. Linda Pavlovski. Vol.
Through newspapers articles we can take a glimpse at recorded history from the 18th century and see that rape had been a crime committed by many criminals, and dealt with harshly. Most victims of rape assaults were young women that were “robbed of that which constitutes the fairest part of the female sex- her chastity and peace of mind” (Newgate Calendar, Paragraph 3). John Lennard created a reputation for himself, as a man that was found guilty of raping a young woman by the name of Miss Ann Boss on the 15th of June, 1773. Not long after committing the crime, Lennard’s name appeared in numerous newspapers that were reporting on his accused crime. The newspapers followed him through his trial until after his execution on August 11, 1773. The newspapers used specific words and phrases that made Lennard appear to the public as either a dangerous criminal who has committed a particularly dangerous crime, or one that was grouped with other criminals who may have committed less dangerous or harmful crimes. These newspapers also had a way of appealing to the reader’s emotions in an attempt to teach the reader a valuable lesson from Lennard’s life of crime and execution. Through the newspapers specific word choices and appealing to our emotions and idea’s around life lesson’s, we can analyse how John Lennard is characterized by the public and depicted in the press.
Before delving into the philosophy of color and the questions posed by different pieces of art, the biological basis process of HOW color is seen should be explained. The retina is a neural sheet, containing the photoreceptors called rods and cones that is located at the back of the eye. Between the retina and the optic nerves leading to the brain are a series of cells that create a lateral inhibition network of the light/dark signals from the photoreceptors (1). This throws away a lot of the information generated by the photocells and gives the brain a "picture" of the edges of light and dark. The contrasts are created, leaving the brain to fill in the rest. Color vision is even more complex. Cones (the light adapted photoreceptor) contain three different photopigments, red, green, and blue, each corresponding to a particular wavelength of light (2). Color is a property of three things: the ratio of red/green activation, blue response, and value or lightness (3). The brain utilizes visual inputs to determine each of these, thus generating the characteristic color.
A subject of debate in Sophocles’ play Antigone is which character complies with the characteristics of a tragic hero. The qualities that constitute a tragic hero are, in no particular order, having a high social position, not being overly good or bad, isolation, being tenacious in their actions, arousing pity in the audience, a revelatory manifestation, and having a single flaw that brings about their own demise and the demise of others around them. Creon possesses some of these qualities but, does not completely fulfill them all. Antigone does, however, conform to the persona of a tragic hero.
At the time, society struggled to comprehend how two young teenagers were put on trial as murderers – children were given sympathy for being targeted as victims. However, today journalists and reporters blame the way children are raised for committing crimes. The environment they grow up in and the values that are instilled within them are what influence their every action. While Nathan and Richard were raised in upper-class families, both endured difficult childhoods. Reporters claim that Leopold’s childhood was “scarred by feelings of physical inferiority, the sexual abuse of a governess, and the loss of his mother when he was fourteen” and may be a reasonable explanation for his detrimental actions (Fass 934). This perspective shifted the blame from the teenagers to the parents, who were considered at fault for raising their children irresponsibly.
With his 1955 novel Lolita, Vladimir Nabokov invents a narrator by the name of Humbert Humbert who is both an exquisite wordsmith and an obsessive pedophile. The novel serves as the canvas upon which Humbert Humbert will paint a story of love, lust, and death for the reader. His confession is beautiful and worthy of artistic appreciation, so the fact that it centers on the subject of pedophilia leaves the reader conflicted by the close of the novel. Humbert Humbert frequently identifies himself as an artist and with his confession he hopes “to fix once for all the perilous magic of nymphets” (Nabokov, Lolita 134). Immortalizing the fleeting beauty and enchanting qualities of these preteen girls is Humbert Humbert’s artistic mission
After reading this argument, it is hoped that readers recognize that Creon is the tragic hero of Antigone. Creon and Antigone are both main characters of the play, but Creon’s character explains a tragic hero more so than Antigone’s. Creon’s superiority to his society, his nobility, and his tragic flaw self-pride assists in proving this topic. Because of Creon’s in-depth characteristics and unusual position in the story, it makes Antigone’s character seem like a minor character once analyzed. Almost every reader claims that since Antigone is the protagonist, the main character, and a princess, she is certainly the tragic hero. All in all, Creon is the tragic hero of the Greek Tragedy, Antigone by only three characteristics: superiority, nobility, and self-pride.
He focuses on the psychology of viewing art and gives unique attention to the perception of color. According to Arnheim the absence of color deprives the most efficient element of discrimination (Arnheim, 1974, p. 330). He uses the example of cats and dogs because they are biologically color blind. These animals would be able to efficiently identify a rolling ball on a lawn if they could perceive color. Cats and dogs can only differentiate objects because of the different textures in their environment. This example shows the importance of having the ability to perceive color because it allows for us to discriminate our world properly. Arnheim also highlights one cannot assume that different people or different cultures have the same standards for what colors are alike or different (Arnheim, p. 332). Different cultures may distinguish colors of plants better than cultures who are more industrialize. A tribe that is heavily involved in agricultural may possess more words to describe the different hues of green in their crops more superiorly than differentiating different hues of blue. Although Arnheim states that the color person is the same across for individuals of different backgrounds, ages, and cultures. The differentiation of color can vary from different groups of people but the perception of color would generally by similar.
Kandinsky, one of the first abstract painters, was heavily interested in color in art. He developed various theories and ideas on the attributes of color in art and the best way to use them in his own art. Different emotions and energy are created depending on the amount of color used in an artwork such as if one color is used versus three colors. The energy that color creates in art can also set the tone of a piece. Color can cause ones feelings of emotion to become to sleepy or stressed, happy and excited, sad and angry, energized, and so much more. Kandinsky came up with a color theory that focuses on basic points. Kandinsky chose colors such as yellow, green, blue, red and the shades of red, brown, orange, violet, white, black, and grey. He felt that yellow evoked warm, cheeky and exciting feelings. Green was a color that meant peace or stillness and an absolute absence of movement. Although these feelings could be a good feeling for most, it could eventually evoke boredom. He felt that blue was a heavenly color and the lighter it is, the more calming it becomes. If Kandinsky genuinely had a favorite color it undoubtedly was blue. He mentions that the deeper the color blue becomes, the more strongly it will call a man towards the unbounded, inciting in this man a desire for the pure the supernatural. He mention that the brighter the color blue becomes, the more it begins to lose its sound and after losing its sound it turns into a silent stillness and becomes white. Kandinsky's belief in color and the emotional connection it causes in art is evident in all of his work. The many colors in Kandinsky’s color theory have definite meaning and further show that color was much more than a tone or palette choice in art for him. Although Kandinsky was coined the Father of Abstract Expressionism, his works would be nothing without
... through some changes over time, and it is now an accepted fact that color is truly in the eye of the beholder. "This is due to the fact that, as sensed by man, color is a sensation and not a substance." ( 3 )
With the industrial revolution of the 1800s and rapidly expanding home furnishing industry during the late 20th century came a need to standardize and classify colors (Rompilla, 2005) Enter Wilhelm Ostwald and Albert Munsell. Ostwald's theorem was based on color harmony he observed that certain colors were harmonious to the eye while others were unpleasant. (www.colorsystem.com) He believed that a 'color order' would help to determine which color combinations were most harmonious.
There has always been an understood correlation between light and color. Color cannot be seen when there is no light,but if there is too much light the world will only appear white. Today there is an understanding of what it is that makes color and how light is the key to it. It is understood that an object appears to have a color only when its apparent color is reflected back. There is also a known correlation between the wavelengths of light and their apparent color. Along with the physics of color there is a greater understanding of the symbolic nature of color and how it affects the psychology of observers. Psychologists, artists, and therapists of all sorts have a greater understanding of the human perception of color because of the great thinkers of the past. To men who contributed to this greater understanding of color were Isaac Newton and Johann Wolfgang von Goethe.
Bilingualism The English language has grown to be the world’s most significant language and its increase to the status of globally spoken language must rank as one of the most significant facts in the educational times gone by of the twentieth century world. It is conceivably suitable, as the new millennium comes closer, that we ought to pause to reproduce on how English reached this point, what might take place next, and what it all means, both for those who converse English and for the large proportion of the world's inhabitants who do not. Uniformly, we need to think the insinuations of these changes on our own position as language education professionals. David Crystal's book, English as a Global Language, (Crystal, 1997) aimed to point out that “English became the world language not because of any intrinsic linguistic qualities, but because at significant moments in history it happened to be 'in the right place at the right time'”. "The Future of English?" (Graddol, 1997) suggests that “English is at a turning point in its development as an international language: it has become a global language at a time when the world itself is undergoing rapid change. Indeed, English is very much a part of the process of transformation, which is creating a more closely interconnected world in which people and machines talk easily to each other across vast spaces.” Reviewing Barbara Mayor and David Graddol, evident is the fact that there are two key indicators of this changeover point in the progress of English. First, the number of people speakers using English as a second language will rapidly outnumber those who articulate it as a first language. Secondly, it is obvious that added people learning English as a foreign language do so in ...