. (

?????????????????? ?????? ??????????? ? ????????????? ?. ????? (? ?????????? ? ?????????) ??????? ????? ??????? ????????? ??????????? ?? ????????? ?????? ??????? ????????? ?????????????? ???? ??????? 2007 ?????? ????????? ?? ??????? ?????? ? ???????-???????? ??????????? ?????????? ???????????????? ???????????? ??? ?????????????? ?????? ????????? ??????????????? ?????? ????????? ? ????? ???????????????????? ????????????. ???????? ???????? ???????? ????????? ?????????????? ????? ? ??????????? ?? ???????????? ???????????? ? ????????????? ???????????, ? ?????? ?????, ???????????? ?? ???????? ??????????? ???????. ????? ????? ?????????? ? ?????? ????????? ?????????? ??????? (???) ? ???????????? ??? ????????????? ????????, ? ? ???????? ???????? ??????????????? ??????? ??? ???????? ? ????????????? ?. ?????. ???????????? ?????? ? ????????? ???? ? ???? ????? ???????????? ?????????? ???????? ?????????: 1. ?? ????????? ????? ???????? ??????? ??????????????-?????????? ? ?????????, ????????? ? ????????? ?????? ?????, ???????????? ? ???????????? ????????????? ????? ???????????? ????????. 2. ?????? ???????????? ????????? ???????????? ??????????? ?????????????? ???? ? ??????? ???????? ???????????, ??? ??? ? ??? ?????????????? ?????? ?????? ????? ? ?????????????? ??????????? ?? ?????????? ??????????? (?????????? - ??? ??? ?? ?????????, ??????? ?????? ? ????????? ????? ????????????

  • Word count: 65688
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
Access this essay

Comparing Julian Barnes A History of the World in 10 Chapters to Elisabeth Wesselings descriptions of the postmodernist historical novel

A Voyage through History Comparing Julian Barnes’ A History of the World in 10 ½ Chapters to Elisabeth Wesseling’s descriptions of the postmodernist historical novel A.M. Hoogenboom - 9628525 Doctoraal scriptie Engelse Taal en Cultuur – augustus 2005 e begeleider: dr. P.C.J.M. Franssen 2e begeleider: dr. R.G.J.L. Supheert Cijfer: 7 Table of Contents 2 Preface 3 . Introduction 5 2. The Historical Novel: From Scott to Postmodernism 8 The Origination of the Historical Novel 8 Imitation and Emulation 10 The Passing of Scott’s Popularity and other Changes in the Literary Field 12 Changes in the Early Twentieth Century 15 The Development of Alternatives 16 From Modernism to Postmodernism 18 Postmodernist Self-Reflexivity

  • Word count: 32217
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
Access this essay

Consider George Orwells Nineteen Eighty-four from a Marxist perspective.

Jon Kinsella Theoretical & Critical Perspectives 15/2/2012 Consider George Orwell’s Nineteen Eighty-four from a Marxist perspective. In Nineteen Eighty-four, Orwell purposely challenges the set of pre-established notions about class consciousness held in Marxism to accentuate his own socio-political values. Marx and Engels assert in their Communist Manifesto1 that, “Its [the upper class/bourgeoisie’s] fall and the victory of the proletariat are equally inevitable” and that “[The] organisation of the proletarians into a class, and consequently into a political party, is continually being upset again by the competition between the workers themselves. But it ever rises up again, stronger, firmer, mightier.”2 Marx and Engels’ clearly believe, in any oppressive and despotic society, the working class will ultimately become conscious of how it is being exploited and spark a revolution. However, in Nineteen Eighty-Four, Orwell presents us with a unique situation, which purposefully and distinctively contrasts to that perspective by representing the working class ‘Proles’ as no threat whatsoever to the upper class “Inner Party” and “Big Brother’s” continuous totalitarian regime. “It is an abiding characteristic of the low that they are too much crushed by drudgery to be more than intermittently conscious of anything outside their daily

  • Word count: 17197
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
Access this essay

Sensation Novels

Sensation Novels English (American-born) Author 843-1916 Recalling an after-dinner visit to Charles Eliot Norton's house in Boston of 1867 (68?), Henry James had this to say of Dickens: "I saw the master -- nothing could be more evident -- in the light of an intense emotion, and I trembled, I remember, in every limb, while at the same time, by a blest fortune, emotion produced no luminous blur, but left him shining indeed, only shining with august particulars. It was to be remarked that those of his dress, which managed to be splendid even while remaining the general spare uniform of the diner-out, had the effect of higher refinements, of accents stronger and better placed, than we had ever in such a connection seen so much as hinted. But the offered inscrutable mask was the great thing, the extremely handsome face, the face of symmetry yet of formidable character, as I at once recognised, and which met my dumb homage with a straight inscrutability, a merciless military eye, I might have prounounced it, an automatic hardness, in fine, which at once indicated to me, and in the most interesting way in the world, a kind of economy of apprehension. Wonderful was it thus to see, and thrilling inwardly to note, that since the question was of personal values so great no faintest fraction of the whole could succeed in not counting for interest. The confrontation was but of a

  • Word count: 9747
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
Access this essay

Joseph Hellers themes and narrative styles in Catch-22

Joseph Heller's themes and narrative styles in Catch-22 Introduction I decided to write my assignment about Heller's Catch-22, because I admire his narrative style and the use of irony, parody and humor in his most successful novel. Moreover, the novel takes place in a time that is still close to the present. If you look at the American literary epochs you find "Literature of the Early Republic", "Romanticism and American Renaissance", "Realism", "Naturalism", "Modernism" and at the end "Postmodernism". When you are dealing with the earlier epochs, you learn a lot about our history and important works in those times that expressed the feelings and fears of the people in those periods. Looking at the epoch of Postmodernism, it feels a bit different, because we are not talking about the "way back" past, but about the time after World War II, which ended just 64 years ago and still affects our lives now. The idea of Catch-22, the oppression of the individual by men in charge, is still present in today's society. I think it is very important to discuss works like that because we can learn from the past. The novel is not just about war, it can be seen as a metaphor for systems that make every decision end in a catastrophe. In this assignment, I will start with a bibliographic overview of Joseph Heller's life and follow up with the historical background for the novel. After

  • Word count: 9162
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
Access this essay

Discuss the theme of prejudice in 'To Kill a Mockingbird'

Discuss the theme of prejudice in 'To Kill a Mockingbird' To Kill a Mockingbird is an influential American novel written by Harper Lee which deals with the issue of prejudice as its main theme. Prejudice is the unjustifiable unfairness to a particular individual or group based on their background or lifestyle. This subject is explored in the novel in different forms; racism is the main type but prejudice of class, sex, family and age are also looked at. The social and historical milieu of the novel's release is very significant to the storyline and important in terms of world history. It was published in 1960 with a very popular response from the public. The '50s was the decade of change when civil rights in America was progressing further than ever before with Civil rights bills being discussed for the first time and demonstrations by historical figures such as Martin Luther King winning support from all over USA. It was a time when people were generally realising their mistakes and looking back at the prejudiced attitudes of white people toward black people in the 1930s and before. The novel is actually set in the early 1930s in Maycomb, Alabama when things were not so good for the black population in America. Despite the Civil War being won in 1861 by the Union (Northern states) in support of abolition of slavery, the Southern states (Confederates) refused to accept

  • Word count: 8486
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
Access this essay

The Woman In White and the birth of the detective novel.

WILKIE COLLINS. THE WOMAN IN WHITE AND THE BIRTH OF THE DETECTIVE NOVEL A/ The detective novel and the interactive nature of literature, culture and society Indeed, the Nineteenth Century saw the rise of the detective novel. W.P.Day1, quoting Albert D.Hunter2, points out that it "coincides with the appearance of real detectives and police forces" a point which reinforces "the interactive nature of literature, culture and society". The crime novel, or detective novel, is thus, said to be the product of modern life. a) The transport revolution and the creation of the Metropolitan Police The novel of the Eighteen-Forties corresponds to an evolution in people's taste. One of the most important reasons for this evolution is the extraordinary change brought about by the transport revolution, which was indeed the paramount economic event of the age. The building of the railway system drew thousands of men away from the country into the towns. The hundred of miles of line opened by the end of 1850 "produced a tremendous acceleration in the whole tempo of human affairs"3, and upon the travelling habits of Londoners. This increasingly urban and industrial society was posing new problems which were quite beyond the capacity of the old local institutions. Inefficiency and danger could no longer be endured. Thus, the government decided to intervene "anxious to secure a better

  • Word count: 7377
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
Access this essay

Black Feminism in Alice Walkers "The Color Purple".

BLACK FEMINISM IN Alice Walker’s The Color Purple Alice Walker is an Afro-American female writer, who was born in 1944. The Color Purple was written in 1982, won Pulitzer prize in 1983. She was born in a sharecropper’s family in the South, Georgia, U.S.A as the eighth child in Eatonton, small town with two streets only. She grew up in a world of poverty and hardship. The Walker’s white landowner said that the Walker’s children needed not to attend school and demanded of every child of the Walker’s to work in his field. But it was her mother, Minnie, who fought for the right of education for her children. Thus, the author feels that her success as an informed writer goes greatly to her mother’s devotion to education and liberation. Alice Walker was blessed with a love of learning, and upon graduating at the head of her high school class in 1961, she received a scholarship to Spelman College in nearby Atlanta, Georgia, U.S.A. There, at the heart of the civil rights movement, she took part in student protests against racial discrimination. After two years at Spelman, Walker transferred to Sarah Lawrence College in New York, where she developed into a highly gifted writer. Her literary reputation rose with the publication of Once (1968) followed by many other works but nothing prepared her readers for the success of The Color Purple (1982) which became a

  • Word count: 7004
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
Access this essay

Gulliver's Travels, Original Sin and the imagery of size

The diminutive insect Gulliver's Travels, Original Sin and the imagery of size SWIFT HAS SOMETIMES BEEN seen as a champion of liberty. In his essay 'Politics vs Literature', however, George Orwell took a different view. 'Swift,' he wrote, 'was one of those people who are driven into a sort of perverse Toryism by the follies of the progressive party of the moment.' At best Swift was 'a Tory Anarchist, despising authority while disbelieving in liberty.' At worst he was a reactionary, opposed not simply to sham science, but to all science, and even to intellectual curiosity itself. Orwell also portrays Swift as a hater of the human body and an authoritarian. 'In a political and moral sense,' writes Orwell, 'I am against him, so far as I understand him.' Yet no sooner has he written these words than he goes on to declare that Swift 'is one of the writers I admire with least reserve' Orwell presents his riven view of Swift as an example of his own sound judgment. His assessment of Swift's political outlook is, I believe, in some respects just. Yet if we consider Orwell's essay sceptically it begins to seem as though he is in a great muddle about Swift. He writes that he is against Swift 'so far as I understand him'. But does he understand him? There is a great deal of evidence to suggest that he does not, and that his difficulty in understanding Swift has been shared by a large

  • Word count: 6653
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
Access this essay

Discuss the image of the doubled female in Charlotte Bront's Shirley, Villette and Jane Eyre.

Discuss the image of the doubled female in Charlotte Brontë's Shirley, Villette and Jane Eyre. The central theme of Jane Eyre, Villette and Shirley lies within the complex issue of the doubled female. Brontë persistently returns to this theme in order to vocalise her personal fears on the representations and expectations of the woman in a patriarchal society. As Jennifer Gribble suggests, this vocalising is apparent through, 'a recurrence of images and patterns that seem to define prevalent social and cultural beliefs and traditions.'1 In order to portray the strain under which women were placed in the nineteenth century, Brontë repeatedly fractures the emotional and physical state of her protagonists and in doing so 'explore(s) the potentialities and limits of a central reflecting consciousness.'2 This fracturing of the self creates the 'double female' in these novels, the female as consciously and emotionally split, either implicitly through the mirroring of the self by other characters, for example Caroline and Shirley or metaphorically, for example Jane and Bertha. Brontë seeks to illustrate in Shirley, Jane Eyre and Villette the impossibility of obtaining knowledge of self and of reclaiming self hood, faced by all of her female characters. In doing so, Charlotte Brontë viscously attacks not only patriarchy, but also the actual act of defining the woman, and suggests

  • Word count: 6003
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
Access this essay