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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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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

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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The English Romantics and the Theme of Nature. C.M. Bowra applies the term Romanticism to a phase of English poetry which began in 1768 with Blakes Songs of Innocence and ended with the death of Keats and Shelley:

UNIVERSITATEA PROFIL: SOCIO-PSIHOPEDAGOGIE SPECIALIZARE: INSTITUTORI-LIMBA STRAINA Lucrare de licenta Coordonator stiintific, Absolvent, Prof. Dr. Drobeta Turnu Severin 2003 The English Romantics and the Theme of Nature "Every reform, however necessary, will by weak minds be carried to an excess, that itself will need reforming" (from Biographia Literaria, 1817) CONTENTS Chapter I Introduction to Romanticism. The Romantic Movement in England.. .......................................................................................................................4 Literary Sources........................................................................................7 Aesthetic Theories Elements Of Romantic Poetry 8 A. Poetry and the Poet 9 B. Romantic Imagination 10 C. Insights of Childhood 12 D. Romantic Typology 13 E. Romantic Escapism 14 F. Mythology and Symbolism 15 G. Romanticism and Form 17 Chapter II The First Generation of Romantic Poets - The Image of Nature 19 William Wordsworth 20 The Shorter Poems of the Middle Period 32 The Longer Poems 36 Samuel Taylor Coleridge 38 Chapter III The Second Generation of Romantic Poets - Views on Nature 50 Percy Bysshe Shelly 50 George Gordon Byron 56 John Keats 58 CONCLUSION 62 BIBLIOGRAPHY 66 CHAPTER I INTRODUCTION TO ROMANTICISM. THE ROMANTIC MOVEMENT IN

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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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

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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NATURE, natural, and the group of words derived from them, or allied to them in etymology, have at all times filled a great pl

NATURE, natural, and the group of words derived from them, or allied to them in etymology, have at all times filled a great place in the thoughts and taken a strong hold on the feelings of mankind. That they should have done so is not surprising, when we consider what the words, in their primitive and most obvious signification, represent; but it is unfortunate that a set of terms which play so great a part in moral and metaphysical speculation, should have acquired many meanings different from the primary one, yet sufficiently allied to it to admit of confusion. The words have thus become entangled in so many foreign associations, mostly of a very powerful and tenacious character, that they have come to excite, and to be the symbols of, feelings which their original meaning will by no means justify; and which have made them one of the most copious sources of false taste, false philosophy, false morality, and even bad law. The most important application of the Socratic Elenchus, as exhibited and improved by Plato, consists in dissecting large abstractions of this description; fixing down. to a precise definition the meaning which as popularly used they merely shadow forth, and questioning and testing the common maxims and opinions in which they bear a part. It is to be regretted that among the instructive specimens of this kind of investigation which Plato has left, and to

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Sex, Shame and Guilt: Reflections on Bernhard Schlink's der Vorleser (the Reader) and J

Sex, Shame and Guilt: Reflections on Bernhard Schlink's der Vorleser (the Reader) and J. M. Coetzee's Disgrace. by Martin Swales The occasion for this paper was twofold. One had to do with the fact that I happened to read Bernhard Schlink's Der Vorleser (The Reader) (1995) and J. M. Coetzee's Disgrace (1999) in close proximity to each other. This, in itself, is not particularly remarkable because the novels themselves were published within a few years of each other. But there are proximities and proximities; and in my case the closeness was made of months rather than years. The second catalyst was a recent article by William Collins Donahue which, as its title makes clear--'Illusions of subtlety: Bernhard Schlink's Der Vorleser and the moral limits of Holocaust fiction' (1)--takes a very sceptical view both of Schlink's tale and of the almost unanimously enthusiastic response to which it has given rise. Let me turn to the two novels: to the similarities between them, and to a particular thematic issue common to both of them which is not without its problematic implications. Both The Reader and Disgrace, in terms of the story that they recount, fall into two distinct sections. The first half is a detailed description of a sexual relationship which is skewed by a crass imbalance of age, moral maturity and intellectual sophistication. Michael Berg, the narrator of The

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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The treatment of Women in the History of the United States as portrayed American Drama

Jennifer CHUNG Hiu Kei 2005654208 ENGL3032 Advanced Topics in English Studies Title: The treatment of Women in the History of the United States as portrayed American Drama Due Date: 26 May 2008 Professor: Otto Heim Contents . Introduction and Background Page 30 2. Role of Women in American Society Page 13 3. Assimilating as a Woman Page 33 4. Conclusion Page 42 5. Bibliography Page 43 Chapter 1: Introduction and Background Drama is one of the quintessential attributes of English literature and to a certain extent, perhaps one of the more powerful categories as drama has the advantage of extra visuals to connect with the viewers than poetry or novels. With the influential element of props and actions performed with dialogue in scenes and acts, the ending segment of the texts often create a much more personal response among viewers in the form of 'catharsis'. Defined by Aristotle in Poetics at around 350 B.C, he structured tragic plays into four stages: hamartia, hubris, anagnorisis, and lastly catharsis. The first three stages illustrate the tragic hero, who is often the protagonist in the plays, with a flawed personality of some sort which is responsible for their downfall from a high status in their society. Catharsis on the other hand has more to do with the purging of emotions which cause the viewer to experience two particular feelings, pity

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Do we have the ability to control our destiny - Death of Salesman.

Do we have the ability to control our destiny? The truth is this, one can set their goals and try to attain them and one can dreams their dreams and try to live them but the difference must be known. The character Willy Loman, in the play Death of A Salesman, seems to be a person who is not aware of the difference in reality and dreams. Willy's choices throughout his life undeniably lead to his own demise. Willy Loman is a tragic hero. His fear is that he wants to be viewed as a good, decent human being. He wants to believe that he's a well-liked, decent person who doesn't make mistakes. The truth is that he makes mistakes, many that haunt him, and that he is human. Willy does not consider this normal and severely regrets such failures such as raising his children poorly, as he sees it, not doing well in business, though he wishes he were, and cheating on his wife Linda, showing her to be a commodity of which he takes advantage. Linda has a true, pure love for her husband. Linda stands behind him through it all, through his dreams and broken promises, she still believes in him. The quality in such plays that does shake us... derives from the underlying fear of being displaced, the disaster inherent in being torn away from our chosen image of what and who we are in the world (Miller, Tragedy...). Willy's underlying fear of being displaced is the real tragedy. He wants to do

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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The Significance of a Line From Arthur Miller's Death of a Salesman

The Significance of a Line From Arthur Miller's Death of a Salesman Neelum Raza, Junior "Isn't that remarkable." This single, brief statement may appear to be a trite cliché, yet in Death of a Salesman this favorite exclamation of Willy Loman takes on a much broader meaning. In the early part of the play, however, when Willy makes this remark, the reason is not particularly remarkable, or, if so, only in Willy's terms. Yet, during the course of the action the line develops into a comment on Willy's prosaic and confused mind. To start with, the remarkable aspect of the quote is that Willy Loman utters it when he is faced with an epiphany, a sudden realization. To demonstrate, this line takes on significance in the scene where Willy goes to borrow money from Charley. Willy always thought of Charley as the epitome of what Willie thought he detested. Yet, when Willy realizes that this man whom he had disparaged over the years was, indeed, his only friend, he says in utter amazement, "Isn't that a remarkable thing." As with other utterances, the realization is not remarkable, except that Willy had never been able to see reality long enough to recognize Charley's importance. This single line, then, demonstrates how Willy may finally begin to realize, too late, just how much he is liked. Another realization occurs between Willy and his son, Biff. After an emotional scene in

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Specters of Totalitarianism: Representations of Power and Control in Twentieth Century Dystopian Fiction (English Dissertation)

Mark James Fisher ENGL 3000: English Dissertation Dr. Jane Dowson Spectres of Totalitarianism: Representations of Power and Control in Twentieth Century Dystopian Fiction By Mark James Fisher Dissertation Supervisor: Dr. Jane Dowson A DISSERTATION SUBMITTED IN THE REQUIREMENTS OF A BA (JOINT HONOURS) ENGLISH AND HISTORY DEGREE Contents Page Introduction The Origins of the Dystopian Genre and its Characteristics Structure and Aims of the Dissertation Methodology pp.1-5 Chapter 1 - Rewriting History? The Manipulation of Truth and Memory as a tool of control in George Orwell’s Nineteen Eighty Four and Animal Farm pp.6-11 Chapter 2 - ‘BIG BROTHER IS WATCHING YOU’ (George Orwell): Representations of Surveillance and Terror as tools of control in George Orwell’s Nineteen Eighty Four and Margaret Atwood’s The Handmaid’s Tale pp.12-19 Chapter 3 - Winning Hearts and Minds? Representations of Indoctrination and Propaganda as tools of control in George Orwell’s Nineteen Eighty Four and Aldous Huxley’s Brave New World pp.20-27 Conclusion pp.28-29 Bibliography pp.30-32 Abstract Dystopian fiction has always been preoccupied with power and control. One of the main reasons why authors write this type of literature is to create awareness of how this power and control can be manipulated by

  • Word count: 10539
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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