Yes. Gertrude Stein’s use of language transforms the reader to into writer. This can be seen in the manner in which the poetry has caused much merriment among reviewers as well as critics, but this has achieved its intended purpose of completely engaging the reader. According to her autobiography, “My sentences do get under their skin and make it their own. . .” (The Autobiography of Alice B. Toklas 70). This is one of the aims of every writer, but Stein shows a rather special reason for wishing all her readers to be conscious of the basic verbal level of her writing.
Much of her writing can be seen in one way or another significantly different from other people’s literature, thus a demonstration of an abstraction which has been derived from her entire analysis of literature. Stein always uses the methods of literature in order to make the same points which critics make through the means of expositionary writing. It is very convenient, therefore, to begin with the critic’s discussion of every language, before investigating Stein’s “demonstration” of the same point (Lewis, 2007).
It is reasonably simple to recognize the dialect of science and the dialect of writing. The negligible difference in the middle of “thought” and “feeling” or “feeling” is, in any case, not sufficient. Writing does contain thought; while enthusiastic dialect is in no way, shape or form kept to writing. .. The perfect investigative dialect is simply “denotative”: it goes for a balanced correspondence in the middle of sign and referent. The sign is totally subjective, henceforth could be supplanted by proportionate signs. The sign is additionally transparent; that is, without attracting consideration regarding itself, it guides us unequivocally to its referent.
Whatever the blended modes clear upon an examination of cement abstract centerpieces, the qualification between the artistic use and the logical utilization appears to be clear: scholarly dialect is much all the more profoundly included in the authentic structure of the dialect; it focuses on the consciousness of the sign itself.
T.S. ELIOT, THE WASTE LAND
T.S. Eliot represents urban life in The Waste Land as one of alienation. Do you agree? (You may want to choose just one section of the poem to focus on in your response)
The expression “urban wasteland” as a header is misdirecting. Despite the fact that a number of Eliot’s badlands were for sure urban, a huge bit of the sonnet titles “The Waste Land” happens in a considerably more characteristic and conceivably peaceful spot. The thought behind a waste area is that it can deliver nothing of quality -plants bite the dust attempting to concentrate food from the fruitless soil, and the spirits of different animals are smashed and chilled by the sheer destruction of the spot (Lewis, 2007). Such a no man’s land serves as a vessel to pass on different subjects, especially estrangement, and additionally a strong update that such detachment is not kept to any specific setting. Once more, such devastation looks somewhat like the rubble that remained in the wake of the World Wars.
The Waste Land ventures an alarming vision of our tumultuous times and beset lives. The waste area situation he depicts all through the sonnet is one that reflects the social rebellion and otherworldly vacuity of cutting edge urban life that drives the single person to the profound emergencies of enthusiastic and erudite misery. Eliot’s wonderful showstopper endeavors to portray the aggregate disorder and close fall of Western civilization in the early 1920s. Amid the years, promptly after the great changes of World War I, many European life-styles, as well as social mores and good values were all changed definitely. Artist’s close to home melancholy the Waste Land likewise contains a record of the writer’s close to home despairing at an essential point in his life. Subsequently, the structure of the lyric consolidates a multi-layered setting focused around levels that run from the individual to the societal, providing for it a just about general hugeness and a timeless significance.
VIRGINIA WOOLF, MRS. DALLOWAY
How is the character of Sally Seton in Mrs. Dalloway significant?
Sally Seton, Lady Rosseter, plays a very significant role in Clarissa’s life. A childhood friend of the presently Mrs. Dalloway, Sally is a crucial product of the working classes. Once she is much lower in social rank, lower than Clarissa, Sally was red-blooded, rebellious, rowdy as well as quite idealistic for a simple girl who is meant to be literally “down-to-earth” in a sharp comparison to Clarissa.
In Sally, Clarissa could free her true contemplations and feelings. Sally was her pioneer in free thought, free discourse, and free thoughts. Together they had arranged numerous things for what’s to come. There is likewise a solid sign that Sally’s manly vitality assumed a part in Clarissa’s creating sexuality as the two had a Non-romantic, yet, sexually strained fellowship (Gillies, 2007).
Presently Woman Rosseter, Sally is essentially living like the individuals she once judged as a youthful agitator. Be that as it may, she keeps up her working population feeling of decency and investigation. She doesn’t at all satisfy the part of the martyred wife and mother that Clarissa appears to epitomize, and this unmistakably may be an alternate eye opener for the last.
On the whole, Sally is a foil of Clarissa; the youth companion who promises to break with each settled standard and social build of the day. She is in restricted Clarissa’s philosophical savior.
F. SCOTT FITZGERALD, THE GREAT GATSBY
Women are more objects of desire than agents of their own lives in The Great Gatsby. Do you agree?
Yes. For instance, Daisy Buchanan is beautiful and mesmerizing and is the apex of much sociability. Her privileged upbringing in the areas around Louisville has conditioned her to a particular pre-defined lifestyle, which Tom, her husband, is always able to provide her. She enraptures men, in this case Gatsby, with her diaphanous nature as well as sultry voice. She is the object of Gatsby’s life desire, for good or ill, and represents all women of an elite social class. However, she does not at any time act as an agent of her own life, or the lives of other women around her.
The women in the entire novel are an interesting group, because they do not socially divide into the traditional groups of Mary Magdalene or Madonna figures; instead, none of the women is pure in the least degree. Myrtle is seen as the most obviously sensual, but the fact that Jordan, as well as Daisy, wears white dresses only, acts as highlights of their corruption.
As a lovely yet apparently inconsiderate animal, Daisy speaks to the paragon of conventional womanliness and defenselessness. Despite the fact that Daisy seems shallow and materialistic, the reader discovers that at one point in Daisy’s life, she was determined by affection and feeling rather of by riches and status. As a young person, Daisy guaranteed the penniless fighter, Jay Gatsby that she would hold up for him after the war. In any case, Daisy develops restless and discovers riches and success through her marriage to the rough and misanthropic, Tom Buchanan.
DALI AND BUNUEL, UN CHIEN ANDALOU
What is the significance of the gaze in Un Chien Andalou?
The gaze in this case is the notion that the creators of this piece works with a lot, such as in their piece “Imagem,” consisting of a simple pedestal that is encased by mirrors. On top of it, there exists a vitrine with a floating head in it. After years of research as well as various travels, the creators of this work found a “santo de roca“ head, which was a cult object used frequently in neoclassicist processions in some parts of the world. For instance, in Brazil, it is believed that it arrived from Spain and Portugal during the end of the 19th century (Gillies, 2007). Initially, the head was placed on a wood-made support body, which was then covered with clothes. The gaze of the saint that is depicted in the sculpture literally pierces through the glass and looks straight back at the viewer at eye height.
Closely connected to many literary references and with a somehow latent sexual connotation, the work gains tangibility and also become concrete by the various allusions of it title. Thus, it can be said that the gaze is significant in the capacity that it acts as a driving force for the plot. Many characters in the work depend on the gaze in order to bring out their traits clearly.
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Gillies, Mary Ann and Aurelea Mahood, Modernist Literature: An Introduction, Edinburgh
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Inquiry, vol.4, no. 10, Fall 2009, pp.56-59.
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