After the horseplay, he and his companion Mooney are left bereft of joy and "the sun went in behind some clouds and left us to our jaded thoughts and the crumbs of our provisions." (4) The boys soon encounter another man, who, like Father Butler, is learned, but whom takes a liberal view of sexuality and promotes the value of a diverse array of reading materials. The protagonist feels dimly awakened by this encounter with an individual, and more importantly experiences a refreshing attitude he has never encountered before, and is not likely to encounter again in his daily, routine existence. He is offered another path between that of Catholicism and the wild boisterous and occasionally cruel play of Mooney, and the order that he returns to is infused with a new, more positive consciousness and sense of his place in the world. "Araby," likewise takes an orderly protagonist into a wild world, in this case of an Irish county fair. It begins with order, and faith, a place where a priest has just died. "The former tenant of our house, a priest, had died in the back drawing-room ... He had been a very charitable priest; in his will he had left all his money to institutions and the furniture of his house to his sister." (1) The protagonist idolizes the woman, "morning after morning. I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood." The orderly, chaste priest is contrasted with the sensual, wild impulses the woman...
He describes how her "image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of laborers, the shrill litanies of shop- boys who stood on guard by the barrels of pigs' cheeks ... " (1)
Tom Shulich ("ColtishHum") A comparative study on the theme of fascination with and repulsion from Otherness in Song of Kali by Dan Simmons and in the City of Joy by Dominique Lapierre ABSRACT In this chapter, I examine similarities and differences between The City of Joy by Dominique Lapierre (1985) and Song of Kali by Dan Simmons (1985) with regard to the themes of the Western journalistic observer of the Oriental Other, and
Conclusion In the final analysis the film under discussion can be deconstructed and critiqued from a postmodern perspective. This refers to the underlying ideologies and metanarratives that inform the narrative and imagery of the film. From a postmodern point-of-view truth is never static or fixed and is always relative to a certain context or stance. The film in question makes use of a number of rhetorical devices to put forward its
From this perspective, the field of sociology is involved in the analysis of the patterns of these interactions. Therefore, for Simmel Sociology is more than just the study of "natural laws." Simmel also emphasized the study of small groups. This differed for the classical theorists like Durkheim and Marx. The primary contemporary interest in Simmel's work stems from the analysis of individual action within the ambit of the structural approach.
"…people with NES tend to be more depressed than obese people without NES, and the mood of those with NES tends to worsen during the evening, something not seen in other obese people"(Logue, 2004, p. 185). Among the many studies that provide insight into the background and origins of this syndrome, one of the most enlightening was Obesity by Stunkard, in Fairburn and Brownell (2002). This provides an in-depth analysis
Descartes might, however, point out that it does not matter which forms or symbols are used so long as direct knowledge is acquired. Furthermore, it would be impossible to completely separate the artist from the form; or even the viewer from the form. Mathematics is a purer means of representing reality than painting or language. Both Descartes and Langer would surrender to the inevitability of symbolic communication. Even mathematics involves
Ross (1988) notes the development of Romanticism in the late eighteenth century and indicates that it was essentially a masculine phenomenon: Romantic poetizing is not just what women cannot do because they are not expected to; it is also what some men do in order to reconfirm their capacity to influence the world in ways socio-historically determined as masculine. The categories of gender, both in their lives and in their
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