Research Articles Base: English Essay

Optimism

March 1, 2006   The Dory to Your Marlin             I would be the Dory to your Marlin. It shouldn’t be too hard.           You—and perhaps only you—may come to me and whine. “There are too many changes in the world,” you may complain (and you may even hold a bottle of beer or vodka, whichever you may prefer, or perhaps you may not wish to drink, as it would clash against your personality), “and it spins too fast. There are too many problems! We can’t fix everything!”           Perhaps I would be near you, trying to catch you in your state, or maybe I would merely be trying to catch up to you. Whatever I am doing, I would also be thinking of a response. “No, we can’t,” I will most likely agree (perhaps I may also tap my chin in an attempt to be thoughtful, or even look around for something to watch). “We can’t expect to go back to the past, we can only look forward.”           That would be the most practical and logical action to do, I believe. We could complain all we want about the direction this world is spinning, but simply looking at it and believing the worst is going to do nothing but simply make everything, well, worse. There’s no fun in that.           There’s nothing wrong with seeing the best out of everything. The problems that the world is facing can be the greatest way that writers are able to gain their angsting ground and thus be able to provide their own views based on their woes, but after a while emotional roller-coasters just aren’t that fun to ride anymore. There are thousands of ways to solve a problem, all one has to do is to pick a problem, look at it at the best way possible, and make a beeline towards that direction. Actually focusing on the problems that may develop can turn towards the other dilemmas that the situation may face, and also make it difficult for these to unravel especially in the case that the person may not have foreseen them.           Optimism is the key!           Yes, it is the opposite of optimism. No, it is not evil no matter how many emo people tell you otherwise. Yes, it can be helpful, and no I am not saying that it should be taken in large doses because if you do then you’ll not only be horrifyingly unrealistic but you’ll also be greatly annoying.           “But being optimistic,” you may then interrupt, “can be fatal when considering several scenarios?”           And here I would most likely ask: “Can you provide one?”           “Ah,” you will say, tipping back your head in smugness, “suppose there is a great famine and everyone is losing hope. You are one of those who are distributing the provisions to the people and, try as you wish, there is really not enough supplies to be handed out to the people. Would you not, in all your whole-hearted beliefs, also wish for them to learn of the truth and thus view this as a worst-case scenario?”           “Oh, I shall,” would be my retort (even while disturbed at the idea of such an event occurring, which is why I would cross my fingers and hope for the best!), “yet I would also let them believe in themselves in trying to look for the best way to cope. There is no sense in dying in despair.”           “Yet there is also no sense in providing false hope!”           “It shan’t be false,” I would say, probably with conviction, or probably with less concern, “if they believe it.”           This may shock you, and you may even think of me as cruel with this decision.           Indeed, it may seem cruel, yet it needs to be remembered that such ideas have promulgated one way or another, even in times of trouble and strife! At the same time, the ideas of the people can only be based on their own ideas of belief, especially in how they may choose to accept a possible reality in their part. What is the truth, anyway, but a mere view of a particular person? In this time and age where acceptance and tolerance is important, optimism in the future is the one that should now be greatly dominating, yet it continues to be pushed farther from the minds of every person!           There is no harm in being optimistic. In fact, it can affect the decisions and the actions of the people, just as much as paranoia and pessimism can, yet the direction it takes are based on totally different philosophies, therefore also affecting the approaches that they may take. Moreover, there is also the case of the emotions that the person may feel after the entire affair, and in the end it all boils down to the important question of: which would one be more comfortable with?           Dear friend, you should know that I am not trying to convince you to be give up being your gloomy, cynical, pessimistic self! If anything, I would encourage you to explore your different areas and bring to light anything that you have thought to keep in the dark! However, I am merely pointing out that to be optimistic is a choice that allows for a newer and fresher perspective to a problem, and that the end results based on the expectations can always allow a person to believe that some things have been done despite the available circumstances. The mistakes that one may have faced should not be forgotten, and indeed they should be looked upon in a new light in an effort to fix them. I am not admitting to be a Dory to your Marlin if I only serve to forget the problems that one has faced and therefore never seek ways that these can be changed. Dory, while being forgetful, has always managed to find ways through problems and also see the best out of any situation, while also ensuring that fun in every action continues to be a great factor for the decision.           Perhaps there will never be a change; perhaps for every problem that the world is coughing up every person may eventually turn into a Marlin.           Yet, thinking about it the situations all depend on how a person can accept them. Swimming through a trench isn’t supposed to be easy, and there may be jellyfishes along the way, but if you enjoy the entire process of crossing them, chances are you’ll find yourself facing a problem with a whole different perspective           And, perhaps, getting more fun than you ever hoped to have.   Credit:ivythesis.typepad.com

Optimism

March 1, 2006 The Dory to Your Marlin I would be the Dory to your Marlin. It shouldn’t be too hard. You—an...

Definition of Realism

Introduction The word realism depicts the characters and events which are apparently in the most ordinary and uninteresting way, in order to extract from these their full value and true meaning. It would apprehend in all particulars the connection between the familiar and the extraordinary, and the seen and unseen sides of human nature (2000). In general terms, realism portrays the ordinary contemporary life of a person, with attention to individual and regional peculiarities. The birth of realism in literary movement Realism in the literary movement began during the nineteenth century and is still very popular today. Realism came about after the Civil War and took the place of Romanticism. Realism focused on the actual and the every day life, rather than the imagined or fanciful style of Romantic literature. It originally came from France. Although the realistic movement had been active for some time, American Realism got its roots from 19th century America with the Civil War, the expanding frontier and the city life. Another key asset to the development of Realism was the fact that the public was getting bored of Romanticism. Although students were still reciting Romantic poetry and reading Romantic novels, many people believed Romantic literature to be old-fashioned and too flowery. The Realists were followed by the Naturalists, although the difference between the two is hard to define and the two terms are used interchangeably (1999 ).The distinction lies in the fact that Realism is concerned directly on what is absorbed by the senses; while Naturalism attempts to apply scientific theories to art.  A descriptive term like Realism is useful to the reader. (1961) considers that “descriptive terms” such as “romanticism, realism and classicism are valuable and necessary”. Realism in Huckleberry Finn              represented life in his story Huckleberry Finn in a realistic manner. His style was humorous and descriptive, capturing the colloquial voice of American speech with slang and iconoclasm (2000). makes it all the more realistic by capturing the setting’s regional dialect. It portrays the very natural conveyance of the mood of the story. The types of characters are all imperfect, just like real people. The everyday encounters and discussions can make everyone who reads the book feel that one way or the other, the story happened to someone else because it is how the events unfold, very realistic. The moral dilemmas depicted by Huckleberry are the ones an ordinary person deals with. It truly captures the very essence of a person’s struggle of society’s universal moral standard in accepting a person. Prevalent themes 1) Setting It takes place when slavery was at its height in America, and it addresses in a clear way the prejudices of southern whites that laid the foundation for slavery and were still omnipresent in time. The discussion of slavery in the text takes on a new meaning for a post-Civil War audience. It forced them to confront the legacy of slavery in spite of their eagerness to forget its devastating impact and rid themselves of its curse. The physical setting of the novel, most specifically the river and the raft has also drawn the attention of critics. The Mississippi River itself serves as a kind of no-man’s land in the text, a place outside of society that is governed by different rules. While Huck can be a kind of vagabond, traveling from one place to another without being a part of society,  must hide on the raft, the only place where he can be safe (1996). 2) Slavery Slaver provides an allegory to explain how and why slavery is wrong.  uses , a main character and a slave, to demonstrate the humanity of slaves.  expresses the complicated human emotions and struggles with the path of his life. To prevent being sold and forced to separate from his family,  runs away from his owner, , and works towards obtaining freedom so he can buy his family’s freedom. All along their journey downriver,  cares for and protects of Huck, not as a servant, but as a friend (2006).  Thus,  encourages the reader to feel empathy for  and remorse at the society that has enslaved him and threatened his life. However, although attacks slavery through it is portrayal of ; he never directly addresses the issue. It is for the reader to realize and think for him or herself. Being too obvious never brings a writer anywhere. Moreover, only in the end does develop the crucial conflict of slavery: should Huck free  and then be condemned to hell? This decision is life threatening for Huck, as it will make him be the public enemy of the people in his community. He then chose to let go of  of followed his gut feeling, he didn’t do that because he is afraid of the condemnation of society, he did that because he realized that he don’t have to do the accepted thing just to follow social norms, he did that to follow the morality of conscience.     Credit:ivythesis.typepad.com

Definition of Realism

Introduction The word realism depicts the characters and events which are apparently in the most ordinary and uninteresting way, in ord...

Optomism

English 0990 March 1, 2006   The Dory to Your Marlin             I would be the Dory to your Marlin. It shouldn’t be too hard.           You—and perhaps only you—may come to me and whine. “There are too many changes in the world,” you may complain (and you may even hold a bottle of beer or vodka, whichever you may prefer, or perhaps you may not wish to drink, as it would clash against your personality), “and it spins too fast. There are too many problems! We can’t fix everything!”           Perhaps I would be near you, trying to catch you in your state, or maybe I would merely be trying to catch up to you. Whatever I am doing, I would also be thinking of a response. “No, we can’t,” I will most likely agree (perhaps I may also tap my chin in an attempt to be thoughtful, or even look around for something to watch). “We can’t expect to go back to the past, we can only look forward.”           That would be the most practical and logical action to do, I believe. We could complain all we want about the direction this world is spinning, but simply looking at it and believing the worst is going to do nothing but simply make everything, well, worse. There’s no fun in that.           There’s nothing wrong with seeing the best out of everything. The problems that the world is facing can be the greatest way that writers are able to gain their angsting ground and thus be able to provide their own views based on their woes, but after a while emotional roller-coasters just aren’t that fun to ride anymore. There are thousands of ways to solve a problem, all one has to do is to pick a problem, look at it at the best way possible, and make a beeline towards that direction. Actually focusing on the problems that may develop can turn towards the other dilemmas that the situation may face, and also make it difficult for these to unravel especially in the case that the person may not have foreseen them.           Optimism is the key!           Yes, it is the opposite of optimism. No, it is not evil no matter how many emo people tell you otherwise. Yes, it can be helpful, and no I am not saying that it should be taken in large doses because if you do then you’ll not only be horrifyingly unrealistic but you’ll also be greatly annoying.           “But being optimistic,” you may then interrupt, “can be fatal when considering several scenarios?”           And here I would most likely ask: “Can you provide one?”           “Ah,” you will say, tipping back your head in smugness, “suppose there is a great famine and everyone is losing hope. You are one of those who are distributing the provisions to the people and, try as you wish, there is really not enough supplies to be handed out to the people. Would you not, in all your whole-hearted beliefs, also wish for them to learn of the truth and thus view this as a worst-case scenario?”           “Oh, I shall,” would be my retort (even while disturbed at the idea of such an event occurring, which is why I would cross my fingers and hope for the best!), “yet I would also let them believe in themselves in trying to look for the best way to cope. There is no sense in dying in despair.”           “Yet there is also no sense in providing false hope!”           “It shan’t be false,” I would say, probably with conviction, or probably with less concern, “if they believe it.”           This may shock you, and you may even think of me as cruel with this decision.           Indeed, it may seem cruel, yet it needs to be remembered that such ideas have promulgated one way or another, even in times of trouble and strife! At the same time, the ideas of the people can only be based on their own ideas of belief, especially in how they may choose to accept a possible reality in their part. What is the truth, anyway, but a mere view of a particular person? In this time and age where acceptance and tolerance is important, optimism in the future is the one that should now be greatly dominating, yet it continues to be pushed farther from the minds of every person!           There is no harm in being optimistic. In fact, it can affect the decisions and the actions of the people, just as much as paranoia and pessimism can, yet the direction it takes are based on totally different philosophies, therefore also affecting the approaches that they may take. Moreover, there is also the case of the emotions that the person may feel after the entire affair, and in the end it all boils down to the important question of: which would one be more comfortable with?           Dear friend, you should know that I am not trying to convince you to be give up being your gloomy, cynical, pessimistic self! If anything, I would encourage you to explore your different areas and bring to light anything that you have thought to keep in the dark! However, I am merely pointing out that to be optimistic is a choice that allows for a newer and fresher perspective to a problem, and that the end results based on the expectations can always allow a person to believe that some things have been done despite the available circumstances. The mistakes that one may have faced should not be forgotten, and indeed they should be looked upon in a new light in an effort to fix them. I am not admitting to be a Dory to your Marlin if I only serve to forget the problems that one has faced and therefore never seek ways that these can be changed. Dory, while being forgetful, has always managed to find ways through problems and also see the best out of any situation, while also ensuring that fun in every action continues to be a great factor for the decision.           Perhaps there will never be a change; perhaps for every problem that the world is coughing up every person may eventually turn into a Marlin.           Yet, thinking about it the situations all depend on how a person can accept them. Swimming through a trench isn’t supposed to be easy, and there may be jellyfishes along the way, but if you enjoy the entire process of crossing them, chances are you’ll find yourself facing a problem with a whole different perspective           And, perhaps, getting more fun than you ever hoped to have.   Credit:ivythesis.typepad.com

Optomism

English 0990 March 1, 2006 The Dory to Your Marlin I would be the Dory to your Marlin. It shouldn’t be too hard. ...

Drama

Introduction             One’s sense of value is rarely exhausted by descriptive and instrumental accounts, especially when the object of attention is aesthetic and contemplative. Modern literary criticism should be able to describe the text’s capacity to perform attitudes, but there remains a horizon to our grasp of these attitudes, an “attitude toward attitudes,” perhaps, where the stance that reveals some important dimensions of literary experience (:2000). The viewers/readers should be able to examine texts or competence, not to attend to objects or direct acts of interpretation, but to speculate on the values that consciously reflect upon the powers the readers/ viewers exercise in reading and the cultural identifications implicit in the possession of those powers. Instead of describing competence in reading, they should construct two ideals that can be seen as possible conditions of self-knowledge and attitudes toward culture, made available by reflecting on what is involved in taking texts as performances which constitute a qualitative cultural meaning. The first of the two values, or ideal self-reflective attitudes, the readers/ viewers concentrate on can be stated in simple terms: because it develops powers to describe actions, literary education can be seen as also fostering a capacity to bestow on human agents (and by analogy on the self) attributes traditionally associated with ideas of dignity and nobility (1989). The literary imagination, he said, tries to do justice to human lives, often when the agent represented would, in reality, lack the terms and faculties for doing so in his or her own right. The idea of justice makes literature leery, since it admits radical ironic reversals. However, it is extremely significant aspect of literary experience–an attitude committed to taking seriously the purposes, qualities, and achievements of the agents represented (1981). Because it reflects upon their acts that cannot easily take up the casual stances that they often do in daily life and, because they attend to qualities, they are not content with impersonal explanations that can treat lives as symptomatic reflexes of external conditions. Even when persons are represented as defeated by these conditions, most of best literary texts make the readers/viewers understand that defeat from within a character’s attitude so that they can fully sympathize with it or at least understand it as a significant state of mind. So an attitude of seriousness toward actions leads to a sense of how agents outside literary texts can be valued. The Humble Boy and Snowman The reception theory by  is a branch of post modern literary criticism that focuses on the ways that literary works are received by the readers (1992). It is also sometimes called reader-response theory. According to , literary texts are established against existing horizon of expectations consisting of readers’ current knowledge and assumptions about literature, and that the meaning of texts, change as the horizons shift. Not like most types of reader-response theory, the reception theory is interested more in historical changes affecting the reading public than in the lone reader. There are some related theoretical discussions about the building of meaning by readers or audiences, or more generally by consumers of information and cultural goods (:1989). The reception theory contradicts conventional perspectives of meaning that benefit strong concepts of authorial intention and related view that meaning found in texts. Both perspectives put the reader as the receiver of fixed, intentional meaning. Instead, reception theory stresses the variety of possible “positions” that a reader may occupy with respect to a text. Some of these positions correspond to a target audience and require a set of competencies in the expectations of the genre or complicity in suspending critical judgment. Just like the two plays, Humble Boy and Snowman. Both have critical and dissenting positions that materialize at the margins of their viewers.   Both plays represent the similar themes that have been lobbying by the reader-response and audience theorists and basically within what literary critics called cultural studies (:2000). The themes are underwritten a wide range of research and in many cases integrate a strong sociological focus. The Humble Boy, shows the important role that culture, history and the nature of language in a play that helps the viewers construct “meaning.” While the Snowman has monolithic objective that contains truth with a single and fixed meaning that have placed the playwright as the God of his or her views and knowledge, on the other hand, the Humble Boy, established a process of creating meaning as a form of collaborative work between the author, the viewers, the culture or “interpretative community,” the author and reader inhabit, the language which the play created.             The Humble Boy presents the multivalent nature of language and it considers the literary interpretation as a provisional enterprise and at the same time explored the manner that culture identifies interpretive possibilities. The viewers were able to have an in depth understanding about the relationship between art and culture in a much more challenging way, and so doing, they have participated in intellectual activity of construction of meaning in a literary texts. Therefore, the Humble Boy has given the viewers a more challenging, responsible and rewarding “interaction” with the play.               Using the perspective of the reception theory, the Humble Boy is comparable to the Adventures of Huckleberry Finn, The Awakening and Their Eyes Were Watching God. It gives the viewers with significant challenges to conventional simplistic conceptions of the value of literature. They also offer viewers a chance to watch a culture work at defining itself, its literary canon and establish critical vocabulary and methodology. These literary works also exposed the viewers to what the critics called “reception moments” that help them understand in a very concrete approach that the value of the texts are socially constructed. Deriving the meaning from these texts are significantly provisional enterprise.           Credit:ivythesis.typepad.com

Drama

Introduction One’s sense of value is rarely exhausted by descriptive and instrumental accounts, especially when the object...

English draft

English 121045                                                                                                                                                             Draft 2       Those Spanish Eyes   Mr. John is my neighbor next door. He is a tall, with an average build, with a dark hair and green eyes. He has a receding hairline with a beauty mark on the right side of his face, next to his nose. Mr. John is a wonderful and helpful person, and whenever I ask for help he is there for me. We can spend hours talking about our past, and I learn a lot from his stories. He is a carpenter, but he still often helps me with my homework. His wife Mrs. Maria John is from Argentina, and she has the most beautiful eyes that I have ever seen. They have been married for thirty years, and their love burns like fire. Their love is an inspiration to everyone, because they have been together for such a long time and devoted to each other. The secret of for their relationship is happiness with each others company.   One day I came home from school with lots of homework to do and I asked Mr. John if he could help me with my homework, Mr. John did not even hesitate in helping me doing my homework. While Mr. John was discussing, he also shared a few stories about his life on how he met his wife Mrs. John.   He told me, “I went on a business trip to Buenos Aires back in 1976. As soon as I got there, I went to a coffee shop to eat a little. That was when he saw a waitress approaching. It was Ms. Maria. “I lost my voice. The only thing I could do was to stare at her, because she looked like an angel. At that time she was about 25 years old. Ms. Maria was trim with long brown curly hair with some highlights that matched her beautiful brown eyes. I suddenly fell in love with her; it was love at first sight. When I finally got my voice back I asked for a coffee, and for the first time I heard her voice.” She asked, “How would you like your coffee Sir?” “With cream, without sugar, please.” I replied.” She didn’t pay attention to me at first, but I insisted on talking to her. I tried to initiate conversation. I asked, “Did anyone ever tell you how beautiful you are?” Her answer was different. “Do you need anything else, Sir?” “Yes, I would be glad to know your name, and also I would like to have the opportunity to get to know you better. May I take you to dinner?” I asked. “No I’m you can’t have my name, and no, I cannot go out with you,” she said. I soon asked if she was married. “No, I’m not” she said. I was so relieved to know that she was single and that she could be my wife. When I tried to continue our conversation, someone from inside the kitchen called for Maria. Then she answered, and at that moment I got to know her name. What a pretty name I thought.   “I spent four hours at this place waiting for another opportunity to talk to her, but at twelve o’clock P.M. I saw Maria leaving the place. After she went outside I ran after her to talk to her. She was a bit scared, because I was a stranger.” I said, “Please could we talk? I have something to say.” She replied, “Yes, but it has to be in the place that I work.” I said, “Okay, that’s fine with me.” Maria was very nervous and began to talk, “Listen Sir, I’m a very honest person. I don’t really have time to talk, so could you just get to the point.” “Calm down”, I said. “What I have to say will change our lives forever.” She gave me a look that I never forgot. She was very nervous. I continued to talk. “I want you to know that for sure you’re the woman that will make me the happiest man in this world. Maria, would you marry me, and live with me in U.S.A?” I knew that I had only three weeks to convince her to accept me. She asked me, “Are you crazy? You just met me. How could you ask me to marry you? You know what, I have to go.” When she tried to leave I asked her, “Please give me a chance to show you that I’m a good man and that I want to make you happy.” I continued talking. “I’ll be in Buenos Aires for three weeks; could we go out for dinner please? It would be a good opportunity to get to know one another.” “You know something, you are crazy, but I like you.” she replied. “Does that mean yes. Can we go out tonight?” I asked. She replied, “No, I have a trip today, and I could be late for the bus. I’ll be out of town for three days. When I get back we can talk, okay?” “So it means yes, you will give me a chance to know you?” I asked She said, “Yes. It means yes.” I wasn’t happy about her trip. I was afraid that I might lose her, but there’s nothing I could do. Afterwards I asked Maria if I could take her home. She said that it wasn’t necessary because she had a car. Then she said good-bye and left.   Mr. John told me that those three days were the longest days of his life. “Mr. John, someone is knocking on the door.” I said.  “Mari, could you open it for me please.” He asked me. “Yes.” It was Ms. Carmen; she was the woman that cleans Mr. John’s house. “Hello, good evening. I am sorry, but I forgot my keys. Did you saw it Mr. John?” Mr. John replied, “Yes it is over the counter-top.” “Thank God, I was afraid that I might left it at the supermarket this evening. Thank you so much, I have to go now,” and she left.   “Now where were we, Mari?” he asked. “You were saying that those days were the longest days of your life.” “Oh! Yes, so I couldn’t work as I usually did during my trips to Buenos Aires. It seems that time had stopped for me. She didn’t call me at for the past three days. I was very restless because I didn’t know how to communicate with her; I didn’t have the hotel’s telephone number. I was afraid that I would never see her again. After those three days Maria finally called me, and we planned to get together that night. We went to an Italian restaurant. It was beautiful place. We had dinner and talked about our lives. It was a wonderful night.” “We see each other every day. The more I knew about her, the more I was falling in love. Then three weeks had almost passed. My trip back to the US was getting closer, and closer. Two nights before my trip, I asked Maria if she had decided to come with me. She was quiet; it made me very nervous. Then she asked me, “Can you please not see me tomorrow? I would like to be by myself, I want to think about it.” I replied, “Yes; but please think with your heart. Then I said bye and left. I returned to the coffee shop on the day that I was supposed to leave, but when I got there I didn’t see her. Then I asked another waitress about Ms. Maria and she said that Maria no longer works here. She left her job earlier on that same day. I was desperate, because I didn’t have Maria’s address. I made an attempt to get her address from her coworkers, but it was in vain no one would give it to me. I sat down on chair for a minute to think of what I should do, because I felt lonely. After a while I left the coffee shop, but when I crossed the street I saw my angel waiting for me. I couldn’t believe my eyes, so glanced again to make sure that it was her. Maria was smiling at me, and said that she had decided to come with me. She also said that she believed that I was a good man, and that I would make her happy. My heart began to beat fast, and I thought that I was going to have a heart attack. I was so excited, and the only thing I wanted to do was to hug her and not let her go for any reason.” “I asked her if I could meet her parents. Maria said that her father died when she was twenty years old, and she had to leave school to take care of her mother. Unfortunately, her mother died five years after her father’s death. Maria’s mother was sad without her father’s presence. Maria said that her mother wanted to die to be with her father. After her mother’s death, she had to take care of herself, and she told me that life had been very difficult for her. Then I asked her to not talk about her sadness, and I promised her that only happiness would be part of her life from now on.” Last month, January 2006, they celebrated thirty years of happiness just as he had promised her at Argentina in 1976. Nowadays, it is very rare to meet a couple that has together for so many years, because for many people time can change personality and the couple’s perception with each other, However, Mr. and Mrs. John are still in love and happy together with each other. What I have learned from them is that when there is love, problems are easier to solve. They never had a fight, and they all talk about happiness with each other’s company. I learned that it is important to keep happiness in our hearts, good thoughts in our minds, and re-live the happy moments we share. Only in this way we can have strength to get through anything in life. Credit:ivythesis.typepad.com

English draft

English...

Othello: Black Heart in a White World

Othello: Black Heart in a White World               Introduction Shakespeare’s Othello has been popularly regarded as a tragic play about manipulation, deception, and revenge. As Bloom attests, Shakespeare fully explores, through this play, the “conventional dichotomy between reason and love and uncovers its deeply tragic implications (26).” More than this, this highly-acclaimed play written by the greatest writer of the English language, has also been widely regarded as a play about sexual jealousy—the “bloody passion” that weakens the hero and transforms him into a murderer (103)—and its devastating consequences.   Othello, The Moor of Venice: A Summary             Othello is a “noble Moor” who elopes with fair Desdemona and leaves Venice to lead the Venetian Armies against the Turks. Othello and Desdemona travel to the island of Cyprus with Lieutenant Cassio, and as they arrive, they realize that the weather has ruined the fleet of the Turks (Othello 1). Iago, the standard bearer, constantly tries to manipulate Othello and he eventually succeeds by convincing the main character that Desdemona is having an affair with Cassio. Othello’s mind is poisoned by Iago, and out of jealousy, he murders Desdemona in front of Iago’s wife, Emilia. Emilia then tells Othello that Desdemona’s affair is based on mere lies and deceit of Iago. Because of this, Iago kills his own wife and Othello commits suicide in anguish (Othello 1).    Analysis  As  writes in his essay, “…to many readers in our time, men as well as women, the subject of sexual jealousy, treated with Elizabethan fullness and frankness, is not merely painful but so repulsive that not even the intense tragic emotions which the story generates can overcome this repulsion” ().  This view is hardly surprising, given that a rumor of infidelity brings about Othello’s destruction. It can be argued, however, that Othello’s jealousy is only an external manifestation of his insecurities regarding his race—Othello is a foreigner who has to live in a different society and environment. Shakespeare, then, realizes that being an “outsider” is difficult for the main character, hence the poet deems it important to consider Othello’s race as an important factor in the tragic end of the play; Othello is portrayed as a person whose integrity and self-assured identity has been destabilized because of such unfamiliar culture (). Moreover, as people view or read Shakespeare’s play, the audience would be continuously reminded that Othello is a black African; not only through his physical appearance on the stage, but also because almost all the other characters in the play are white people who perceive Othello as different, and even probably inferior, as compared to themselves. In fact, in the beginning of the play, there is an undeniable implicitness and even an ambiguous nature about the manner in which Othello is introduced to the audience—as Iago and Roderigo enter in mid-conversation, readers and viewers alike are bewildered over the identity of the “him” they are talking about (). As a matter of fact, it is only in line 30 did Iago make use a noun instead of a pronoun to denote Othello. However, what Iago used is even offensive, for he employed the terms “his Moorship,” which is evidently an improvised alternative to “his worship,” and this slyly further damages Othello’s social pretensions (). Aside from these, the main character is not even addressed as “Othello” until the Senate scene, when the Duke welcomes him as “valiant Othello.” (1. 3. 48). Also with regard to Othello’s diversity, Iago also both frankly and implicitly promotes the racist behaviors toward Othello in various instances. For example, he perpetuates a stereotype on black people as lecherous, as he contemplates on whether Emilia, his wife, has been unfaithful to him with Othello, the “lusty Moor.” Moreover, he also calls Othello to his face as “my lord” but merely identifies him as “the Moor” behind his back (). Also, in Act 3, scene 3, Iago further reveals his racial loathing by connecting Desdemona’s enticement to blackness, or blackness in general, to uncleanness, for he terms Desdemona’s preference for Othello “Foul disproportions, thought unnatural “ (233). Furthermore, if Shakespeare had intended to explore the consequences of sexual jealousy as the main theme of his play, Desdemona’s character would more appropriately have been portrayed as a promiscuous woman.  Instead, her nature is portrayed as a woman who is innocent and therefore helpless in the face of Othello’s jealousy. In fact, Cassio even describes the female character as a goddess or an image of the Virgin Mary: “Hail to thee, lady! and the grace of heaven, / Before, behind thee, and on every hand, / Enwheel thee round (2. 1. 84-86). Moreover, Desdemona’s father also makes use of the same terms as he finds his daughter a paragon of virtue—“perfection so could err / Against all rules of nature (1. 3. 100-101)—that it is incredulous that she chooses a black man as a husband. Thus, these points attest to the fact that it is Shakespeare’s intention to explore the tragedy of a strong man weakened by his own anxieties. Therefore, the role of Desdemona is that of a virtuous wife, used to explore the insecurities in Othello’s character. To further support this fact, Desdemona is even portrayed as a truly obedient woman, as well as a loving and loyal wife. For instance, Act 3, scene 3 of the play presents a contrast of the different personalities of Othello and Desdemona—as Othello strikes his wife in the view of the public, she merely says “Whate’er you be, I am obedient (89).” And eventually, after Othello mistreats her as a whore in the next scene, she asks Iago, “What shall I do to win my lord again? (148).” Lastly, the following words reflect the integrity of her love and unconditional commitment to his husband, in spite of his behavior toward her: “Unkindness may do much, And his unkindness may defeat my life, But never taint my love (4. 2. 158-60).” In connection to this, the first significant indicator, that Shakespeare intended to use Desdemona to highlight Othello’s insecurities, is the recurring comparison of Othello’s “blackness” and Desdemona’s “fairness”.  Beginning with Iago’s words to Brabantio, “an old black ram is tupping your white ewe” (1.1.88-89).  In fact, throughout the play, there are constant references to Othello’s color, and his foreign status as a Moor. As was earlier mentioned, Desdemona’s father, Brabantio, could not accept the fact that his perfect daughter would marry a man of color. In fact, he even tells himself that Othello used witchcraft or “practices of cunning hell (qtd. in Hall 65),” to obtain Desdemona. Truly, the fair Desdemona falling in love with Othello is greeted with apprehension and doubt. In addition to the abovementioned, this is apparent in Brabantio’s statement, “…a maid so tender, fair, and happy…Run from her guardage to the sooty bosom / Of such a thing as thou– to fear, not to delight” (1.2.66-71). Therefore, such references and reactions can be seen as laying the groundwork for Othello’s insecurity and perhaps disbelief that Desdemona could actually love a man of color and foreign descent. In fact, Othello reveals his own insecurity, before Iago begins to plant the seeds of doubt in his mind concerning Desdemona’s fidelity.  At his first interaction with the senators, Othello says, “My very noble, and approved good masters…” (1.3.77). An argument may be raised that “masters” was meant as a term of respect; however, no other characters address the senators as master.  Shakespeare shows, that although Othello has moved into a position of authority, he still feels like a slave.  Indeed, Othello’s self-doubts reveal his negative perception of his heritage and skin color in spite of his powerful position in Venetian society.  He further confirms his self-effacement, “…she wished / That heaven had made her such a man…/ She loved me for the dangers I had passed,” (1.3.162-67).  Unfortunately, Othello is unable to see Desdemona’s love for him is based on the strengths that she saw in his character. Instead, he allows his insecurities to dominate his perception of Desdemona’s character and motives. Othello’s weakness to Iago’s psychological game is caused by a sense of inferiority. Although in certain parts of the play, Othello could be perceived as self-assured with regard to his relationship to his wife, a man not affected and easily jealous, Othello’s insecurity is triggered by Iago’s strategically placed suggestions that only a white woman with a “will most rank” (232) could prefer a man black man and remain devoted to him (Hall 87). With this, one can see that Iago is able to effectively play on the main character’s vulnerable areas—Othello’s underlying distrust towards women and, more importantly, his consciousness with regard to his image and race (Bloom 11). This is highlighted even more dramatically in the face of Desdemona’s virtuousness, a fact that is acknowledged by several characters.  Roderigo, for instance, describes her nature as “full of most blessed condition” (2.1.232).  In fact, Othello’s jealousy is more significant given he is aware of his wife’s character.  This is apparent in his initial rejection of Iago’s insinuations that Cassio and Desdemona may be having an affair.  It is also significant that Othello hints at his own self-doubts in the same conversation with Iago, “Nor from mine own weak merits will I draw / The smallest fear or doubt of her revolt” (3.3.187-88).  In spite of such conscious recognition of his wife’s nature and his own self-doubts, Othello’s insecurities prove to be stronger than his love for Desdemona. In contrast, Desdemona is seen as placing a great deal of value on the role of loyalty in relationships of love and friendship. Though critics have interpreted Desdemona’s role as, “…a passive one, given Iago’s manipulations and her acceptance of Othello’s brutal treatment” (Hall 64), it can also be argued that Desdemona’s love for Othello is unwavering even in the face of death.  Such loyal devotion in the face of cruelty is not possible without strength of conviction. Thus, Desdemona’s innocence and loyalty act as a sharp contrast to Othello’s weakness of will, to believe Iago over his wife.  Further, Desdemona’s passive suffering, to the point she almost willingly goes to her death, is necessary in showing the main theme of the play, insecurity leads to needless suffering. Desdemona also acts as a catalyst.  First, when she unknowingly plays into Iago’s plan by her ardent defense of Cassio, promising she would not let Othello rest until he agreed to reinstate his lieutenant, “My lord shall never rest…thy solicitor shall rather die / Than give thy cause away” (3.3.22-28).  And second, when she urges Emilia to, “Commend me to my kind lord” (5.2.126).  Perhaps, Desdemona’s dying words to Emilia are only a wish to be exonerated by Othello, however, in urging Emilia to take such action, she deepens Othello’s suffering.             Indeed, both Desdemona and Othello suffer, albeit in markedly different ways.  Desdemona is cast in the role of helpless innocence.  Bradley writes, “She can do nothing whatever. She cannot retaliate even in speech; no, not even in silent feeling.  And the chief reason of her helplessness only makes the sight of her suffering more exquisitely painful” (Bradley 236).  Othello, in contrast, ”presents a painful spectacle as a great nature suffering the torment of…passion” (237).  Although Othello may not have proved worthy of Desdemona’s adoration, there can be no doubt that he loved her.  Indeed, Othello is shown agonizing throughout the play, struggling with his self-doubts and suspicions.  He first rejects his doubts based on his knowledge of his wife’s loyalty, “If she be false, O, then heaven mocks itself” (3.3.277).  Tragically, he reaffirms his love after he has murdered his wife remarking, “If heaven would make me such another world / Of one entire and perfect chrysolite, I’ld not have sold her for it” (5.2.145-47).  Othello now knows that she has always been faithful to him, and she is now gone due to his unfounded faith in Iago, or more importantly, his own self-doubt.             Othello’s folly in accusing Desdemona is finally brought home to him by Emilia’s revelations, establishing Desdemona’s virtue and innocence.  As Emilia points out, “O, the more angel she / And you the blacker devil” (5.2.132-33).  As Othello unfolds, the blackness that causes Othello’s insecurities transforms into darkness of character.  It is not surprising therefore, that critics have suggested that Othello’s distrust of Desdemona is a projection of his own self-loathing onto her.  Without Desdemona’s, unblemished, white canvas, it would not have been possible for Othello to blacken her.  Thus, Desdemona’s role in Othello is to act as a counterpoint to the blackness in Othello’s soul, a blackness not of his skin but of his own feelings of estrangement in a white man’s world.       Conclusion             With these thorough discussions, it could therefore be construed that Othello is a remarkable play that covers a wide range of themes, from issues of race, relationship with one’s spouse, love, jealousy, betrayal, and the consequences of unsubstantiated suspicions and misgivings. Truly, Shakespeare’s Othello, from its plot, characters, and themes, is a classic account that greatly reflects people’s lives and the relationships they form, maintain, and destroy in the world they live in.                               Credit:ivythesis.typepad.com

Othello: Black Heart in a White World

Othello: Black Heart in a White World Introduction Shakespeare’s Othello has been popularly regarded as a tragic play ...

Art of English

Amicably, in today’s English literature and its respected applications such as those involving creative literacy in language and the arts implies a sensible touch of how trends in the area are evolving nowadays as there can be ideal approaches to such literacy creativity as the focus for this piece will be centering on poetry within such underlying poetic texts more particularly dealing to such critical assessment found within the process of cognitive poetics that assumes such sense of interdisciplinary approach in literature processes that are possible in the organizing and utilizing knowledge. Moreover, it can be that in cognitive poetics, there is ample exploration of such attempt in finding out how poetic language and form is being realized having the ideal perspectives and responses to poetry and its deemed interpretation within its textual structures and standards and then, there accounts for such relationship between the structure of literary texts and its perceived effect respectively known and applied in literature. Thus, such approach requires combination of disciplines of particular literary criticism and certain linguistics and that cognitive poetics is to explore the possibilities and limitations of possible creative combinations.               Several poetic texts has been annotated with vocabulary and grammar reference for such reasons for one, in helping learners in their skills in analytical prowess such as those that involves grasping of conjugations and something about how such poetic texts are being used in particular media and or passage. For instance, cognitive term in such icons and metaphors do share certain property of signification as being motivated by similarity of such connecting sequences from within the human mind. Thus, treatment of metaphor and iconicity will then provide cohesive and integrated explanation of linguistic phenomena in poetic conversation. There will be also imperative drifts in strengthen such cognitive poetic approach and be able to provide integrated explanation any of its underlying word formation, word order as well as its poetic system categories that can be ample manifestations of good substance in understanding the creative side of literature that it can be possible that such value of poetic texts are particularly suited for English exploration in creativity rather than in such spoken dialogue (1980,1993).           The poetry stance then exhibits structural correspondences between form and meaning navigated by conventional metaphors for linguistic forms. One useful example is the piece of poetry as indicated below. Lord, who createdst man in wealth and store, Though foolishly he lost the same, Decaying more and more, Till he became Most poore: With thee O let me rise As larks, harmoniously, And sing this day thy victories: Then shall the fall further the flight in me. My tender age in sorrow did beginne: And still with sicknesses and shame Thou didst so punish sinne, That I became Most thinne. With thee Let me combine And feel this day thy victorie: For, if I imp my wing on thine, Affliction shall advance the flight in me.           Furthermore, it can be that the meaning expressed by the language and the visual form of this poem constitute simultaneously an image, diagram and metaphor of “Easter Wings.” The image is the dominant iconic manifestation in this particular example; but, the creativity of this image is enhanced by the diagrammatic and metaphorical manifestations as clarified by the analysis. There can be demonstration of effectiveness in the dynamic production of meaning in language and in poetic texts in particular.  The poetic analysis has proved that such metaphor icon link is not simple one. In order to see how the organic unity of poetic texts is achieved by the metaphor-icon link, there needs detailed reading of the texts in various aspects such as in visual and auditory forms, structure of meaning, pragmatic and cultural contexts and background information (1993, 1994 ).                     The idea that poetry is being concerned with communicating thoughts and feelings through verbal rhythms and images is widely accepted and dates back centuries. The issue of appreciation may be more subtle that simple combining of verbal eloquence and vivid imagery. Stylistic uses of language can finesse a balance between language and imagery, so that the reader ‘s attention is not completely on either but on both in a mental model where they imply each other. But the poem is curiously conflicted in this regard. Each stanza begins briskly but then slows and becomes sluggish in its meter. The first two lines of each stanza have rollicking, sing-song meter that suggests the rhythm of the waves or the pitching of ship. Their masculine rhyme is hard and punchy. The rhyme in these pairs is feminine, ending on softer unaccented syllables. The difference between the first and second pairs of lines in each stanza is marked.               Obviously, there is some poetic emphasis in this point of view, one belonging to a brilliant poet and self-taught translator referring to certain private experience. One important advantage of the poetic text is its apparent distancing from outer language functions. A literary work of art as verbal account does not fulfill any acts of illocution or perlocution ( 1980). However, the essence of poetic text resides in its ability to perform intertextual, complex and richly structured communicational situations in pragmatic, cultural and social dimensions. Within the poetic text there may be found ‘language games’ which are classic and characteristic for natural language, especially in its spoken form. This is also the pattern, as Lyotard says, of ‘language agonistics’ (1997). The poetic approach can then be possibly destined to move rhetorical criticism beyond exercisein figurative identification and towards an exercisein the explanation of persuasive function of texts and its symbolism.                   However, one implication of cognitive linguistic theories in the poetry is that they pointtowards what envisage as cognitive rhetoricof poetry itself that can be cognitive rhetoric of poetry ought to be groundedin classical theories of rhetoric and poeticsand in cognitive linguistictheories of textual interpretations on the other point and that such poetic scope would reveal continuitybetween the concerns of current critics andthe concerns of classical rhetoricians. It wouldalso place equal emphasis on the poet’s production offigurative language and the reader’s comprehensiveprocessing of it. Like for instance, as what Dickinson’s poemsare meant to reveal, ultimately, is poetry’s profoundly rhetorical nature.As the cognitive poetics suggests that in response to poetry, adaptive devices are turned to an aesthetic end. In a universe in which “the centre cannot hold”, readers of poetry find pleasure not so much in the emotional disorientation caused by mannerist devices, but rather in the reassertion that their adaptive devices, when disrupted, function properly. This is one reason for mannerist styles to recur in cultural and social periods in which more than one scale of values prevail. However, when one considers the perceived qualities of poetry, one cannot escape facing rather disconcerting issue. Words designate “compact” concepts, whereas some poetry at least is said to evoke diffuse emotions, vague moods, or varieties of mystic experiences. Furthermore, as brain research seem to suggest, language adheres for such sequential activity, of conspicuously logical character, typically associated with the left cerebral hemisphere; whereas dispersal of some emotional processes are just associated with the right cerebral hemisphere. Thus, the approach in cognitive poetics that comes precisely in such indicative notion of cognitive hypotheses to relate in systematic way, the specific effects of poetry within such particular regularities that occur in literary texts.           One major assumption of cognitive poetics is that poetry exploits, for aesthetic purposes, cognitive processes that were initially evolved for non-aesthetic purposes, just as in evolving linguistic ability; old cognitive and physiological mechanisms were turned to new ends. Such an assumption is more parsimonious than postulating independent or linguistic mechanisms. The reading of poetry involves the modification of cognitive processes, and their adaptation for purposes for which they were not originally “devised”. In certain extreme but central cases, this modification may become “organized violence against cognitive processes”, to paraphrase the famous slogan of Russian Formalism. In this respect, one should point out that emotions are efficient orientation devices; and that much manneristic poetry is, precisely, poetry of disorientation. The cognitive correlates of poetic processes must be described, then, in three respects: the normal cognitive processes; some kind of modification or disturbance of these processes; and their reorganization according to different principles. In addition, cognitive poetics may be interested in two complementary issues regarding the creativity and novelty manifested in poetic language. -         Given that this creative use of language results in the intricacies and complexities of poetic language, what are the unique cognitive processes which this complex use of language requires -         Given the fact that despite its complexity, poetic language is, in principle, interpretable, what are the general cognitive constraints, the adherence to which, guarantees the interpretability of poetic language             The reader can be inclined to extract from parallel entities their common ingredients. When the first three lines are read out to students, they abstract from these lines such abstractions as “going down”, “decrease of activity”. When asked whether this description has any emotional quality, they more often than not suggest the emotional quality “calm”. Individuals will recall that such poetic emotions are associated with some deviation from normal energy level and that the lowering of energy has been associated with sadness, depression and or calmness. It is only the fourth line that supplies the “cognitive situation appraisal” and resolves the emotional quality of the landscape description in favor of “sadness”.           Consequently, the attribution of cognitive notions to a bird is not very bold. The only other formal metaphor in the poem is crept on, in the sense of “moved on slowly”; this is not very bold metaphor either. The rest of the poetry can contain plain, non-metaphorical language and generate intense emotional atmosphere.  There is contiguity between the bird and the bough upon which it is sitting and there is contiguity between the bough and the tree, of which presumably it is part. Furthermore, there is contiguity between the tree, the wind, the stream, the forest, the ground, and the mill-wheel’s sound: they all combine to coherent landscape. However, the poem may project the principle of equivalence from the axis of similarity to the axis of contiguity: lines three and four are similar in that both the stream and the wind have low temperature and that both are “creeping on”. Henceforth, one of man’s greatest achievements is personal consciousness such as from streams of sensory information that flood his senses as Stable, well organized categories constitute manipulability small load of information on one’s cognitive system and entail the loss of important sensory information that might be crucial for the process of accurate adaptation.             Nonetheless, metaphor explores such issues as how to furnish the best possible paraphrase for a metaphor, or how people understand novel metaphors. Here we have two metaphors that do not differ significantly in their meanings, but rather in their perceived effects. The cognitive frame of reference has contributed to an explanation of this difference: It has explained the relationship between certain linguistic structures and the “regression” to low category mode of perception; it has also explained the relationship of such regression to the affective quality of the text, as well as to our cognitive characterization of poetry and how the relationships can be further pursued, so as to relate the texts to the effects of period and style.  In the present context, it also suggests how this difference may contribute to distinction between some permanent mood and an altered state of consciousness. One may, further, claim that it was the cognitive framework that suggested these linguistic tools for description; in a different frame of reference these descriptions would have appeared little more than trivial.                       The involved approach can also amiably be possible through the integration of such popular music in the form of song lyrics as it posits poetical indication as reflection of cognitive poetics with such implicit assumption that the music speak of the listeners body as whereas the song lyrics speak of the listener’s mind true to its stance that lyrics are the integral part of musical experience, enhancing possibilities for listener to identify with the song. Ideally, such of its text might be abstract and does not inevitably construct explicit character as such. The fact that the sounds and words of text origin in other human beings are sufficient for us to experience the implicit body in that text. There is simple example involving written poem and its reader: In order to open herself to the poem, the reader will activate certain sides of her personality and experience. She constructs default reading body which she is prepared to bring into negotiation with the poem. More or less spectacularly, the default reading body enters in a dialogue with the imagined body in the poem. As a result, the reader is invited to develop her reading body, bring in new experiences, and activate new thoughts and emotions to bring into the dialogue.         Thus, if the poem is able to engage the reader, it can bring forth new insights and experiences through its encounter with the reading body. Then, for instance in another example below in form of a song lyrics: Last Hero The night is short, the goal far away At night you often feel like a drink You go out to the kitchen, but the water’s bitter, You can’t sleep here, you can’t live here Good morning, Last Hero! Good morning to you and to all of your kind! Good morning, Last Hero! Greetings, Last Hero! You wished to be alone but the urge quickly passed You wished to be alone but you couldn’t face it Your burden is light but your arm’s getting numb And you meet dawn over a game of ‘fool’ Good morning, Last Hero! Good morning to you and all of your kind! Good morning, Last Hero! Greetings, Last Hero! In the morning you opt for a fast getaway Telephone call’s like a ‘Forward!’ command You go somewhere you don’t want to go to You go there to find no-one’s waiting for you Good morning, Last Hero! Good morning to you and to all of your kind! Good morning, Last Hero! Greetings, Last Hero!   SOURCE: Cognitive Poetics in the analysis of Popular Music: A new approach to song lyrics?               The song lyrics as shown above, do construct an explicit body also such character, yet there is second body implicitly resides in the lyrics, which presents that character to the listener. This second, ‘invisible’ body constructs the image of the songs main character by the use of a self-inclusive ‘you’, as it often expresses fear of dehumanized machine society. In cognitive approach, the song cannot be studied as merely the vocal message of the singer, musically mediated by band. Since the vast majority of rock songs are not merely narratives, but character songs, the body in the lyrics is frequently constructed as a character that is in turn staged by the performer. The mood and message of the song is mediated through this imagined character. Consequently, listener perception is based on identification not only with an imagined body in the song, but with a fully staged fictitious character – an explicit image of human being. By turning attention towards the character in the song, it is possible to come closer to bridging the artificial gap between music and lyrics, between body and mind. A cognitive approach to popular music and its lyrics can help us reach a higher level of quality and ethics in quoting, describing and analyzing songs and their messages.  There appears to be a lot to gain from turning to cognitive poetics for new resources and concepts when analyzing songs and their lyrics. In this manner, the responsibilities of literature studies in popular music analysis can be redefined. By concentrating not only on rhetorical and poetic structures in the lyrics, but on how these construct human like images with which we may identify, and which interact with other images in the creation of meaning, it can bring results which are more immediately relevant for the other disciplines involved in popular music studies. Cognitive poetics has to the best of my knowledge not yet been applied to the analysis of song lyrics on a larger scale. Yet, it might well expand and improve existing approaches to popular music and lyrics both within and beyond discipline of literature.             Cognitive poetics can be reading literature as the sentences may seem simple to the point that it can be trivial as the poetics is concerning on the craft of literature and that in order to understand what happens in literary reading and such part of literary text can be in natural phenomenon. The poem and its lines in particular can be purely in textual approach as the lines may create dactylic sense from within its syllables. As cognitive poetics offers us a means of achieving linguistic dimensions meaning, the readers can engage in precise textual analysis of style and its creative literary craft. Then, there is ways of describing and delineating such knowledge and belief in systematic way and how it connects to the matters of circumstance and be utilized within the language of literature and there is demonstration of continuous points between creative literary language and creative language for everyday use. So, it can be that cognitive poetics takes such context in a serious note having wide views of context that encompasses social and personal circumstances. In fact, cognitive poetics has the potential to offer a unified explanation of individual interpretations and those shared assessments from with culture and such groups. Thus, concerned with literary reading, cognitive poetics provides value to such interpretations and how such manifestations made by the reader are being manifested in textuality and the poetics is not simply shift of emphasis but adheres to the evaluation of literary activity and its underlying process as a whole. It is amiable to consider that such poetic in its texts have no predictive power as it can be held honestly and cannot viewed with direct assessment as the idea of poetic framework is essential as the discussions will systemically continue in basis of common language in awareness of such proposition there is in cognitive poetics as it can either be limiting and deterministic approach which posits several interpretations as valid allowing such understanding of the textual variations to be substantial in its patterns of organization. Indeed, it is real that such interesting assumption regarding poetics of today is that, there implies a state of excitement and such unscripted development into a more desired creative direction and posits of literature and so, literary texts found in such structure of poetry does provide such essential feature in helping language cycles to have a more justifiable recognition in the field of language construction as for instance, modern prisms in the English language and literature for a sound development and realization of its stance for positively impacting the society and the everyday life of the people.                      Credit:ivythesis.typepad.com

Art of English

Amicably, in today’s English literature and its respected applications such as those involving creative literacy in langu...