Category: Literature

The late 19th century in the United States was characterized by strict gender roles and the cult of domesticity, which placed women in a subservient position to men. Women were expected to adhere to strict moral codes and were discouraged from seeking education or pursuing careers outside the home. This societal pressure significantly impacted womens mental and physical health and ability to express themselves and their desires. The stories The Yellow Wallpaper by Charlotte Perkins Gilman and An Anarchist Looks at Life by Emma Goldman provide a powerful commentary on the challenges faced by women in the late nineteenth century. These works shed light on the struggles of women in the late nineteenth century and emphasize the importance of continuing to advocate for gender equality and empowerment.

The cult of domesticity was a set of beliefs that emerged in the early 19th century and reached its height in the late 19th century. According to this belief, women were viewed as moral guardians of the home, responsible for maintaining their families well-being and societys moral fiber. Women were expected to be nurturing, submissive, and virtuous, and any deviation from these norms was met with social ostracism. Females who worked outside the home were viewed as immoral and lacking in proper feminine virtues. This belief system was reinforced through popular literature, religious teachings, and even educational institutions, which discouraged women from pursuing careers and instead emphasized their roles as wives and mothers.

In The Yellow Wallpaper, Gilman explores the impact of the cult of domesticity on womens mental health and critiques the limitations it placed on womens lives. The story is narrated by a woman confined to her bedroom as a treatment for hysteria. As she spends more time in the room, she becomes increasingly fixated on the yellow wallpaper, which she begins to see as a symbol of her entrapment. The wallpaper, which she describes as dull enough to confuse the eye in following, pronounced enough to irritate and provoke study constantly, symbolizes the oppressive nature of the Cult of Domesticity (Gilman). The protagonists descent into madness can be seen as a metaphor for the stifling of womens intellect and creativity under this ideology.

The Yellow Wallpaper reveals the devastating effects of the cult of domesticity, which promotes the idea that a womans place is in the home, as a wife and mother, and that any desires or ambitions outside this role are unnatural and harmful. The narrators confinement represents womens isolation and lack of autonomy in the late nineteenth century (Gilman and Lane). She is denied the opportunity to express herself or engage in meaningful work, resulting in a loss of identity and purpose. This theme is reflected in Gilmans own life, as she suffered from postpartum depression and was prescribed the rest cure by her physician, which involved prolonged periods of bed rest and confinement (Gilman and Lane). The Yellow Wallpaper was inspired by Gilmans own experience, and the story served as a call to action for women to reject the oppressive expectations of the cult of domesticity.

In comparison, Emma Goldmans An Anarchist Looks at Life is a radical feminist work highlighting womens liberation and emphasizing the need for equal rights and social justice. Goldman, a self-proclaimed anarchist, and feminist, rejects the notion that women should be confined to the domestic sphere. In her essay, she argues that women should be free to pursue their interests and passions, whether in the arts, sciences, or politics (Goldman). She writes, To woman, who stands for the advance of life, has been given the power to create and to destroy, to govern and mold society. The future of the race rests in her hands (Goldman). By placing women at the forefront of social and political change, Goldman presents a radical alternative to the gender norms of the late nineteenth century.

Charlotte Perkins Gilmans The Yellow Wallpaper and Emma Goldmans An Anarchist Looks at Life address womens agency in a society that sought to silence them. Gilmans story focuses on the psychological effects of confinement on women, while Goldmans essay addresses the need for women to break free from patriarchal expectations and embrace their agency. Goldman writes, Every woman should have the right to her own life, to develop her potentialities, and to live her own life in her way (Goldman). These words of Goldman emphasize the importance of women having control over their own lives and destinies rather than being subjected to the expectations and limitations placed on them by society. Similarly, Gilmans narrator struggles to assert her agency in the face of her husbands dismissive attitudes. She eventually finds empowerment in tearing down the yellow wallpaper that had entrapped her. Together, these works provide a powerful commentary on womens challenges in the late nineteenth century and how they worked to assert their voices and create their own spaces in society.

In conclusion, both The Yellow Wallpaper by Charlotte Perkins Gilman and An Anarchist Looks at Life by Emma Goldman shed light on the struggles of women in the late nineteenth century. Comparing these two works makes it clear that women in the late nineteenth century faced significant challenges in their pursuit of equality and independence. Despite the progress made since then, much work still exists to achieve true gender equality. The legacy of the cult of domesticity and the restrictive societal norms it enforced still lingers in some corners of modern society. By continuing to raise awareness and advocate for gender equality, we can help to create a more just and equitable world for all people.

Works Cited

Gilman, Charlotte Perkins, and Ann J. Lane. The Charlotte Perkins Gilman Reader: The Yellow Wallpaper and Other Fiction. Womans Press, 1981.

Goldman, Emma. An Anarchist Looks at Life  March 1, 1933. Archives of Womens Political Communication, 2017, Web.

Introduction

Enders Game is a sci-fi story where the protagonist is Ender Wiggin, who can save the world thanks to his creative, strategic skills. The protagonist studies at a particular school where students use simulation games for further advancement. Ender performs better; because of this, he faces cruelty, non-dualism, and betrayal from his colleagues. In addition, he begins to realize that even higher military leaders are lying to him. Thus, the three main themes of the book are games, relationships between adults and children, and ruthlessness.

Discussion

The game is the central concept, and its theme is traced throughout the novel. Ender constantly goes through training and does not give much meaning to games, thinking this is part of the learning process. However, in the aftermath, the line between the game world and reality becomes less noticeable and significantly affects his health. As a result, Ender completely loses his sense of truth, and his last simulation turns out to be not just a game but the destruction of another race. This theme shows how much a person can fall into oblivion and lose a sense of reality.

The second topic is the relationship between adults and young students. The reader sees the opposition between the way of thinking of children and adults. Even though the latter tries to control the students, two children succeed in manipulating their teachers. Ender is different in that he does not want to dominate but falls under the manipulation of superiors who recognize his intelligence. Thus, children and adults in the book have almost no differences. They all have their own emotions and experiences, taking each others words seriously.

Finally, ruthlessness is an essential theme in the novel, which is overcome by compassion. Ender is treated ruthlessly by both his readers and some of his students. However, the military commanders justify their actions with the desire to save humanity, while the children envy the boy. Ultimately, compassion helps to break the vicious circle, and Ender tries to keep the remnants of the race he destroyed.

Conclusion

In conclusion, the novel raises such essential themes as the loss of reality, the relationship between adults and children, and cruelty. Ender is forced to play simulations that significantly affect his condition. In addition, he does not want to manipulate anyone, from which adults influence him. Finally, the protagonist constantly experiences the ruthlessness of both teachers and students and tries to atone for this with compassion.

New York City because of his unique atmosphere often becomes one of the main characters in the famous novels and movies. Jonathan Lethem also followed the tradition of depicting the city, but his image of New York is rather extraordinary and mysterious.

Chronic City was written by the author in 2009, and this novel became the real sensation in the literary world. It draws the readers attention with a variety of supernatural details depicted in it and with the authors unique satirical tone.

In spite of the fact the author concentrates on describing the events which occur at the territories of the real island of Manhattan, the presentation of these events can be discussed as the mysterious alternative to the reality, and this idea is also emphasized by the symbolic usage of the strange names and metaphorical references to birds.

The figure of the novels narrator Chase Insteadman is significant because the readers have the opportunity to focus on the chaotic events depicted in the novel from his viewpoint.

However, can Chase be considered as a reliable narrator? The situations which are given from Chases perspective seem to be too unusual, extreme, and without any references to the reality.

Thus, the author of the novel can disorient the readers with Chases reaction to the environment, and it is rather difficult to find the elements of the real world among Chases perceptions and metaphorical reflections.

That is why it is possible to say that Chase Insteadman is a rather unreliable narrator whose position is too subjective and even provocative.

The atmosphere of unreality which is characteristic for the book is also accentuated by the authors choice of names. These names are quite strange, and it is possible to concentrate on their satirical meaning.

Thus, the name of Chase Insteadman is too difficult to remember and understand that is why he is even called Chase Unperson (Lethem 182). This error is not occasional, and it can emphasize the characters position as the former star.

Chases friend Pincus Tooth is referred to as Pincus Truth with indicating some features of his behavior (Lethem 418). Moreover, Chase meets the artist whose name is Laird Noteless, and it is used to attract the readers attention to the persons affairs and status.

That is why these names can metaphorically characterize their owners. The novel is also full of such strange names as Oona Laszlo, Anne Sprillthmar, and Georgina Hawkmanaji. These names are not just presented in the text, but they are also actively discussed by the characters, becoming the significant point in the narrative.

Thus, discussing the name of Stanley Toothbrush, the characters state, His name is Stanley Toothbrush. See, now youre definitely making fun of me, because thats idiotic (Lethem 251).

The names help to the readers to become involved in the unreal atmosphere of the novel with references to the authors satirical tone.

The next important peculiarity of the novel is a great number of references to birds. These references can be considered as rather symbolical, and their aim is to accentuate the characters vision of the situation through a new perspective and reflect the characters inner feelings and thoughts.

The characters can see a flock of birds through the window and discuss the changes in the world according to the birds behavior. These observations are the specific way to reflect the strange and chaotic reality.

The nest draws attention and evokes a lot of considerations about the changes in New York with concentrating on the birds, Why that number? Why not eight, or fifteen? Do they live together all day and night, or gather only for these missions? (Lethem 68).

Moreover, the author chooses the images of birds in order to present the figures of the characters with their help. Thus, Oona Laszlo can be discussed as pale, not so much dressed in black as feathered in it like a wounded bird (Lethem 114).

And then, if Oona was a raven, then her armor of irony was all feathers, as delicate, as crucial. Nobody wanted to imagine a bird without feathers (Lethem 252).

Birds as images are interesting for presenting the characters with references to their feathers as the symbol of the peoples appearance.

Jonathan Lethems Chronic City is an interesting example of the novel in which reality is so close combined with fantasy that this combination is useful for making the metaphorical accents on the most important points for the author.

Jonathan Lethems references to symbolism and satire are represented with the help of using the image of birds and presenting meaningful and strange names.

Work Cited

Lethem, Jonathan. Chronic City. USA: Vintage, 2010. Print.

In his famous work The Leviathan, Thomas Hobbes refers to the natural mode of peoples existence as war of everybody against everybody, while suggesting that such war comes as a result of individuals taking a full advantage of their natural right to exploit their existential freedom, to the full extent of this word.

According to Hobbes, the notion of morality is a socio-linguistic category, which is being purely relativistic, in its very essence, simply because, during the time of war, it is namely the peoples immorality, which represents the highest virtue, on their part: Force and fraud are in war the two cardinal virtues (Hobbes, Ch. 13). In time of war, there can be no right or wrong, in moralistic context of this word  the strong are necessarily right and the weak are necessarily wrong: They (the concepts of morality) are qualities that relate to men in society, not in solitude (Hobbes, Ch. 13). However, people who live according to the natural law of survival of the fittest, risk the chance of extinction. Moreover, within a context of people being in the state of war against each other, there can be no cultural or scientific progress. Thus, Hobbes implies that it is in peoples best interests to subject themselves to a sovereign authority, which in its turn, derives out of the concept of social contract. Such contract is being viewed by Hobbes as the way out, which can be utilized by people, while dealing with their inborn sense of self-destructiveness: And thus much for the ill condition which man by mere nature is actually placed in; though with a possibility to come out of it (Hobbes, Ch. 13). It is only when members of society willingly delegate some of their rights to higher authority, which allows them to effectively suppress their socially-destructive animalistic urges, while setting citizens on the path of progress. In other words, Hobbes refers to the concept of statehood as being purely rationalistic and as such, that has nothing to do with the notion of divine ordainment. This, however, does not prevent him from referring to monarchy as the most effective form of government. From the very context of provided quote, it appears that Hobbes was utterly skeptical as to the prospect of people being able to govern themselves in rational manner, which is why, throughout his work, author never ceases to insist that only the government that exercises both: legislative and executive powers, might benefit the well-being of a particular nation, and that the difference in forms of governing is rather linguistic then conceptual: For they (citizens) that are discontented under Monarchy, call it Tyranny; and they that are displeased with Aristocracy, called it Oligarchy: so also, they which find themselves grieved under a Democracy, call it Anarchy (Hobbes, Ch. 19). The extent of peoples discontentment with a particular form of government simply corresponds to such governments inability to guarantee them safe and prosperous living and has nothing to do with whether citizens civil rights are being suppressed or not. In fact, the degree of governments oppressiveness is proportionate to the degree of happiness among its subjects. This brings us to a provided quote again, because it contains an insight on the fact that it is namely a despotic form of government, which is being highly moral, as it is capable of instilling otherwise existentially wicked people (Justice and injustice are none of the faculties neither of the body nor mind) with the sense of law and order.

According to Hobbes, there are no other reasons for people to choose in favor of socially productive behavior, except for purely pragmatic ones. Author talks of homo sapiens as simply an animal, endowed with intellect. In its turn, the intellect is being perceived by Hobbes as the practical instrument, which allows people to take from life all they can, since existential egoism is peoples natural psychological trait: It is consequent also to the same condition (bellum omnium contra omnes) that there be no propriety, no dominion, no mine and thine distinct; but only that to be every mans that he can get, and for so long as he can keep it(Hobbes, Ch. 13). However, the same intellect allows people to realize that they would be much better off, while adopting a socially appropriate mode of existence, because it is only when they live within a society, ruled by reason, which allow these people to realize their biological destiny. It is only peoples conscious decision to delegate some of their essential rights to the authority, which triggers the emergence of morality, in the first place. This is the reason why religion can only have social value, for as long as it is being strongly associated with state institutions. Hobbes thinks of a state as essentially, a metaphysical quasi-being (Leviathan), due to the existence of which we can operate with social, political, and religious terminology, in the first place. In its turn, this explains why, despite the fact that peoples natural mode of existence imply that they cannot be affected by the notions of right or wrong in principle, these peoples behavior can still be judged, once they become a subjects of social contract. Thus, we can say that the meaning, behind the provided quote, lays at the core of Hobbes reasoning. It points out to rationalistic subtleties of a social contract, as metaphysical foundation, upon which the concept of statehood is based, while defining the practical methods of achieving stability, within a particular society. Despite the fact that Hobbes theory of social contract appears as being somewhat over-simplified, the overall validity of Leviathans conclusions, as to what defines societies structural integrity, cannot be effectively challenged, as these conclusions are based on authors insightful understanding of human nature.

Bibliography

Hobbes, Thomas The Leviathan. 1660. The Project Gutenberg EBook. Web.

Before one can fully learn to appreciate poetry, it is necessary to learn how to analyze it appropriately. This can be done by looking at aspects of poems such as their rhythm and symbolism. By looking at these individual elements, the reader can usually develop a greater understanding of the authors skill and meaning. At the same time, the reader can develop a finer appreciation of how these elements are constructed to contribute to the final impact of the poem. Robert Frost is well known for his ability to combine idyllic pastoral settings with philosophical commentary through his skill in combining these elements. Analyzing the rhythm and symbolism in Frosts poem The Mending Wall shows how he manages to merge pastoral settings and philosophical considerations in looking at human relationships.

The story of The Mending Wall is the story of two men. These are the narrator and his neighbor. They have an annual ritual of walking along the wall between their two properties and mending the stone fence. The poem begins by considering how unnatural a wall is, Something there is that doesnt love a wall (p. 1). Within this single sentence, Frost has already given his poem a rambling rhythm. The reader is forced to slow down in their reading to pay attention to Frosts grammatically correct but unusual phrasing. As the story continues, this rhythm is interrupted by sudden bursts of energy from the narrator, Stay where you are until our backs are turned! (p. 19). These bursts of excitement are answered by the steady beat of the neighbors continuous response, Good fences make good neighbors (p. 27). If the rhythm of the poem was translated into light like in an equalizer display, there would be steady pulses of light interrupted by sudden bright flashes and an answering matte gray surface presented to deaden the light. This indicates how people feed off each other, brightening or deadening the relationship as they go.

The symbolism of the poem reflects the rhythm. As the narrator spends his time thinking about what it is that doesnt love fences, he suggests that it is something larger or deeper than the superficial elements he is naming: The gaps I mean, / No one has seen them made or heard them made, / But at spring mending time we find them there (pp. 9-11). This way of phrasing his thoughts prompts the reader to begin thinking below the surface of the images early in the poem. As the narrator continues to discuss the mundane elements of rebuilding a fence that will only be falling down again the moment their backs are turned, the sense continues to build that the fence is not a physical fence at all, but a fence upon the mind. This is made much clearer by the end of the poem as the narrator, after several attempts at levity, watches his neighbor bringing more rocks back to the wall: I see him there, / Bringing a stone grasped firmly by the top / In each hand, like an old-stone savage armed. / He moves in darkness as it seems to me (pp. 38-41). His neighbors mind is so steeped in the traditions of the past that the narrator envisions him in terms of a stone-age hunter whose mind is closed to the possibilities of greater thought and imagination.

Through rhythm and symbolism Robert Frost is able to make a connection between a simple yearly pastoral chore and questions of humanity and relationships. Without lecturing or brow-beating, Frost is able to suggest that a mind closed by strict adherence to the traditions of the past is incapable of considering a greater world in which some traditions are no longer valid all while simply discussing a mundane country activity.

Works Cited

Frost, Robert. The Mending Wall. New Enlarged Anthology of Robert Frosts Poems. New York: Washington Square Press, 1971: 94.

The figures of speech are the tools that help an author enrich their text. They aim to give readers new senses that reveal in the texts and express ideas to create a greater effect. Using figures of speech helps to make an impression and reveal passages from a new angle. Different comparisons, associations, and contrasts help an author to make their texts look richer. A translator Emily Wilson used interesting rhetorical figures in the Odyssey that created specific effects evoking an emotional response and attracting readers attention.

The Odyssey is an ancient composition that a reader may find confusing in terms of language. The translator aims to adapt the text to modern standards, keeping its plot interesting and transferring it to modern readers. For example, Emily Wilson translated the Odyssey, where the Songs of a Poet passage contains different figures (Homer 160). It is important to understand how the rhetorical aspects used by the translator impact the poem and create a specific effect on the passages. The Songs of a Poet starts with the following words: Soon Dawn appeared and touched the sky with roses (Homer 160). The translator used metaphor and epithet in one line to impress a reader from the beginning. The metaphor touched a sky creates a tenderness effect, emphasizing a beautiful period of the day (Homer 160). The metaphor is followed by an epithet of roses that play the role of clouds in this line (Homer 160). The translator tries to impress the readers with the charms of the sky, which look like alluring flowers. These figures transfer the meaning of nature as something appealing and engaging.

There are other examples of passages in Wilsons translation that involve metaphors. The lines Athena poured unearthly charm upon his head and shoulders and They reached the restless salty sea (Homer 161). The first lines rhetorical figure, unearthly charm, positively affects a passage, describing the paradisiac beauty of a woman who can attract attention (Homer 161). The translator accentuates affection and the ability of Athena to act as a goddess. The second lines metaphor, restless sea, aims to transfer the meaning of a sea as an active, aggressive, and disturbing figure which may cause danger to sailors (Homer 161). It creates a terrifying effect on a person who reads this passage. As a result, the metaphors Wilson used helped her enrich the text and create a positive effect on readers; nevertheless, some metaphors carry negative associations.

The translation of the Odyssey includes several similes describing the characters, comparing and introducing them through different things. The line Athena walked all through the town, appearing like the royal messenger includes an example of simile, presented by the words appearing like the royal messenger (Homer 160). This rhetorical figure changes readers perception of a character, comparing it to something meaningful and potent. The passage acquires a sense of mightiness and creates a positive and intriguing effect. Another example of a simile is the line, Despite his wanderings by sea, he looks like an immortal god (Homer 160). Immortal god is the almightiness of the characters emphasis, which evokes emotions of power and strength (Homer 160). This figure affects a passage, magnifying the given personality. Wilson increased the intonation and distinctiveness of the poem by introducing the rhetorical figure of alliteration. The line She took his sight away but gave sweet song, where sweet song represents alliteration, creating an effect on a passage and highlighting the process of beautiful singing (Homer 162). The translator wants the reader to memorize this scene, involving the emotional reaction in the passage.

Conclusively, Emily Wilson managed to gain her aim in making an effect of figures of speech on passages, consequently impacting the readers emotions and poem perception. She used interesting metaphors, similes, epithets, and alliterations to deliver the deep meaning of the events and characters of Songs of a Poet. These figures allowed to enrich the senses and change the passages appropriately, evoking different emotions and providing associations for readers.

Works Cited

Homer. The Odyssey. Translated by Emily Wilson, W. W. Norton & Company, 2018.

Introduction

An overprotective person can hardly perceive the danger behind their actions; often, only a terrifying display of devastating consequences can shed light on the matter. Such is the case illustrated in Nadine Gordimers Once Upon a Time short story, in which the author investigates the issue of anxiety and excessive security in contemporary society. A family of White South Africans, who reside in a gated neighborhood and are preoccupied with security serves as the storys protagonists. They install tremendous security measures in their house  these measures offer the family a false sense of protection but eventually take the life of the youngest family member (Gordimer 3). In this context, Gordimer criticizes the excessive use of security measures and the culture of fear by using literary devices such as satire, irony, and fairytale framing.

Satire

Gordimer uses satire to highlight the absurdity of the familys actions and their overly protective nature. As the story develops, the family hears disturbing news regarding riots and burglary, and they constantly keep intensifying their defenses. They take tremendous precautions to defend themselves, such as electric fencing, burglar bars, security cameras, bladed coil, and residence in a gated community (Gordimer 1). Another example is the siren alarm that is constantly and falsely triggered by the family pet cat. Not only the protagonists alarm but all the alarms in the neighborhood are triggered this way, and in this chaos, burglars actually have greater chances of committing the crime (Gordimer 2). It soon becomes apparent that Gordimer mocks the familys actions and highlights their cognitive biases through such an absurd display of protective tendencies.

Regarding the first example, it is not the measures themselves that instill the feeling of absurd in readers but the protagonists reasoning behind it. Indeed, the dangers of riots and burglary are not imaginary, and the author provides many clues as to what causes the disturbance in the neighborhood (Godrimer 2). However, with every installed device, the adults of the family feel less secure. According to Casale et al., such tendencies are invoked due to perfectionism, which is a common psychological pattern among overprotective people, especially when it comes to parents (112044). The adults in the story keep increasing the severity of their defenses, but it only contributes to narrowing their vision. The resulting subjectivity leads to adjusting the reality into what they desire it to be  the world full of dread and danger. Consequently, their psychological need to feel safe is constantly frustrated, trapping them in an endless cycle.

In the meantime, the example with the constantly triggering alarm showcases the element of dark humor that accompanies the death of the familys youngest member. The initial notion of alarm triggers due to household pets actions serves the purpose of absurdity display. However, the final alarm sounded when the poor boy inspired by a fairytale attempted to traverse the bladed coil. In other words, as if the death of a family member due to the means of protection was not enough, the siren rings again across the neighborhood. Thus, in the unfolding chaos of adults attempts to set the boy free from the coil, the alarm presents a cherry on top of the absurdity circus.

Irony

Similar to this, Gordimer employs irony to emphasize the risks associated with perpetual anxiety. For instance, the reaction of naive and dreamful kids to the intensifying security measures displays how different perspectives can be on the unfolding events. In this context, the receiver installed on the gates was used in child police play as a walkie-talkie, despite its true purpose of declaring the intent in case of illegal trespassing (Godrimer 2). The strongest irony, however, lies behind the childs death due to injuries caused by a bladed coil  the most shocking event in the story (Godrimer 3). This way, through the display of unintended consequences of the deployment of security measures, the author utilizes irony to prove her critique of the culture of fear.

In the context of child play, the very nature of the childish attitude toward security already contains hints to the authors message. It serves as a direct indicator of how narrow the perception of adults is in the given story. Besides, this unintended use could have become a warning to the bitter outcome, given that parents were able to see through their misconception. Overall, it is not the only warning sign for the parents that could have potentially saved their child  the ever-triggering alarm sirens can also serve as an indicator that the current course of action might be wrong. Nevertheless, all signs were disregarded, and a means of protection eventually brought a devastating outcome.

Fairytale Framing

Despite the storys grim setting and climax, Gordimer constantly portrays the narration as a fairytale. Particularly, the title Once upon a Time, a conventional fairytale format, and continuous mentioning of living happily ever after create a strong contrast of contradicting concepts (Gordimer 2). As was mentioned before, the protagonists are a family of White South Africans who grew up in a gated neighborhood during the violent and lawless apartheid era. The familys strict security measures are a mirror of the countrys broader cultural problems with segregation, violence, and fear at the time (Van Riet 86). According to Van Riet, the onset of democratic rule was strongly associated with the institutional weakness of the country (81). A particular notion is that numerous private security agencies received great proliferation due to police forces inability to stabilize the situation (Van Riet 81). Thus, the familys socioeconomic situation and race were the main causes of their worry and paranoia, which is reasonably justified.

The peculiarities of the authors contemporary societal circumstances are showcased at the very beginning of the story, prior to the discussed fairytale. The story within the story belongs to a female novelist who was woken up by the commotion in her house. Unaware of the actual causes of the noise, the novelist assumes there might be a thief coming into her room (Gordimer 1). The assumption is not groundless, as the author also mentions the murder case that had recently occurred in the proximity of the novelists home (Gordimer 1). This disturbing setup provides a staging ground for the reasoning of the following fairytale events.

The content of the story, however, deliberately defies the conventions of a fairytale genre in order to warn against the perils of perpetual terror. In this context, if the story had a traditional happy ending, the message would not be able to reach the readers. Potentially, the whole point of Once Upon a Time would have to be changed in order to accommodate actual happily ever after. In turn, to criticize the fundamental contemporary socioeconomic and cultural problems within a different genre, the author would have to apply literary tools in a completely different way. That is, fairytale framing perfectly justifies the use of satiric hyperbole. In other words, the chosen framing method highlights how ridiculous the familys actions are, which is further combined with a substantial contrast between the traditional happy and actual endings of Once Upon a Time. As a result, the combination allows the author to draw readers attention to the matter in a concise and efficient manner.

Conclusion

Overall, Once Upon a Time by Nadine Gordimer can be considered a potent critique of the culture of fear and excessive security in our society. Gordimer exposes the familys errors in reasoning and emphasizes the perils of living in continual terror by employing satire, irony, and fairytale framing. The moral of the story emphasizes the value of facing ones concerns and interacting with the outside world. With the use of these literary devices, Gordimer invites readers to consider the effectiveness of overzealous security measures and to adopt a more impartial and nuanced perspective on the issue of fear and security.

Questions

What is the name of your story?

The name of the story is Once Upon a Time.

What topic did you choose to discuss in your paper?

In my paper, I have chosen to discuss the topic of the devasting consequences that can occur due to ones overreaction to defeat or danger.

How does the author show this?

The author utilizes various literary devices, such as satire, irony, and fairytale framing, to shock her readers and underline the message behind depicted terrifying events.

Is your thesis arguable?

Given that one should reverse the polarity behind familys actions from negative to positive in order to argue my thesis, I do not find my thesis reasonably arguable.

Write your preliminary thesis below.

Gordimer criticizes the excessive use of security measures and the culture of fear by using literary devices such as satire, irony, and fairytale framing.

Works Cited

Casale, Silvia, Giulia Fioravanti, and Simon Ghinassi. Applying the Self-Determination Theory to Explain the Link between Perceived Parental Overprotection and Perfectionism Dimensions. Personality and Individual Differences, vol. 204, 2023, p. 112044.

Gordimer, Nadine. Once Upon a Time. FLIPHTML5, 1989, Web.

Van Riet, Gideon. Intermediating between Conflict and Security: Private Security Companies as Infrastructures of Security in Post-Apartheid South Africa. Politikon, vol. 47, no.1, 2020, pp. 81-98.

For the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world&& For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate (Camus, 1989, p.109).

I opened myself to the gentle indifference of the world

Does life actually have a meaning? This is the question that most philosophers, theologists, scientists as well as other academic scholars ponder to answer. Meursault is trying to bring out the philosophy of absurdity of life in this episode.

The assertion of this philosophy is that life has no redeemed or rational meaning. That is there is no purpose or discernible meaning of the human existence.

The reason is that what happened in the past has no meaning and the only thing that matters in our lives is what is presently happening since we do not know what will be happening in the future.

Given the fact that there is no real meaning of life does not necessarily mean that people should lead a life of despair, rather people should live there moral and humanist life.

This is clearly illustrated with Meursault acceptance of the gentle indifference with things around him. After realizing that there is no difference between being executed and waiting to die at old age, Meursault find piece with him and the society that persecuted him.

Critically looking at the Meursault life processes, the implication of this is that moral orders have no natural or rational basis. However, we should not approach life with a moral indifference.

In as much as the universe may present itself as cold and indifferent, we should always uphold the human dignity and moral values. This is what the final episode of Meursault life portrays.

&. For everything to be consummated, for me to feel less alone (Camus, 1989, p.109)

What matters to Meursault is the escape to freedom from the machineries of justice that condemned him to death. He came to the reality that when life has ended so too is existence. This also brings him to the realization that the hope of salvation from God is pointless rather an obscurity of the realities of death.

In fact, the way of life in the world is substantial and the meaning of life is exposed through events that are being experienced at that particular time. For this reason, Meursault find it difficult to connect to those who show concern to the social conventions that are found in the world around them.

Quite absurd, Meursault feel deprived of the physical pleasure when for instance; he was put in prison for emotionless behavior. This does not mean that people do not follow the conventional societal beliefs neither do they believe in God nor salvation but rather the absurdity of existence.

If we can all share in this belief then we should enjoy life. It is the enjoyment that is derived from the day to day existence neither looking forward nor backward. That is the love for life that is based on doing what I feel I want to do and not what the society, religion or others would deem correct or common.

It is also true that life remains constant and it is only physical things that are really changing. The implication is that life is equal among human beings. There is no life that is greater or better than the other. The equality in life can only be manifested in death.

Whether you are rich, poor small or Nobel, death is a reality that faces not only human kind but also all living creatures. Death is the force that is conscientious for the unvarying and consistent character of human life. In fact, experience offers a deeper understanding of human life conditions.

&. for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate (Camus, 1989, p.109).

This is what I find intriguing in this passage. In fact, the quotes are found in the very last lines of the book. Upon meeting with the chaplain, Meursault completely acknowledged the absurdist thought that the world is unsympathetic to individual interactions and that existence is deficient of coherent order and importance.

All through the course of the narrative, Meursault was approaching this disclosure devoid of noting until he came to terms with the hopelessness of evading his demise.

He understood the fact that the unresponsiveness the world is to human relationships is a pure manifestation of its own personal lack of concern to human interactions and correspondence, bring to mind, a feeling of friendship that leads him to brand the world brother.

In contrast to the earlier episodes when Meursault was satisfied at best, in this occasion, Meursault discovers active happiness when he finally became open to the actuality of human existence. Despite her position in society, Meursault still find happiness.

Meursault did not mind being called a criminal. Meursault really wanted companionship, which ironically, is an angry mob baying for his blood on his execution day. Meursault recognized his awaiting capital punishment as the consummation of his novel perception.

Reference

Camus, A. (1989). The stranger. Trans Matthew Ward, New York: Vintage International.

In the Middle Ages literature cycle, the Cinderella story is one of the most popular narratives which has different versions and variables. The Moon Ribbon story and Ashputtle have some similarities and different but both of them are based on the same plot development and ending. While Ashputtle and Sylva both share reliance on their mothers and get retribution at the end of the stories for their unhappy lives, Ashputtle depends on a prince for her happiness where Sylva found her happiness within her sense of own completeness.

The death of mothers is a critical turning point in both stories which changes the lives and destinies of the heroines. The adoption by stepmothers adds emotional tension and creates an atmosphere of solitude and sufferings. In Moon Ribbon and Ashputtle, physical punishments and abuse are described as natural relations inside the family. For instance, iIn Ashputtle, the first name of the girl is connected with ashes indicating her low position in the house. In Moon Ribbon and Ashputtle, the low social position of the girls and abusive relations inside the family result in support coming from a supernatural source, from a moon ribbon, or from a tree on the mothers grave. Ashputtle receives a help from a tree and a bird as the only possible lsource of help: Whereupon the bird tossed down a gold and silver dress and slippers with silk and silver (Grimm and Grimm). This quotes shows that a tree springs up which magical power and supports beautiful clothes for Ashputtle. In Moon Ribbon, the author writes: the silver ribbon & began to grow and change, and the air filled with womans soft voice (Yolen). The ribbon is described as a helping hand and a source of wisdom and universal truth. While not so universally told as its companion story, Moon Ribbon follows traditions of other fairy tales which assign magical power to inanimate things.

In both stories, punishment is a natural end of abuse and unequal relations faced by the young characters of the stories. In the Moon Ribbon story and Ashputtle punishment is a natural consequence of unfair treatment and cruelty, violence and aggression towards the girls. One of the purposes of this literary device is to unveil that wickedness is properly punished. It is not until the end characters discover the unworthy or the crime. Thus, as both stories depict, one of the best ways to understand the heart is to see what use one will make of unlimited authority. In the Moon Ribbon the author describes: the silver ribbon wriggled and writhered in the sun light (Yolen). The both story prove that if a character is modest and very kind, such trait will be only strength; but if the character is overbearing and unkind, she will surely bring about downfall. The main wisdom of the tales can be found in explanation of the increasing wastefulness of the human wishes and their astonishing consequences.

The absence of the prince in Moon Ribbon does not influence the happy end of the stories and does not change the primary idea of universal truth and justice. The uniqueness is that Ashputtle has to flee from the prince and the prince has to search for the beautiful girl to find happiness and love: He danced with no one but her (Grimm and Grimm). In Moon Ribbon, absence of the prince adds emotional tension and uncertainty to the narration. Thus, this structure vividly protracts that happiness and love should be deserved by people who have kind heart and believe in miracles.

In sum, the stories under analysis show that the Moon Ribbon story and Ashputtle have similar plot development and themes but differ in their endings. This is brought about by means of time projections. In both stories where it is suitable, the heroines show her strengths and self-identity through successful outcomes and happy family life. The general outline of the tales is persevered as a framework of narrative.

References

Grimm, J, Grimm, W. Ashputtle.

Yolen, J. Moon Ribbon.

The novel Clara and the Sun demonstrates a unique perspective on the world, ethically characteristic of the 21st century. The main character and narrator is a cyborg with limited knowledge of the world. In the era of post humanism, when a person asks more complex questions about his identity, this heroine is able to demonstrate quite authentic human properties. A person turns out to be a limited albeit emotional being, complex and limited at the same time. The detachment displayed through the heros android physical form also appears to be characteristic of people whom Ishiguro accurately describes as being potentially lonely. Humans turn out to be complex mechanical beings, willing to do unthinkable things such as creating artificial replicas of humans in order to avoid being alone. The attachment of the heroes of the novel to Josie and Charity in relation to her can be explained as a kind of program embedded in them. This metaphor shows that there is not such a significant difference between us and the mechanisms. This difference is especially blurred when the reader notices how much Josie suffers from her own intellectual improvement, which makes a person more perfect but less authentic, which brings suffering to those close to her.

The religious aspect inherent in the novel also makes sense to interpret through the search for some kind of mechanical closeness between people and androids. Religion and belief in a higher watching good eye is a way for lonely people to feel attached to something divine in order to give life meaning and hope. The heroes of the novel, as Mazin Zien notes, are trying to regain their good disposition by artificial means, the most striking example of which is Josies mother. In search of a solution to their psychological traumas, people turn out to be more unnatural and cruel than robots. Clara, bound to the sun as a God, is thus more natural in her faith than Josies mother trying to make a surrogate for her daughter with no real hope for the best.