Confessional poetry Essay Example for Free

Confessional poetry Essay Like almost all of Aristotles recommendations in the Poetics, the unity of action is grounded in what a hypothetical viewer is likely to see and, more important, to believe. Tragedys formal coherence, in other words, is itself tested and therefore relies for its ability reliably to produce its defining effects upon its phenomenological consistency with a hypothetically pre-aesthetic concept of human nature. Despite his contention that poetry and politics may employ different standards of correctness, both are ultimately subject to the fundamental structure of center and periphery. In fact, it is the unity of action by which aesthetic representation accesses rituals spellbinding and emotionally charged effects. As Gans writes, Discourse, as it emerged from ritual, was temporalized, as was ritual; its own duration followed the irreversible progress of the rite, which itself followed that of the original event. . . Discourse operates within the temporal limits of the original crisis/resolution, which, whether it last a few hours or a few days, is of necessity extremely short in relation to the normal life span of its participants. . . . The elaboration of ritual is less a prolongation of the critical moment than the addition to it of other episodes. Significance is thus originally a short-term phenomenon, which we may assume to follow more or less the time scheme of a drama, where the speeches of the characters occupy a real time of interaction (Origin of Language 243, 288). Aristotle anticipates Gans in grounding the significance (or, to use his word, beauty) of literary discourse in a ritually derived temporality. As Aristotle writes in Section 7: Beginning is that which does not necessarily follow on something else, but after it something else naturally is or happens; end, the other way round, is that which naturally follows on something else, either necessarily or for the most part, but nothing else after it; and middle that which naturally follows on something else and something else on it (30). To make the connections between aesthetic contemplation and ritual participation too explicit, however, is to risk falling into what Aristotle might have called the Platonic fallacy. Hence his recommendations with respect to the construction of plots tend to de-emphasize the perceptual elements most closely associated with originary representation. The three elements of plot, according to Aristotle, are peripety, recognition, and pathos, which he defines as a destructive or painful act, such as deaths on stage, paroxysms of pain, woundings, and all that sort of thing (37). The emotions aroused by pathos play a paradoxical role in Poetics: while he identifies pity and terror as the tragic emotions, the most effective formal means by which they are aroused are, in Aristotles view, the least connected with poetic art. Though the visual adornment of dramatic persons can have a strong emotional effect, this is the least artistic element among the six constituents of tragedy (29); and while it is possible for the fearful or pathetic effect to come from the actors appearance, the mark and characteristic of a better poet is to engender these effects from the very structure of events (40). Again, originary analysis points to how this, one of the most influential of Aristotles literary opinions, can be understood as an attempt to reconcile what increasingly appeared to be the potentially mutual exclusiveness of aesthetic contemplation and ritual participation. The non-instinctual attention of the periphery toward the central object at the originary scene must be, at least initially, captured and sustained (for however brief a time) through the eyes. That is, peripheral identification with the central figure is first visual and then replayed on each individuals internal, imaginary scene of representation. For this reason, ritual retains a primarily visual orientation. Thus, to define aesthetic excellence as that which resists the strict mimetic conservatism of ritual is to disconnect even more radically art from its violent origins. Similarly, Aristotles recommendation against reliance on the deus ex machina arises not merely from the organicism of his concept of dramatic plot, but from his perception that the proper phenomenal model for tragedy is not ritual but revelation. The poorest plots, he writes, are those that are contrived by the poet, such as that of Iphigenia, where Orestes says what the poet, rather than the plot, wants him to say in the recognition of his sister. By contrast, the most artistic plots are those that develop naturally but unexpectedly. Ritual is the opposite of revelation, writes Gans in Science and Faith (16). Nothing new must occur there; the only evolution the rite undergoes is the gradual draining away of the truth it was its task to preserve. Rites die and are replaced by others, keepers of new revelations. But these revelations themselves never occur within the framework of ritual; their privileged locus is the individual imagination, whose intuitions are tested only after the fact by the community (16-17). Aristotle thus anticipates Gans in identifying some of the ways in which the aesthetic scenes escape from ritual conservatism enables it to become an important locus for the discovery of fundamental human truths. The durability of Aristotles theory therefore results neither from historic accident nor scholarly conspiracy: discovering that an anthropologically-grounded theory of the sign could sidestep Platos fears about art initiating the contagion of conflictive mimesis enables the classical aesthetic eventually to achieve its logical end point: the exploration the scene of representation qua scene. Aristotles achievement comes not, however, from merely denying the validity of Platos intuited connection of representation and crisis. Both thinkers recognize, as Gans has put it, that [t]he institution of art constitutes an intermediary third term between the minimal institution of language and the maximal one of ritual, and that [l]anguage and ritual are each in their own way coercive (Originary Thinking, 122). Poetry, according to Plato, has ties to the more communally coercive (and therefore threatening) institution of ritual; for Aristotle, it is more closely allied with the individually coercive institution of language. It is significant, however, that Aristotles attempt to rid the aesthetic scene of its Platonic threats never fully succeeds; as Gans writes, [t]hroughout history, Platos qualms about the subversive nature of art alternate with the cathartic claims of Aristotle (Originary Thinking 136). Later literary theorists, 7 especially Horace and Longinus, as we will seewhile they followed Aristotles lead in centering their discussions around mimesis, found themselves having to steer between the Scylla of arts violent origins and the Charybdis of the emotional lassitude of a scenic center devoid of its specifically sacred power. Although, as Gans argues, the relative importance of the Platonic and Aristotelian attitudes depends upon the balance of centrality and decentralization within a given society (Originary Thinking 136), the most famous ancient literary critics maintained the belief that the positions were interchangeable by falling into sacred ambivalence: the unwillingness to further Aristotles desacralization of the aesthetic scene. II. Horace Consider, for example, Horaces Ars Poetica. Both in form and content, this treatise on the craft (techne) of poetic composition is predominantly Aristotelian: like that of the Poetics, the argument of Ars Poetica unfolds according to the prescribed succession of poesis, poema, and poeta (Atkins 70). Both works, moreover, identify unity as the essential determinant of literary quality. During the renaissance, in fact, neoclassical critics frequently spoke of the two as if there were no differences between them: concerning the so-called unity of place, writes Pierre Corneille in Of the Three Unities, I can find no rule. For all their concurrences, however, there is an important difference between Aristotle and Horace. Whereas the former makes only one fleetingand rather dismissivereference to the question of poetic inspiration, the latter devotes a considerable number of words to the elucidation of the temperamental qualities that conduce to literary genius. Horaces contribution to classical literary criticism thus consists of neither an elaboration of the theory of representation nor the practice of poetry, but of his subtle, even hesitant reminders of the poets cult of personality. For Aristotle, Sophocles greatness as a poet is demonstrated a posteriori, the result of his having produced the perfect tragedy, Oedipus Rex. Horace, on the other hand, takes what would no doubt have struck Aristotle as a step back toward the Platonic fallacy by reviving both mystery and violence as indispensable elements of poetic craft. In Ion, Plato had offered the characteristically mythicizing statement that all good poets, epic as well as lyric, compose their beautiful poems not by art, but because they are inspired and possessed (Adams 14). Though Horace does not go quite that far in this anti-Aristotelian direction, his very willingness to consider whether a praiseworthy poem be the creation of nature or of art (Adams 74) indexes his dissatisfaction with what Gans has called Aristotles patently demystifying gesture of identifying the human with the central (Originary Thinking, 135). Though Horace refuses to commit himself explicitly to either side of the craft/inspiration controversyFor my part I do not see what study can do without a rich vein of native gift, nor what the native gift can do without culture (74)other elements of the essay indicate that he may have felt inspiration to be more important than he is willing to admit. First, he repeatedly invokes the Muses, indicating that for him poetic composition was still to be undertaken in an attitude of religious seriousness. Second, and even more significant, is 8 Horaces deliberate and detailed attention near the end of the letter to the social influence and temperamental characteristics of the poet. While men were yet savage, writes Horace, Orpheus, the sacred, the mouthpiece of the gods, awed them from bloodshed and the foulness of their living; whence the legend said that he tamed tigers and ravening lions.

Israels Land, Culture, History, and Religion Essay examples -- Cultura

The record of human habitation in Israel is at least 100,000 years, old. Evidence of the domestication of plants and animals can be dated to about 10,000 BC. The State of Israel, an independent nation in southwest Asia, is located between the eastern shores of the Mediterranean Sea and the Gulf of an arm of the Red Sea. "Israel is considered the Holy Land for Christians, Jews, and Muslims {1}". Which includes religious representation of most of the world's entire population. To reflect on all the different aspects of the cultural and historical geography of Israel would certainly be out of the scope of this tiny paper so, general information will then be discussed below. ITS LAND Israel is a small country (a small country as related to overall territory/mass). It is long and narrow and stretches just under 450 kms from North to South and on average is 60 kms from East to West. The majority of Israel's west is surrounded by the Mediterranean Sea. The Mediterranean Coast consists of a narrow plain (The Sharon Plain) which is home to most of Israel's people. The Sharon Plain is where Israel's largest urban city, Tel Aviv, is located. Israel's Eastern border is dominated by the Jordan River Valley which drops down to the Dead Sea which is the lowest depression on Earth at 400 meters below sea level. Israel's southern region is managed by the rough and mountainous Negev Desert. At Israel's Southern apex Israel's port of Eilat dominates several kilometers of sparkling Red Sea coast. The primary region of the country is hilly, and at one of the highest points is the national capital, Jerusalem {3}. The northern quarter of Israel is dominated by the hilly and fertile Galilee region. Israel's largest body of fresh wate... ...re. Israel truly is the center of all historical and cultural geography to me now. "Oh, Israel, I will never forget you. (Isaiah 44:21)" Works Cited: 1. About Israel. "Israel tourism guide." 1996. http://www.algonet.se/%7Elj/ (April 10, 1997) 2. Focus Multimedia. "Your Key To Be Seen!" Israel. 1997. http://www.focusmm.com.au/israel/is_giamn.htm. (April 10, 1997) 3. Gold Stag Commun. "Odyssey." ISRAEL. 1996 http://www.emerald-empire.com/geography/israel/page00.htm (April 10, 1997) 4. Israeli Foreign Affairs. "Israel Ministry of Foreign Affairs." 1996. http://www.israel-mfa.gov.il (April 10, 1997) 5. Kachar, Menachem. "Israel Visit." 1996. http://www.israelvisit.co.il (April 10, 1997) UT @austin. "JPEG Image." Israeli Maps. 1997. http://www.lib.utexas.edu/Libs/PCL/Map_collection/middle_east_and_asia/Israel GIF (April 10, 1997)

Obsessive love in Great Gatsby by F. Scott Fitzgerald Essay

In The Great Gatsby, Jay Gatsby is portrayed as a naive and heartbroken man who will do anything to revive his relationship with the love of his life; even if it means reliving the past. Gatsby is a victim to temptation, manipulation, society and obsessive love. However it is because of this obsessive and incessant love that the rest of his problems unfold. He is so blinded and determined to gain the approval of his former lover, he allows himself to be made a mockery by society. It is made clear that Gatsby moved to West Egg for the sole reason that the love of his life, Daisy Buchanan, lives with her husband Tom in a house within sight of Gatsbys mansion. I think he half expected her to wander into one of his parties, some nightbut she never did (Fitzgerald.4.84). As Daisys friend Jordan explains the situation to the narrator and Daisys cousin, Nick Carraway, she notes that although Gatsby threw countless parties that were no interest of him in hopes that Daisy would one day stumble in, she was clueless to how very close Jay Gatsby was to her. Gatsby lacked the courage to approach Daisy, even though he worked his life around his dream of seeing her again. Gatsby was referred to by the socialites as new money. Living in West Egg was less respectable then living in East Egg. The social structure was not of much concern to Gatsby and he paid little attention to etiquette or class. His obsession with Daisy took top priority, and while his intentions were sincere, Gatsby put himself in positions to be made a fool. My God, I believe the mans comingDoesnt he know she doesnt want him?(Fitzgerald.6.109). When invited by the Sloanes, a wealthy couple from East Egg, to eat dinner with them, Gatsby innocently accepts, not realizing it was merely a formality. His pure love for Daisy shows through in all aspects of his life, affecting his judgment and ability to see through those with less than genuine intentions. One of the main themes throughout The Great Gatsby is Gatsbys attempt to turn back time and relive what he had in the past with Daisy. Cant repeat the pastwhy of course you can!(Fitzgerald.6.116). It is clear that the relationship between Gatsby and Daisy remains only in the past, and it is  apparent to all but the two that their relationship ended many years ago. Since the five years they last saw each other, Daisy moved on with her life; although neither she nor Gatsby are willing to admit to it. Gatsbys love for Daisy affects every aspect of his life, and when he is finally able to reunite with her, it is hard to believe that nothing has changed in their relationship. Almost five years! There must have been momentswhen Daisy tumbled short of his dreamsbecause of the colossal vitality of his illusionNo amount of freshness can challenge what a man will store up in his ghostly heart(Fitzgerald.5.101). Nick cannot imagine that Daisy could possibly live up to the goddess-like vision Gatsby has stored up and embellished on for five years. However, once again blinded by love, he ignores Daisys flaws, and attempts to rekindle their former life. Gatsby is aware that Daisy is a very superficial woman and he knows the only way he could possibly have her love is through wealth and status. Gatsby turns to shady and possibly illegal means to attain the money that he knows will win Daisy over. His obsessive love is his chief vice that causes all his others. Her voice is full of money (Fitzgerald.7.127). Gatsby doesnt see Daisy as shallow or consider her a gold digger, he thinks it is he who must progress and become wealthy in order to satisfy her lavish lifestyle. After a confrontation with Daisys husband, Tom, Gatsby expects nothing less of Daisy than for her to tell Tom that she never loved him. He couldnt possibly leave Daisy until he knew what she was going to do. He was clutching at some last hope and I couldnt bear to shake him free (Fitzgerald.8.155). Gatsby refuses to give up his dream that Daisy will leave everything behind to live with him and start their life together. Until he hears it from Daisys mouth, and maybe even after that, Gatsby will always have faith that she will come back to him. Much of this false hope can be attributed to Daisy and her manipulation, which leads Gatsby to think that he may get his wish. Nick was forced to watch every encounter between Daisy and Gatsby, and witness Daisy lead Gatsby into thinking she would leave her husband for him.  Nick knows that nothing anyone can say could change how Gatsby feels about Daisy and stop him from trying to win her over. And he stood on those steps, concealing his incorruptible dream (Fitzgerald.8.162). Gatsbys intentions with Daisy were nothing but pure and his dream in life was for her to return his love that he liked to believe existed. Gatsby was aware that his friends used him and until Nick came along, there may not have been a soul who truly cared for him. He made a fool of himself in society, but he is not concerned in the least. Gatsby had a dream and nothing could deter him from achieving it. His obsessive love for Daisy caused many problems in his life, and eventually lead to his death. However, Gatsby would most likely take this punishment in return for the time he was finally able to spend with his one true love. Works Cited: Fitzgerald, F. Scott. The Great Gatsby. Macmillan Publishing Company. New York. 1992.

Great Expectations Motif Essay - 1130 Words

The Hands Society Motif Essay Throughout time society as a whole has greatly changed and developed to what it is now. One major part of the society is the social class structure. In Charles Dickens’ novel, Great Expectations, Dickens expresses his beliefs on that structure in many ways. Since Dickens wrote the novel during the Victorian Era it reflects and evaluates the beliefs and values of the time. For the most part ones place in the social order was based on wealth and the reputation of ones relations. In general, the member of the higher class were unhappy and those in the lower class were joyful. He does this to show that wealth isn’t everything. He continues to display that idea throughout the book and he displays its†¦show more content†¦During the occurrence Dickens uses the hands motif several times to signify that since Drummle has a higher class than Pip, Estella has chosen him and Pip and Estella’s relationship is to come to an end. Thus, the hands motif is a clear representation of the effects of the class system of society on not only relationships but on other aspects regarding the treatment of members in different social groups. The motif of hands also illustrates the respect or lack of respect among characters that are distinctly separate in society. First, after Pip informs Miss Havisham of his future wealth, â€Å"She stretched out her hand, and I went down on my knee and put it to my lips† (Dickens 158). Although Pip’s rank in society has now increased he is still below Miss Havisham and acts accordingly by showing her respect. Secondly, when word gets out of Pip’s newfound riches Pumblechook suddenly begins to act extremely kindly towards Pip and continues to ask permission of Pip to shake his hand (Dickens 156). This displays how much money and social rank have an effect on the amount of respect someone gives a person because Pumblechook now treats Pip better than before, when he was poor and had nothing to offe r him. Thirdly, when Pip has lost his fortunes he returns home but first sees Pumblechook who now acts in a completely different way then upon their aforementioned meeting and now he smugly shakes hands with Pip as if he knew that theShow MoreRelatedThe Great Gatsby By F. Scott Fitzgerald1242 Words   |  5 Pagesabout thoughts and feelings, but your essay focuses on feelings versus materialism/ light and dark. . .try to find a quotation that captures that) In Scott Fitzgerald’s The Great Gatsby, a wealthy young Jay Gatsby attempts to recapture the attention of Daisy Buchanan, the married, upper-class woman who he previously had a relationship with. 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