Grendel & Existentialism Essay Example for Free

Grendel Existentialism Essay â€Å"I understood that the world was nothing; a mechanical chaos of casual, brute enmity on which we stupidly impose our hopes and fears. I understood that, finally and absolutely, I alone exist. All the rest, I saw, is merely what pushes me, or what I push against, blindly-as blindly as all that is not myself pushes back. † Existentialism is a philosophy that I, personally, was unfamiliar with until we talked about it in class. The relationship between Grendel and existentialism was profound to me not only in the way that it drew lines of symmetry, but in the way that it helped me to interpret the concepts behind the philosophy. This quote spoke to me because it demonstrates how Grendel is pressured into living an existentialist lifestyle by the very forces that he says push upon him. Grendel delves into the psyche of a man-beast whose only choice is to react to the world as an existentialist; the world (specifically mankind) exemplifies all of existentialism’s concepts, proving Grendel’s niche to be that of an existentialist. â€Å"Dark chasms! † I scream from the cliff-edge, â€Å"seize me! Seize me to your foul black bowels and crush my bones! † I am terrified at the sound of my own huge voice in the darkness At the same time, I am secretly unfooled. The uproar is only my own shriek, and chasms are, like all things vast, inanimate. They will not snatch me in a thousand years, unless, in a lunatic fit of religion, I jump. † [Grendel, pg. 10] Grendel knows that he is alone, despite his attempts to fool himself. This is ratified by his mother’s inability to speak to him, the fear animals have of him, and the rejection he receives from mankind. He has no explanation for anything in existence due to his inability to communicate with anyone, until the dragon comes along. â€Å"My knowledge of the future does not cause the future. It merely sees it, exactly as creatures at your low level recall things past. And even if, say, I interfere even then I do not change the future, I merely do what I saw from the beginning. That’s obvious, surely. Let’s say it’s settled then. So much for free will and intercession! † [Grendel, pg. 63] Lack of free will is another concept of existentialism. Grendel’s previously mentioned lack of communication makes him eager to soak up any idea that the dragon shares with him, and eventually he takes this to mean that his war on the mead hall was not done of his own free will, but because it was his future as the dragon foresaw it.

Theories of Temperament: An Overview

Theories of Temperament: An Overview The literal meaning of personality springs from the Latin word ‘persona’, the mask employed by roman theatre actors. personality refers to our characteristics ways in which of responding to people and things. Personality is characterised by the subsequent features:- it has both physical and psychological parts. Its expression in terms of behavior is fairly distinctive in an exceedingly given individual. Its main options dont simply modification with time. its dynamic within the sense that a number of its options could change thanks to internal or external situational demands. Definitions of personality While there are many alternative theories of personality, the primary step is to know specifically whats meant by the term personality. The word personality itself stems from the Latin word persona, that referred to a theatrical mask work by performers so as to either project totally different roles or disguise their identities. A brief definition would be that personality is created from the characteristic patterns of thoughts, feelings and behaviours that create someone unique. additionally personality, personality arises from inside the individual and remains fairly consistent throughout life. Some other definitions of temperament as given by some psychologists are: †¢ Personality refers to individuals characteristic patterns of thought, emotion, and behavior, along side the psychological mechanisms hidden or not behind those patterns. This definition means among their colleagues in different subfields of science, those psychologists United Nations agency study temperament have a novel mandate: to clarify whole persons. (Funder, D. C., 1997) †¢ Although no single definition is suitable to all or any personality theorists, we will say that temperament could be a pattern of comparatively permanent traits and distinctive characteristics that offer each consistency and individuality to an individuals behavior. (Feist and cur, 2009) Components of temperament So what specifically makes up a personality? As described within the definitions higher than, one would expect that traits and patterns of thought and feeling frame a crucial half. a number of the other basic characteristics of temperament include: Consistency theres typically a recognizable order and regularity to behaviors. basically, individuals act within the same ways in which or similar ways in which in an exceedingly style of things. Psychological and physiological temperament could be a psychological construct, however analysis suggests that its conjointly influenced by biological processes and wishes. It impacts behaviors and actions temperament doesnt simply influence however we tend to move and respond in our environment; it conjointly causes North American country to act in bound ways in which. Multiple expressions temperament is displayed in additional than simply behavior. It may be seen in our thoughts, feelings, shut relationships and different social interactions. THEORIES OF temperament Personality contains a long history ranging from mathematician, Plato, Aristotle, solon and varied different philosophers and writers. Plato Plato (427–347 BCE) outlined the human soul because the seat of temperament. in keeping with philosopher the soul consists of 3 basic forces guiding human behavior: reason, emotion, and appetence. Reason is given the very best price because it keeps the additional primitive forces of appetence and feeling treed whereas feeling and particularly appetence area unit considered the â€Å"lower passions.† Aristotle Aristotle (384–322 BCE), one in every of Plato’s students and also the teacher of Alexander the good, noted human soul because the psyche. Aristotle projected that the psyche is that the product of biological processes. He additionally saw the psyche as as well as a collection of faculties that he placed during a hierarchy of importance. the primary school that Aristotle distinguished is that the nutritive—the human organism’s basic drives to fulfill its bodily desires. This school is found in plants further as in animals and other people. successive and better school is that the sensory activity, that philosopher outlined because the facet of mind that interprets sensory information. Animals further as folks have a sensory activity school. The last and highest school is that the intellectual, that philosopher saw as distinctive to kith and kin. Descartes According to Renà © mathematician (1596–1650), a French thinker, human temperament is that the product of the interaction of divine and primal forces. He saw the essential force behind human temperament because the immortal soul—pure, perfect, and intangible. mathematician started to clarify however this religious entity interacted with the material body. His observation of associate anatomical dissection semiconductor diode him to suppose he had resolved this mind-body downside. He detected atiny low body within the apparent center of the brain referred to as the epiphysis cerebri or epiphysis cerebri, therefore named by the Greco-Roman MD Claudius I Galen (c. 130–c. two hundred CE) as a result of its form reminded him of a pine cone. Descartes(1649) came to the conclusion that that this conical endocrine gland should be the purpose of contact between the soul and also the body. philosopher philosophical system, that is that the philosophical position that 2 su bstances—matter and spirit, or brain associated mind—exist severally of every different though they interact—became the foremost common read within the Christian West when the seventeenth century as a result of it â€Å"explained† the existence of human discretion and consciousness in an otherwise mechanistic universe. Indeed, before the appearance of the pc, it appeared not possible to permit for consciousness while not appealing to nonmaterial ideas. Machiavelli Niccolà ² Machiavelli (1469–1527), a Florentine diplomat and political thinker, believed that temperament is best understood in an exceedingly social context. in keeping with Machiavelli, folks area unit basically egotistic, greedy, ungrateful, and unforgiving. moreover, he saw 2 primary forces as process human character. the primary one is associate Italian term—virtà ¹Ã¢â‚¬â€which is best described as a mix of positiveness, fearlessness, and assurance. Machiavelli referred to as the second force Fortuna, that is that the Latin word for luck. someone might become a robust leader with the assistance of an honest dose of virtà ¹ and Fortuna. in keeping with him leaders United Nations agency act out of kindness and a believe the essential goodness of humanity can continuously fail. This belief is usually expressed by modern folks as â€Å"nice guys end last.† There are variety of different theories regarding however temperament develops. totally different schools of thought in science influence several of those theories. Type theory of temperament Perhaps the earliest acknowledged theory of temperament is that of the Greek MD Hippocrates (c. 400 B.C.), United Nations agency characterised human behaviour in terms of 4 temperaments, every related to a unique humour, or humour. The sanguine, or optimistic, kind was related to blood; the unemotional kind (slow and lethargic) with phlegm; the melancholic kind (sad, depressed) with black bile; and also the choleric (angry) kind with bodily fluid. Individual temperament made up our minds by the number of every of the four humours. Hippocrates system remained authoritative in Western Europe throughout the medieval and Renaissance periods. abounding references to the four humours is found within the plays of playwright, and also the terms with that Hippocrates tagged the four temperament sorts area unit still in common use nowadays. the idea of temperaments is among a spread of systems that influence human temperament by dividing it into sorts. A wide popularized (but scientifically du bious) trendy assortment of temperament was developed within the Nineteen Forties by William Sheldon, associate yank man of science. Sheldon classified temperament into 3 classes supported body types: the someone (heavy and easy-going), person (muscular and aggressive), and individual (thin and intellectual or artistic). Trait theory of temperament A major weakness of Sheldons morphological arrangement and different kind theories generally is that the component of oversimplification inherent in inserting people into one class, that ignores the actual fact that each temperament represents a novel combination of qualities. Systems that address temperament as a mix of qualities or dimensions area unit referred to as attribute theories. Well-known attribute intellectual Gordon Allport (1897-1967) extensively investigated the ways in which during which traits mix to create traditional personalities, cataloguing over 18,000 separate traits over a period of thirty years. He projected that every person has about seven central traits that dominate his or her behavior. Allports commitment to building attribute analysis additional manageable and helpful by simplifying it had been expanded by future researchers, United Nations agency found ways in which to cluster traits into clusters through a method referred to as correlational analysis. Raymond B. Cattell reduced Allports in depth list to sixteen basic teams of inter-related characteristics, and Eysenck claimed that temperament can be delineate supported 3 basic factors: psychoticism (such delinquent traits as cruelty and rejection of social customs), introversion-extroversion, and emotionality-stability (also referred to as neuroticism). Hans Jurgen Eysenck conjointly developed a quadrant supported across emotional-stable and introverted-extroverted axes.

Robert Frosts Poems Essays -- essays research papers

Robert Frost's Poems Robert frost has many themes in his poetry. One of the main themes that is always repeated, is nature. He always discusses how beautiful nature is or how distructive it can be. Frost always discusses nature in his poems. First, in the poem "Stopping by the Woods on a Snowy Evening" there is a lot of nature expresses. Frost's very first sentence already talks about the woods. whose woods these are I think I know (Ln 1, 1105). Also, in the poem he states that the narrator likes to sit and watch the snow. He is also a nature lover. In the second stanza Frost refers back to the woods. He must also like ice, because he brings ice and cold up a lot in his poems. Once again Frost brings ice up when he mentions flake and cold wind. Then in the last stanza F...

Good Advice :: Personal Narrative, Autobiographical Essay

Good Advice Good advice is different for everyone and is distinct each time you receive it. Sometimes I receive advice and don’t realize what it is until I actually need to apply it. This occurred in Andrea Kunze’s paper. Her dad had always warned her that boys were the devil and on her first day of school the advice he had been giving her all along suddenly could make sense. Some advice I’m given allows me to ponder over options I hadn’t thought of before. Other times who ever happens to be helping me envisions a solution that is a variation of what I had contemplated. This goes with the theory that two heads are better than one. The way I think differs from everyone else’s conceptions. When two people work on the same problem they’re able to come up with variations on how to solve it. By listening to what someone else has to say about a situation, they bring in an objective opinion that might shed a different angle of lightening on a possible solution. An example of this is when I had to make a model of the human heart out of clay for biology. I was trying to mold the outside of the heart while still showing the parts of the inside. My dad noticed me struggling on this project so taking it from me, he restructured it by cutting the heart in half so you could still see what the outside looked like on one side of the model whil e the other side showed what the heart looks like in the inside. Whenever I seek guidance I turn to my friends, parents, acquaintances, and teachers because I respect their judgment. Given a difficult decision to make, even though I know what their response will be, I still look to them for help. I search for their understanding to reinforce what I already know I need to do. It’s easier for me to make a decision because when I hear the same solution being said by someone else I know someone is behind me, supporting my choice even if I mess up. They can show me options that would work for my situation and they won’t try and mislead me by giving advise that could cause me to get hurt. Like Douglas Crane wrote, â€Å"The advisor doesn’t have secret plans to use the advise for their personal gain, the advisor had respect and in most/all cases, love for the advisee.

“More than our brother is our chastity”. How far do you find yourself able to condone Isabella’s point of view

John 15:13 says: â€Å"Greater love hath no man than this, that a man lay down his life for his friends†. In the traditional Christian Elizabethan society; this sentiment would have been revered; Shakespeare’s Puritanical and Catholic audiences would have loved the ideas of self-sacrifice and the immediate ascension into heaven. However, in Measure for Measure, Shakespeare manages to challenge this verse; he manipulates the situations and then causes the audience to digest the complexity of the verse, and causes the audience to question whether Isabella’s estimation that fornicating to save the life of another is not only morally wrong and a direct rebuttal of Jesus’ sentiment; but a damning sin. Isabella’s introduction into the play arouses intrigue in audiences and readers, as she is described as having a â€Å"speechless dialect/Such as move men†; so it is expected that audiences and readers would be waiting with bated breath fro Isabella to meet Angelo; and Shakespeare does not disappoint. The scene is written in blank verse, with unrhymed lines of iambic pentameter; Isabella first line is not quite metrically even; the word honour cannot be properly stressed, and that falter changes the rhythm of her speech. Her second speech leaves a gap in which Angelo inserts a terse question; almost as if the incomplete pentameter forces Angelo to reply. That first break in rhythm changes the dynamics of Isabelle’s interaction with Angelo. Shakespeare purposefully does this in order to use language and rhythm to convey the intensity of the relationship instantly forged between them; in particular the way the metre swaps between the two speakers. Later in the scene, the roles are reversed. On line 51, the position of the words in the pentameter undermines their stated meaning: while the words themselves speak of a certainty and finality, the rhythm is half-finished; in which Isabella can – metrically must- reopen the argument; although Angelo’s words say there is nor room for argument, he does not, at some level, want to dismiss the argument entirely; The language of the scene shows the extent to which they are aware of each other. So from the beginning of their interaction readers and audiences alike are left to question if this awareness is befitting of a novice nun. Conversely, Isabella may be seen as a model of some aspects of Christian virtue in ‘Measure for Measure', and her opposition to giving up her virginity an extension of her inherent virtue. For instance, in Act 2 Scene 2, Isabella's dialogue with Angelo expresses her quality of mercy, as although Claudio's sexual transgression is â€Å"a vice that I do most abhor†, Isabella argues that Angelo â€Å"might pardon him, / And neither heaven nor man grieve at the mercy. Furthermore she connects this value directly to God and her religion; â€Å"Why all the souls that were, were forfeit once/ And he that might the vantage best have took/ Found out the remedy. † This opposes Angelo's strict adherence to the secular laws of Vienna. His speeches in this scene make repeated references to his view of the law as immobile, such as â€Å"Your brother is a forfeit of the law/ And you but waste your words. He does not address the moral issues surrounding Claudio's crime, and the dry legal connotations of his language may seem to lack sympathy or mercy; this contrasts with Isabella's emotive language and religious allusions. This juxtaposition may have provided Shakespeare's original audiences with an interesting and current rhetorical debate, as the laws of the church and England's common laws were sometimes distinct and contradictory, causing moral and legal conflict. Moreover, the laws at the time were concerned with principles of justice, but did not often consider mercy, which was thought to be a religious virtue. Therefore, the characters of Isabella and Angelo may be intended to represent the two sides of this debate. Similarly, in John Webster’s ‘The Duchess of Malfi† The Duchess is portrayed as character who breaks the traditional Elizabethan revenge plot by to speak and act with the freedom of normal, albeit impulsive human beings. The Duchess is portrayed as sensual and aware of her sexuality, but is still able to become the embodiment of Christian virtue. In some ways Isabella and the Duchess are strikingly similar, but where The Duchess is overtly sexual, Isabella – like Angelo, has a moral compass that causes her to view situations as either Black or White, with no in-between {Insert quotation here} Isabella may therefore represent the difficulties of being a model of virtue, and of holding strict values of chastity and restraint whilst upholding sometimes contrasting principles of mercy and compassion. These themes would have been relevant in Jacobean society, as puritan values – which Isabella's devotion may represent – were becoming increasingly influential politically and socially, for instance the theatres of the suburbs were at times closed by puritan intervening. Furthermore, the play's genre of problem play allows for moral dilemmas to be raised and viewed from both sides. Therefore although seems to Isabella demonstrate a struggle to become ideally virtuous, it cannot be said definitively whether she succeeds as Angelo brings to light an equally challenging view â€Å"Is there no charity in sin? † However, it could be argued that modern values make it difficult for todays’ audience and readers to full grasp the gravity of Isabella’s situation. A similar story to ‘Measure for Measure’ is outlined in the Elizabethan novella â€Å"Eptia and Juriste† by Giraldi Cintho; in which Juriste is appointed governor of Innsbruck. He sentences a young man Vico to death; and like Angelo, Juriste propositions Epitia for sexual favours in exchange for her brother’s life, hinting that he might even marry her later. Epitia refuses indignantly â€Å"My brother’s life† she says with noble fierceness â€Å"is indeed very dear to me, but my honour is far dearer: my life I would willingly lose to save his, but I will not preserve him with my honour† so it could be argued that dilemma’s like this were popular and scintillating with Elizabethan audiences, as they understood the true depth of both women’s situations. Unfortunately, the representation of Isabella's religious devotion may appear – to some readers and audiences; humorous in its extremes, such as when in Act 1 Scene 4 she wishes for â€Å"a more strict restraint† even than â€Å"the votarists of St Claire†, a Catholic order that Shakespeare's audiences may have recognised as following rigorous rules of poverty. Furthermore, Isabella's devotion to chastity may place her on what seems like a moral highroad unachievable by most, and this may causes an audience to question or disapprove of her character. However, although Isabella's resilient chastity may have therefore seemed virtuous, her direct language: â€Å"Better it were a brother died at once† could seem unsympathetic and her use of the pronoun â€Å"our† in her proclamation â€Å"more than our brother is our chastity† could be seen as unemotional and an attempt to depersonalise he situation; making it harder for audiences and readers alike to empathise with her. Although, the argument of Isabella’s lack of sympathy for Claudio could be countered with her argument that Angelo should put himself in Claudio's place: â€Å"Go to your bosom, / Knock there, and ask your heart what it doth know/ That's like my brother's fault†. ; the emphasis on the shifting pronouns enacts the level of syntax, the act of identification she seeks to prompt. Also, it may be significant that Isabella sticks to her values of chastity even though it involves emotional upheaval, whereas Angelo, when he discovers he is not the legal and moral puritan he had previously thought himself to abandons his values completely and becomes a tyrant, exploiting both the law and the other characters for his own benefit, saying: â€Å"I have begun, /And now I give my sensual race the rein. † So, while Angelo is portrayed as occupying the same if not higher moral ground that Isabella, his fall from grace is well documented and juxtaposed against Isabella – who sometimes unethical but never immoral, it shows that Isabella’s strength lies I her unwavering moral compass, and easily giving over her virtue would be untrue of her character. This is portrays especially well in Act 2 Scene 4, where Angelo asks â€Å"who would believe thee Isabel? â€Å". Here Shakespeare's use of the rhetorical question emphasises Angelo's power over Isabella, in that he is relying on his â€Å"unsoiled name† to protect him from prosecution. The imagery of the â€Å"unsoiled† name implies that Angelo's power stems from his past reputation, in that no one would believe that he would be capable of succumbing to the same weaknesses as other's. This point is mirrored in the â€Å"Duchess of Malfi† in which the Cardinal places his power in his reputation as no one expects him to be a fornicator as his position supposedly attests to his morality. In conclusion, Isabella's conflict in the play has a deep moral centre. She wants to become a nun, but can only save her brother's life by surrendering her chastity to Angelo. When she says, â€Å"More than our brother is our chastity† I believe she is not being cruel or selfish, but trying very hard to adhere to an ingrained sense morality, and unlike many characters in the play, she sticks to her values and her faith; and this might seem foreign even to some Elizabethan audiences, as in some cases, representations of women of this time can be seen as being limited to idolised virgins, or sexual women who were often demonised as whores. So, because Isabella is not a perfect religious ideal, but as a woman with flaws who is placed in a difficult situation, and tries to achieve the best outcome; it is easy to respect her.

Andre Derain

Andre Derain, Mountains at Colioure, 1905-exemplifeis so called mixed technique. Favism in which short strokes of pure color derived fom the work of van goh and Seurat are combined with curvilinear planes of flat color inspired by by gaugunis paintings and are nouvau decorative arts. The assertive colors, which he likened to sticks of dynamite do not record what he actually saw in the landscape by rather generate their own purely artistic energy as they express the artists intense feeling about what he saw. Henri Matisse, The woman with the hat, 1905-Like Derain Matisse was interested in deliberate disharmonies.The painting sparked controversy at the 1905 salon d’Automne. Not because of subject was depicted: with crude drawing, sketchy brushwork, and wildly arbitrary colors that create a harsh and dissonant effect. Henri Matisse, Le Bonheur de Vivre(The Joy of Life), 1905-depicts nudes in attitudes close to traditional studio poses, but the landscape is intensely bright. He de fended his aims in 1908 pamphlet called notes of a painter: â€Å"What I am after, above all, is expression,† he wrote. In the past, an artist might express feeling thourgh the figure pses or expressions that the characters in the painting had.But now, he wrote, the whole arranfement of my picture is expressive. The place occupies by the figures or objects, the empty spaces around them, the proportions, everything plays a part. Ernst Ludwig Kirchner, street, Berlin- Dominating the left half of the painting, two prostitutes, advertised by their large feathered hats and fur trimmed coats, strut past well dressed ourgeois men, their potential clients. The figures appear as artificial and dehumanized figures, with masklike faces and stiff gestures.Their bodies crowd together, but they are psychotically distant from one another, victims of modern urban alienation. The harsh colors, tilted perspective, and angular lines register Kirchners expressionistic response to the subject. Ko llwitz, The outbreak-Expressionist* shows the peasants built up fury from years of mistreatment exploding against their oppressors, a lesson in the power of group action. Kollwitz said that she herself was the model for the leader of the revolt, black anna, who raises her hands to signal the attack.Her arms silhouetted against the sky, and the crowded mass of worker with their farm tools , form a jumbled and chaotic picture of a time of upheaval. Kandinsky, Improvisation No 28-First abstract work*This work retains vestige of the landscape :Kandinsky found references to nature the hardest transcend. But the work taes us into a vortex of color, line and shape. If we recognize buildings or mountains or faces in the work, then perhaps we are seing in the old way, looking for corresponences between the painting and the world where none are intended.Rather the artist would have us look at the painting as if we were hearing a shmphony, respnding insticntivley and spontaneously to this or t hat passage, and then to the total experience. Kandinsky, The Blue Mountain, 1909- shows two horsemen, rendered in the style of Russian folk art, before a looming peak in his favorite color. The flatness of the work and the carefully parallel brushstrokes show influence from Gaugin and Cezanne. Many of his works feature riders; Kandinsky had in mind the horsemen of the Apoclypse who usher in the end of the world before its final transformation at the end of time.Franz Marc, The large blue horses- The animals merge into a homogenous unit, the fluid contours of which reflect the harmony of their collective existence and echo the lines of the hills behind them, suggestion that they are also in harmony with their surroundings. The pure, strong colors reflect their uncomplicated yet intense experience of the world as March enviously imagined it. Paul Klee, Hammamet with its mosque-The play between geometric composition and irregular brush strokes is reminiscent of Cezannes work, which Kl ee has recently seen.The luminous colors and delicate washes or applications of dilute watercolor, result in a gently shimmering effect The subtle modulations of red across the bottom, especially are positively melodic. Klee who played violin and belonged to a musical family, seems to have wanted to use color the way a musician would use sound, not to describe appearances but to evoke subtle nuances of feeling. Pablo Picasso, Self Portrait, 1901- reveals his unhappiness which reveals his familiarity with cold, hunger and disappointment.In search of a more vital art inviroment, Picasso moves to paris where his circumstances improved. Picasso, Family of saltimbanques, 1905-In this mysterios composition, si figures ihabit a barren lanscape ainted in warm tones of beige and rose sketchily brushed over a blue ground. Five of the figures cluster together in the left two thirds of the picture while the sicth a seather woman curiously detached, occupies her own space in the lower right. All of the saltimbanques seem psycholically withdrawn and uncommunicative as silent as the emoty andscape they occupy.Picasso, Les Demoisleels d’Avogmon, 1907-Iberian influences is seen in the faces of the three leftmost figures, with their simplified features and wise, almond shaped eyes. The faces of the two right handed, painted in a radically different style, were inspired by African art. Given the then condesving attitudes towards primitive cultures. Picassos wholesale adoption and adaptation of their styles for a large multifigured painting , as opposed to a still life or a small genre work. Georges Braqu, houses at L’Estaque- Reveals the emergence of early Cubism.Inspired by Cezannes example, Braque reduced natures many colors to its essential browns and greens and eliminated detail to emphasize basic geometric forms. Arranging the buildings into an appoximate pyramid, he pushed those in the distance closer to the foreground, so the viewer looks uop the plane of th e canvas more than into. Georges Braque, Violin and Palette, 1909-10-the gradual abstraction of deep space and recognizable subject matter is well under way. The still life items are not arranged in illusionistic depth but are pushed close to the picture plane in a shallow space.Braque knit the various elements together into a single shifting surface of forms and colors. In some areas of the paintings, these formal elements have lost not only their natural spatial relations nut their identities as well. Picasso, Glass and bottle of suze, 1912 – Collage , a work composed of separate elements pasted together. At the center, newsprint and construction paper are assembled to suggest a tray or round table supporting a glass and a bottle of liquor with an actual label.Robert Deluanay, Homage to Bleriot 1914-pays tribute to the French pilot who in 1909 was the first to fly across the English channel. One of Bleriots early airplane, in the upper right, and the Eiffel tower below it, symbolized technological and social progress, and the crossing of the channel expressed the hope of a new, unified world without national, antagonisms. The brightly colores circular forms that fill the canvas suggest both the movement of the propellar on the left and blazing sun. Fernand Legere, Three women, 1921- Machine age version of the French odalique tradition that dates back to Ingeres.The picture space is shallow and compressed by less radically shattered than analytic cubist works. The women arranged within a geometric grid stare out blankly at us, embodying a quality of classical calm. Legers wome haveidentical faces, and their bodies seem assembled from metal parts. Boccion, Unique forms of continuity in space, 1913-an armless nude figure in full, powerful stride. The contours of the muscular body flutter and flow into the surround space, expressing the fgres great velocity and vitatlity as it rushes forward, a stirring symbol of the brave new futurist world.Malevich, The supremist paintng- consists simply of eight red rectangles arranged diagnolly on a white painted ground. Malevich called this art suprematism, short for the supremacy of pure feeling in creative art. Motivated by a pure feeling for plastic values. Brancusi, The New born, 1915-the egg symbolizes the birth or the rebirth and the pontential for growth and development. He say egg shapes as perfect, organic ovals that contain all possible life forms. Marcel Duchamp, Fountain, 1917-A porcelain urinal turned 90 degrees an signed it as mocking J. L mott Iron works.The manufacturer. Marcel Duchamp, L H O O Q, 1919-Marcel bought a postcard of the mona lisa and painted a mustache and a beard on the famous fac, and signed it with his name. he called this piece not a readymade but and assisted readymade. John Sloan, Election Night, 1914-Embodies many of the groups concerns. Theartist went out into street during a postelection victory celebration and made a sheaf of quick drawings that he turned into this painting. The work feels like a spontaneous sketch. Sloan was an avid socialist who made illustrations for several leftist magazines in those years.Dove, Nature Symbolized, no. 2-is a remarkable set of small worksin which the artist made visual equivalents for natural phenomena such as rivers, trees and breezes. Doce rendered nature as from his experience of it. Okeefe, City Night, 1926-dark tonalities, stark forms, and exaggerated perspective may produce a sense of menace or claustrophobia. . The painting seems to reflect okeefs own growing perception of the city as too confinig. Frida Kahlo, The two fridas, 1939-shows an image of Kahlo that expresses a split in her identity between Mexican and European.The European frida wear a Victorian dress while the Mexican wears peasant clothing. The blood vessel that flows through both fridas hints at the idea that the artist was injured as a teen an the painting shows her inner pain and struggle. Le Corbusier, Villa Savoye France , 1929-House outside of paris is an icon of international style. It is the best expression of his domino construction system. Frand Llyoyd Wright. Frederick C Robie house, Chicago 1906-Organized around a central chimney that marks the hearth as the physical and psychological center of the home. Frand e

Both Charlotte Perkins Gilman and Kate Chopin

Both Charlotte Perkins Gilman and Kate Chopin give the reader a taste of what marriage must have been like and is still like for some. Both the narrator in Gilman’s â€Å"The Yellow Wallpaper† and Mrs. Mallard in â€Å"Story of an Hour† are repressed wives. The society they live in and gender roles contribute to their repressed states. Both Chopin and Gilman write of women’s’ issues in many of their works and explore the roles and lives of women but in very different ways. Both authors show us women who feel very trapped and do not have control of even the most obvious aspects of their lives.Freedom is achieved in very unconventional ways in both these stories, but the kind of freedom these narrators achieve is not available to most women of the time. In Charlotte Perkins Gilman’s â€Å"The Yellow Wallpaper,† the narrator, who significantly is never named, is significantly repressed by her husband. Her husband is a doctor who is at bes t patronizing and at worst demeaning to her For example, â€Å"John laughs at me, of course, but one expects that in marriage† (Gilman). This quote is included to make the reader question this relationship.Were women supposed to be laughed at in marriage? Another example of this would be â€Å"Then he took me in his arms and called me a blessed little goose† (Gilman). Again, her husband is patronizing her. It is not that she doesn’t love her husband or even that he doesn’t love her. It is simply that this is the way marriage is expected to be. She must bend to his every whim and do exactly what he tells her. She doesn’t even have control of her own body or her own medical treatment in this story. Her husband is a man and a doctor, both of which make him â€Å"right.† The reader infers that the narrator has recently had a baby and is suffering from post-partum depression, which is undiagnosed at the time Gilman writes. Her husband John has ta ken her to a vacation home/mental health facility for the summer. She has no say in this decision but is only told to rest and recover. When she wants to go visit her cousins Henry and Julia, she is again turned down. Her husband really plays more of a parental role with her. Eventually she begins to peel the wallpaper to give her something to do, and she sees a woman trapped behind the wallpaper. This woman represents her.She is trapped in this house, in this life—only she has no one to help her escape. She sets about freeing this woman; only when she does, she suddenly becomes the woman. The narrator says, â€Å"I've got out at last,† said I, â€Å"in spite of you and Jane! And I've pulled off most of the paper, so you can't put me back! † (Gilman) Significantly, she has escaped although she has lost her sanity as well. Charlotte Perkins-Gilman herself tells us why she wrote this story, and that is to stop women from going crazy. Women need to free themselves from the bonds of men. In â€Å"Story of an Hour,† Kate Chopin’s narrator seems like a typical wife.Her husband has gone on a hunting trip, and when she gets news of his death, she is at first very sad. Then she begins to understand the ramifications of him being gone, the idea that she can now live for herself, and she celebrates. â€Å"She said it over and over under her breath: â€Å"free, free, free! † (Chopin) The narrator realizes exactly what her husband’s death means. â€Å"There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature.† (Chopin) However, this celebration is brief because she then gets news that in fact, her husband is still alive. She dies of heart failure. Everyone believes that she has died from â€Å"the joy that kills,† (Chopin), but the reader knows that she has died over the unpleasant shock that her husband is still alive. Kate Chopin, of course, is implying for us that â€Å"real happiness cannot exist without the necessary conditions of freedom and equality. † While Mrs. Mallard has not been miserable in her marriage, nor did she spend her time thinking about whether her marriage was happy, she has now had a glimpse of what her life would be like alone.She loved the thought and was excited about facing life alone. The reader understands that while the narrator did not necessarily know it at the time, she was still repressed by her marriage and that constant bending of her will to another human being. Both of these authors provide us with a realistic picture of what marriage could and can be like. They are repressed and trapped in their relationships, but each author shows us a different way out. In Charlotte Perkins Gilman’s â€Å"The Yellow Wallpaper,† ironically the na rrator escapes through insanity.She frees the woman in the wallpaper, thereby freeing herself of societal expectations. In Kate Chopin’s â€Å"Story of an Hour,† the narrator first escapes through the death of her husband and then through her own death. It isn’t that she doesn’t love her husband. She does experience momentary grief, but through her grief and fear, she gets a glimpse of what her future could look like. She understands that she will finally be able to live for herself. So, when she finds out her husband is alive, she dies of a heart attack. How sad it is that these women can escape in no other ways.Both Gilman and Chopin were masters at allowing the reader to see the way that women were repressed in their society. We don’t hate the men; we just wish women did not have to be so subservient. Works Cited Chopin, Kate. â€Å"The Story of an Hour,† http://classiclit. about. com/library/bl- etexts/kchopin/bl-kchop-story. htm Esch, S tacy Tartar. http://brainstorm-services. com/wcu-2005/poe-story-hour. html 2001-2005. Accessed March 18, 2007. Gilman, Charlotte Perkins. â€Å"The Yellow Wallpaper,† http://classiclit. about. com/library/bl-etexts/cpgilman/bl-cpgilman-yellowwall. htm