Reading between the Lines Poetry, Movies and Social Problems

Figuring out the real story Poetry, Movies and Social Problems What makes a man’s life not quite the same as the life of a wild brute is the way that the previous can get familiar with the significant exercises which h is being instructed as the life goes on. It isn't really that these exercises must be the aftereffect of the man’s life, on the opposite †it is best that one ought to learn on the slip-ups of the others.Advertising We will compose a custom exposition test on Reading between the Lines: Poetry, Movies and Social Problems explicitly for you for just $16.05 $11/page Learn More This is likewise craftsmanship that individuals can have important experience from. Learning the extremely valuable exercises given to them by the creators of the sonnets, books and films, individuals comprehend that there are things which they need to underestimate. Not to rehash the errors of the others, we start acting the way which was propelled by the creators of the bits of workmanship. Morning by Pablo Neruda: Rising with the Sun, Achin g with the Moon One of such pieces is the sonnet by Pablo Neruda called Morning. Neruda figured out how to grab a piece of people’s life and put it into a few exact and sharp lines. The flawlessness is the thing that the writer attempted to seize with the enchantment expression of his, contrasting the rising sun and the rising excellence of a lady. The continuous series of correlations is separating the sonnet, imagining the common excellence of a lady as the magnificence of the world at day break, contrasting the grand sight and the marvels of the nature which a man is just going to investigate, and which he never will, for they are unreasonably excellent †and excessively basic and excessively muddled on the double for the edified psyche. The world past the counterfeit is the thing that Neruda attempted to grasp, letting the perusers peep at the flawlessness of the excellence itself. Be that as it may, it isn't just craftsmanship for workmanship which Neruda is seeking after in the sonnet. He is additionally attempting to pass on the magnificence of the nation which he is living in, attempting to make the perusers see the value of the grounds which they possess. The manner in which Neruda makes a lady and the land some so near one another, practically blending and combining, is really mind blowing. Maybe, he needs to show that the earth is a lady in reality, hurting of the distress which individuals have caused her, yet ready to warm the hearts of her own youngsters, the individuals who are stomping on her and feeling the glow of her heart with their feet. Neruda depicts the magnificence of the nature with all ability of his, so striking that it calls tears to people’s eyes. The second significant thing to gain from the sonnet is that individuals are for the most part offspring of the earth, and in this way, there is no need in tormenting the poor mother with wars and constant sadness. Ample opportunity has already past to leave in harmony. The earth is sobbing for quiet life.Advertising Looking for article on writing dialects? How about we check whether we can support you! Get your first paper with 15% OFF Learn More Sonnet XVII by Pablo Neruda: What Is There inside? People’s longing for affection is really unexplainable, yet the craving to locate the predetermined piece of one’s world is the cry which can be heard in each sonnet veer composed. The melodious sonnets are explicit to the point that one can scarcely contact tem, the current running down them as though they were livewires. The Sonnet XVII by Pablo Neruda is no exemption. What is the sonnet discussing? †Well, love, obviously, the adoration everlasting and enduring just several minutes, t fire which is setting one’s heart ablaze and which raises the spirit to the delighted indescribable paradise. In contrast to the remainder of the artists, Neruda doesn't attempt to delineate his roared in the most amazing light, clarifying that a doration sparkles the great light on the face generally normal, lighting up it for the begun to look all starry eyed at, however leaving it unaltered for the by-passers. Subsequently, Neruda instructs us that affection, a remorseless visually impaired woman, is a performer too, causing the roses to develop where just the thistles used to. The stars according to the perfect partner can be undetectable for the others, yet the individual predetermined can see them eve through the fog of tears. One increasingly significant thing to gain from the sonnet by Neruda is the possibility that the tow individuals once begun to look all starry eyed at become one, animal which lives in another measurement, not quite the same as the remainder of the world. The place that is known for a fantasy is the place love takes the two and, when joined together, the individuals in le will undoubtedly have their hearts interlaced for the remainder of their lives. The faithfulness is the second significant exe rcise which the sonnet shows the crowd. The United Fruit Company by Pablo Neruda: Trading Things and Feelings Each of us has most likely felt once a piece of the nation where the person is living in, enduring the misfortunes which the nation did and feeling the agony which the nation felt. An artist and a nationalist, Neruda was so tuned with the nation of his that he couldn't yet talk about the occasions which occurred in there, and this brought about a sonnet called Canto General. A bit of this extraordinary work called United Fruit Co. was recounting to the tale of the popular revolutionary Ernesto Che Guevara and the manners by which he figured out how to cut the system down and cause the nation to inhale unreservedly. Neruda’s sonnet gives adequate nourishment for contemplations. Without a doubt, the striking ability of his has been appeared in the most express manner. Anyway hard it was for the writer to rake over the past levels, he figured out how to portray the defia nce in a striking and beautiful manner. The occasions of the disobedience have been cut in the memory of individuals since. The significant exercise gained from the sonnet is that whatever a man could feel or consider the nation which he was conceived in, the country will consistently remain an indispensable piece of him, his essence. At whatever point there is a threat slithering to move toward the place that is known for the progenitors, the call of the home will make individuals face the adversaries and battle. So brilliant were the intruders which cut the land down portrayed that each and every man perusing the sonnet felt that he needs to shield the nation from the aggressors.Advertising We will compose a custom paper test on Reading between the Lines: Poetry, Movies and Social Problems explicitly for you for just $16.05 $11/page Learn More The second significant thing to draw from the sonnet is that there is consistently the exit plan from the circumstance, anyway frantic it c ould appear. The main thing one ought to recollect is never to surrender, the battle is won uniquely as the last adversary has been pushed down to the edge of total collapse. This is a man’s world, all things considered, the universe of fights and battling for opportunity and equity. The Anatomy of a Decision by Jason Van Steenwyk: Anatomizing the Will What settles on individuals take either choice? What are they roused as they make a specific advance? These and some different inquiries are being replied in Jason Van Steenwyk’s The Anatomy of a Decision. Setting the military foundation and portraying a normal armed force and its regular individuals, man-units, the creator figures out how to show the significance of settling on a decision, and clarify what makes individuals step toward their predetermination. One of the most significant exercises which one can take from the novel is, maybe, the one of having the option to settle on a choice. It is about not to stop for a second when what the conditions request repudiates the ethical standards and rules once set for a man. Following one’s own heart is a higher priority than incorporating somebody else’s request, Steenwyk appears. Remaining a human while such is the condition that it is simpler to turn into a beats which follows what has been requested is the exercise which the creator shows his crowd. Close to the possibility of mankind lies the vision of the war. Notwithstanding the way that there have been an a lot of books expounded on the war in Iraq, and numerous movies on the subject have been shot, none causes the war to appear the way which Steenyk proposes. He should be the principal who demonstrated how pointless and remorseless the war was, and that the political reasons of the war had nothing to do with the respectable emotions which called individuals to battle in the war. Anyway tragic it is to recognize, none of the wars merited the lives which were saved in the fights. At Night Iraq by Michael Bautista: Beyond the Daylight Another thought of what was going on during the infamous Iraq war is spoken to in At Night Iraq. Michael Bautista limits his vision of the Iraq war to a solitary night, which should be a focal point of what the individuals of Iraq are and what the life in the nation resembles. Rather than the mainstream thought that dread and disarray are at reign in the nation, with individuals possessing it being generally antagonistic and unpleasant, Bautista shows the Iraq family which regards an American fighter as a visitor. The individuals from the family break the man’s thought of what the individuals of Iraq are and what the reason for the war is. The war itself loses the general concept, since the individuals whom the warriors are battling mind appear to be nothing in a similar manner as the picture of a challenging renegade made by God just knows whom and existing God just knows why in the psyches of the troopers who were batt ling with the Iraq armed force. Something which the story trains the perusers is simply the possibility that the war is futile, since it is unnatural for individuals to slaughter one another. The particles which the humankind is made of are no different and along these lines the individuals who save their lives murdering each other are really doing the things which negate their own tendency. Be that as it may, the individuals who began war couldn't care less about such fool †this is the benefit which pushes them to the further military actions.Advertising Searching for exposition on writing dialects? How about we check whether we can support you! Get your first paper with 15% OFF Find out More One progressively social exercise to gain from the novel is the various conventions and customs of different countries. What goes for god habits in the United States may be considere

Interpretation of Forrest Gump free essay sample

In this character examination paper the character of Jenny Curran from the honor winning film Forrest Gump will be the topic of conversation. This paper will introduce an investigation of the Jenny’s character as it is relevant to Psychodynamic hypothesis. The paper will introduce my justification for the decision to utilize the Psychodynamic hypothesis to depict Jenny Curran’s character. We will compose a custom article test on Understanding of Forrest Gump or on the other hand any comparative subject explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page Furthermore, this paper will introduce a portrayal of the psychodynamic hypothesis using crafted by Sigmund Freud in regards to character advancement. The paper will contain a depiction of Jenny Curran, just as, an investigation of her character using Psychodynamic hypothesis concentrating on structure, process, development, advancement, and change. This examination will indentify psychopathologies, which created because of the Jenny’s beneficial encounters. Moreover, there will be a depiction of different factors by the essayist, which indentify inside and outside components that added to the improvement of Jenny Curran’s character. Sigmund Freud built up a general perspective on character in which conduct is an aftereffect of battles among drives and needs that unavoidably strife (Cervone, Pervin, Oliver, 2005 p. 74). The psychoanalytic hypothesis see is that character is grown step by step as the individual travel through various psychosexual stages: oral, butt-centric, and phallic. Sigmund Freud additionally speculated that an individual works from three conditions: the id, the superego, and the inner self. â€Å"The Psychoanalytic hypothesis places gigantic accentuation on the job of early life occasions for later character improvement (Cervone, Pervin, Oliver, 2005 p. 12). † Jenny created obsession in the oral and the butt-centric phases of her psychosexual stage. She carries on in conduct normal for those phases to decrease the pressure, she was encountering in her life. Jenny encounters strife between the id and the inner self and she get discipline from the superego. â€Å"The psychoanalytic hypothesis of nervousness expresses that sooner or later the individual encounters an injury, an episode of damage or injury (Cervone, Pervin, Oliver 2005 p93). † We create approaches to c ontort reality and reject emotions from mindfulness with the goal that we don't feel restless (Cervone, Pervin, Oliver 2005 p93). † Jenny from youth created guarded component to shield herself from the agony she had encountered and was encountering. â€Å"Anxiety speaks to a redundancy of the early horrible experience; Anxiety in the present is identified with a prior threat (Cervone, Pervin, Oliver 2005 p93). † Freud proposed in his psychoanalytic hypothesis that tension outcome from struggle between the drive of the id impulses and the danger of discipline by the superego (Cervone, Pervin, Oliver 2005 p93). The Psychoanalytic hypothesis places tremendous accentuation on the job of early life occasions for later character improvement (Cervone, Pervin, Oliver, 2005 p. 112). † Jenny created obsession in the oral and butt-centric phases of her psychosexual stage. Jenny’s obsession in the oral stage showed in substance misuse issues. Jenny’s obsession in the butt-centric stage showed in resistant character and a powerlessness to identify with power. Jenny had the option to work through the obsession she created in her psychosexual stages. She not, at this point expected to carry on in conduct normal for those stages. Jenny had the option to determine the contention between the id and the sense of self and she not, at this point got discipline from the superego that made conduct unfortunate. Jenny formed into a mindful mother and raised little Forrest, and acknowledgment of her terminal medical problems. Jenny had the option to offer some kind of reparation and acknowledge obligation regarding wrongs and assemble a relationship and marriage with Forrest until her passing Psychodynamic hypothesis is a type of brain research that has center around the oblivious contemplations and feeling as causing one’s cognizant practices and encounters. The id is the vitality drive, just as an uncorrupt structure that sets expectations for guaranteed delight (Pervin, Cervone, amp; Oliver, 2005)†. The superego is the ethical side that looks for flawlessness and is the wellspring of a person’s inside revenge, for example, feeling remorseful, mortified, or substandard. The superego has been known as the inner voice as indicated by Frank (1999), and the ‘self-evaluating’ segment of the character. The inner self is the truth searcher that intercedes between the id and the superego with rationale and a feeling of regularity (Pevin, Cervone, amp; Oliver, 2005). As indicated by Pervin, Cervone, amp; Oliver (2005), the inner self is rarely static however continually changing and is the expresser of â€Å"perpetual and subjective skills†. The method of reasoning for picking the Psychodynamic hypothesis to break down the character of Jenny from the film Forrest Grump is: â€Å"The Psychoanalytic hypothesis places huge accentuation on the job of early life occasions for later character advancement (Cervone, Pervin, Oliver, 2005 p. 112). † Psychosocial improvement speculates that every individual must experience a progression of stages in grouping with the possibility to grow new capacities in each progressive stage (Erikson, 1980). The character Jenny experienced noteworthy measure of injury during her youth. These horrible encounters shape Jenny’s future character and conduct. Sigmund Freud’s hypotheses present the best represents how Jenny’s character was shape. Also, Freud’s use of his speculations using the three condition: the id, superego, and self image magnificently depict the drive behind Jenny’s practices and encounters. What's more, Freud’s psychosexual stages recognize stagnations in Jenny’s advancement from powerlessness to determine struggle during explicit psychosexual stages: oral, butt-centric, phallic. Psychodynamic hypothesis lights up zones of contention that outcome Jenny’s failure to capacity and manage the nervousness and struggle produce from her awful encounters. The character of Jenny Curran from the film Forrest Gump is the focal point of this character examination paper. Jenny Curran was conceived on July 16, 1945 and brought up in a battling little cultivating network in Alabama. Jenny had two sisters that were discussed by Forrest Gump; in any case, the young ladies were never observed during the move. Jenny’s mother’s passed on when she was five years of age, which left Jenny and her sisters to be raised by her dad. Jenny and her sisters during that timeframe became survivors of sexual maltreatment and physical maltreatment. Jenny’s father tended to drink too much and was a pedophile and brutal person. Jenny was expel from her father’s home by the police and was isolated from her sisters. She was put in the home with her grandma who she live with of and on during the film. Jenny’s relationship with her grandma was delineated during the film. During this time of her life Jenny was an extremely grieved young lady and Jenny’s just wellbeing originated from her companionship with Forrest. Jenny was fruitless at a large number of the objectives she set for herself in the film she floated from oppressive relationship to another. She battle with the morays and restrictions of that time showing in practices that brought about her being ousted from school for presenting bare in her school sweater. What's more she worked in a strip club and sang people music naked. Jenny battled with tension and the improvement of in successful safeguard component that harmed her persona at that point securing. Jenny in the long run engaged in medications and liquor. In addition, at one point it created the impression that she was conceivably included prostitutions. In any case, it was not explained in the film however it gave the idea that she was burglarizing a client who was dropped. Jenny examined self destruction a few times during the film. At a certain point when she was with Forrest in Washington D. C. what's more, some other time she was seen remaining on the edge in a confined house or lavish inn. Jenny obviously shows issues which the five significant parts of psychodynamic hypothesis can be applied. Taking everything into account, the character of Jenny Curran from the honor winning film Forrest Gump was the topic of conversation. The paper introduced an examination of the Jenny’s character as it is appropriate to Psychodynamic hypothesis. The paper introduced the writer’s method of reasoning for his decision to utilize the Psychodynamic hypothesis to portray Jenny Curran’s character. Moreover, the paper introduced a depiction of the psychodynamic hypothesis using crafted by Sigmund Freud in regards to character improvement. The examination moreover indentified psychopathologies, which created because of the Jenny’s educational encounters.

Where to Display AdSense Ad After Getting First Approval

Where to Display AdSense Ad After Getting First Approval For the rapid growth of AdSense applicant it becomes tough to get approval. Everyday Google AdSense team receives enormous application from publisher for account approval. But it is not possible to give approval to all applicants. Google AdSense has specific terms of service where you must comply with them. But after fulfilling the entire AdSense requirement many publishers dont get approval. I have seen there are some small mistake works behind this, which is responsible to not getting approval from Google AdSense. Among various mistakes new publisher do a mistake while they place ads on non-recommended place after getting first approval. After getting first approval from AdSense you will see a message on AdSense dashboard that your account is getting reviewed. And for completing the review you must place ads in your site. But at that time AdSense will serve only blank ads. This is not actually ads, after adding AdSense code a blank space will display there. Many new applicants think Blank space looking weird in my site or current visitors dont feel comfortable with blank space, as a result they place that ad code at the bottom of the page. And this is a great mistake where many AdSense applicants application gets disapproval from AdSense. A significant recommendation from AdSense is to place ads above the fold where most of the visitors hit. Above the fold means the portion of a Web page that is visible in a web browser when the page loads. So this means you must keep the ad code above the fold. But if you place the ad code below the fold then users have to scroll down to see the ads and AdSense dont recommend that. Where to Place AdSense ad code after getting first approval? We have already known that we must place the ads above the fold. And another requirement is your ad code must display in all of your web pages. The ideal place is to display AdSense ads on website header section and top sidebar, because from all of your WebPages those 2 sections are visible. If you visit post page then your header section as well as sidebar section remain visible. And those two places always remain above the fold. Though AdSense required placing only one ad code after getting first approval but for increasing approval possibilities we should place AdSense ads in 2 places. If your website designed with 2 column header then place an ad code on right header section. And place second ads on top right of your websites sidebar. Alternatively you can place a large leather board below header section of your website. And second ad code at top right sidebar. And when AdSense team will come to review your site then they would see you have placed ads in right position and blank ads are visible from all Blog pages (post page, static page, achieve page, search page). As a result it will maximize the possibility to get approval after first impression by AdSense team. However there are many major and minor requirement AdSense applicant must fulfill. Among various approval provisions AdSense ad placement above the fold plays significant role. Wish you best of luck to get AdSense approval.

William Shakespeare Greatest Playwright of All - 1568 Words

William Shakespeare: Greatest Playwright of All William Shakespeare (1564-1616) was a British poet and playwright, he was well known as the greatest writer of all time, he was often called the Bard of Avon.Although many facts of his life remain unknown, his poems and plays are unique and have timeless theme that touch everyone’s heart, and are still widely studied and performed in today’s society. During the reign of Queen Elizabeth I, England enjoyed a time of prosperity and stability that led to a new era for England. Shakespeare’s works epitomize arts of the Elizabethan Epoch; through his uses of beautiful and poetic language, iambic pentameter is nearly always used in his style of poetry. Shakespeare wrote about timeless themes about†¦show more content†¦When the Globe was built, He worked for the Lord Chamberlains Men, and was also part owner of the Globe itself. People in Elizabethan England were very concerned with the humour, which was a form of medicine and psychology. Shakespeare makes references to them all over in his plays. Hamlet is portrayed as being to Melancholic, with his humours out of balance, and one was dominant over the others. This is not psychology as we know it today, and was why the people from Elizabethan Era believed people were the way they were. Shakespeare used this belief to make his characters not only believable, but also understandable to his audience. Shakespeare’s works are the greatest representation of art from Elizabethan England politically, economically, and socially. No other art form, including painting, could provide so much information about life in Elizabethan England, we can see the ideas, thoughts, languages, customs, etc throughout his plays. Shakespeare wrote 154 sonnets and 37 plays in total, including tragedy, comedy, and history. The Four Great Tragedies were his greatest achievement as a playwright, and are greatly studied in English literature, performed in theatre, and made into several films; include Romeo and Juliet (1594), the timeless tale of young lovers whose names were synonymous with star-crossed romance; Hamlet (1600), the revenge drama centering on the introspective Prince of Denmark; Othello (1604), a story ofShow MoreRelatedWilliam Shakespeare: Greatest Playwright of All1554 Words   |  7 PagesWilliam Shakespeare: Greatest Playwright of All William Shakespeare (1564-1616) was a British poet and playwright, he was well known as the greatest writer of all time, he was often called the Bard of Avon.Although many facts of his life remain unknown, his poems and plays are unique and have timeless theme that touch everyone’s heart, and are still widely studied and performed in today’s society. During the reign of Queen Elizabeth I, England enjoyed a time of prosperity and stability that ledRead MoreWilliam Shakespeare : The Greatest Playwright Of All Times1845 Words   |  8 PagesWilliam Shakespeare is considered the greatest playwright of all times but one of the most famous English writers. Not only was he a talented playwright but he lived a very pivotal life; some say it s due to his 37 plays and 154 sonnets credited to him. His remarkable talent with the English language has inspired many writers and playwrights. However, over the years there has been much speculation about Shakespeare s life regarding his religious affiliation, sexual orientation, sources of collaborationRead MoreWilliam Shakespeare s Romeo And Juliet, King Lear, And A Midsummer s Night Dream1037 Words   |  5 Pagesof Avon, commonly known as William Shakespeare is one of the best known playwrights in the (Video). A few of his most famous plays include Hamlet, Romeo and Juliet, King Lear, and A Midsummer’s Night Dream (McArthur). Although he was popular during his time, Shakespeare’s influence continued to grow after his death and today he well known around the world. He added 2,000 words to the English dictionary and he is the 2nd most quoted after the Bible (Video). Shakespeare is one of the most influentialRead MoreWilliam Shakespeare : The Greatest Writer Of All Time1008 Words   |  5 Pages William Shakespeare is considered the most influential and greatest writers of all time because he writes great stories, he has the ability to turn phrases, and has very a compelling use of characters. I w ill be including in my research countless facts about Shakespeare and educated information on why William Shakespeare is considered the greatest writer of all time. Shakespeare s feats and accomplishments have all been established and based on his early life and childhood. William ShakespeareRead MoreThe Greatest Pieces Of English Literature972 Words   |  4 PagesWilliam Shakespeare has written some of the greatest pieces of English literature but some doubt he is the one responsible for it. There are some scholars who believe the conspiracy that Shakespeare did not write the work attributed to him and the true author is someone else, due to the anti-stratfordians who propose theories of who could be the real author, this once small talk has turn into a well- known conspiracy theory, although little to none evidence is all we have on a man named William ShakespeareRead MoreEssay on The Life of William Shakespeare1042 Words   |  5 PagesLife of William Shakespeare William Shakespeare is one of the most identifiable icons of England. Shakespeare was one of the greatest and most influential playwright and poet during his lifetime. He is known as the greatest dramatist of all time due to his many poems and plays, such as â€Å"Shall I Compare Thee To A Summers Day?† and Romeo and Juliet. However, despite being so well known in the world of literature, there is not much known about the childhood of William Shakespeare. William ShakespeareRead MoreEssay On William Shakespeare1127 Words   |  5 PagesThis is an informational essay about Poet, Actor, and Playwright,William Shakespeare. In this essay you can find much information ranging from fun facts to his death. This essay tells much about his life and includes some details of family members. The key purpose of this essay is to inform curious people about William Shakespeare. â€Å"I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a humanRead MoreWilliam Shakespeare as the Greatest Genius in British Literature1014 Words   |  5 PagesWilliam Shakespeare as the Greatest Genius in British Literature Even after four centuries, the literary world remains to uphold Shakespeare as the greatest genius in British literature. While best known as a dramatist, Shakespeare was also a distinguished poet. Shakespeares extraordinary gifts for complex poetic imagery, mixed metaphor, and intelligent puns, along with insight into human nature are the characteristics that created the legend he is today. The following essay will address howRead MoreUncovering the Real Shakespeare710 Words   |  3 Pagesthe world’s greatest playwrights, William Shakespeare, is accused of being some kind of fraud (Or at least not who we think he is). If Shakespeare was a fraud, he certainly succeeded, making himself one of the most known names in the history of literature. Across the globe, there is a heated debate whether or not Shakespeare was even the true or original author of all of the work he is claimed for. The Oxfordians, represented by Keir Cutler in Just Exactly Who Was The REAL Shakespeare?, believeRead MoreThe Tragedy of Othello, the Moor of Venice Essay1142 Words   |  5 PagesA talented poet and playwright writer, William Shakespeare came during the golden age of England. His writings are the greatest in the English language. No one really know Shakespeare real birthday. The closet date the scholars can come up is on his baptism on April 24th, 1564. It has been over 400 year s since his death; Shakespeare’s writing is not just limited to English scholars, but also appears on modern historical events and newspaper as well. Playwright and poetry are an art that appeals

Miltons Satan

Sample details Pages: 24 Words: 7179 Downloads: 10 Date added: 2017/06/26 Category Statistics Essay Did you like this example? The analysis of miltons satan in view of classical epic traditions This dissertation investigates in depth the issue of whether Miltons Satan from the poem Paradise Lost can be considered a classical epic hero. The research makes a major emphasis on the classical world context, uncovering the poets vision and comparing Satan with Achilles from Homers epic Iliad. The received results show that, despite the fact that Milton utilises some classical allusions in regard to the figure of Satan, he changes these conventions by implementing his own historical vision and religious beliefs. Some findings of the dissertation are consistent with the previous researches on Miltons Paradise Lost, but other findings provide opposite results with certain valid data. Don’t waste time! Our writers will create an original "Miltons Satan | English Literature Dissertations" essay for you Create order 1 Statement of the problem The figure of Satan from John Miltons epic work Paradise Lost is rather controversial. Contrary to Satan from the Bible, this character possesses an ambiguous nature that continues to raise hot debates among scholars as to the interpretation of Miltons Satan. Some researchers maintain the idea that Satan is a classical epic hero that can be compared with Homers Achilles, while other scholars consider this character as a non-traditional hero. The third group of researchers refuses to define Satan as a hero, pointing out that this character Isa simple negation of Creator. Overall, rising against oppression and God, Satan reflects a complex symbolic meaning that reveals Miltons artistic viewpoint. In this regard, the researchers interpretation of Paradise Lost is mainly based on two contradictory visions: orthodox and heterodox. 2 Introduction Any epic poem is characterised by the representation of history and cultural traditions of particular civilisations, as well as by the investigation of crucial issues of existence. The classical epic poetry mainly created by the Greeks and Romans usually applies to the theme of heroism, producing unusual epic heroes, like Homers Achilles or Virgils Aeneas, that are further utilised in Renaissance literature. As Lefkowitz claims, Whether we are aware of it or not, our perception of reality continues to be defined by the Greek experience. The plots of myths recur even in contemporary writing, only with the names, dates, places changed1. Other civilisations also invented their heroes, such as Gilgamesh of the Assyrians, Siegfried of the Germans and Beowulf of the Anglo-Saxons, the characters that reflected certain heroic periods. However, some poets and writers find it difficult to accept such definition of heroism and create their own heroes that, on the one hand, contrast with the classical epic heroes, but, on the other hand, adhere to certain epic conventions. One of such characters is Miltons Satan from the poem Paradise Lost. On the example of this character Milton greatly changes the issue of heroism, contributing to the destruction of the older epic genre and the classical epic heroes, instead introducing a new epic form of portrayal. As a result of such changes, the epic is gradually transformed into an artificial genre, as Hainsworth puts it, The exciting turmoils of three decades of revolution in criticism have left the classic texts much as they were: the canonical exemplars that continue to organize our Western concepts of literature2. The aim of this dissertation is two-fold: 1) to analyse the figure of Miltons Satan with the emphasis on the classical world, and 2) to discuss the writers attempts to integrate the classical world with his own artistic vision. The paper is divided into several sections. Chapter 1 provides a statement of the problem that uncovers the core of the research. Chapter 2 observes the issue in general terms, applying to classical references. Chapter 3 analyses those works and researches that have been written on Miltons Satan. Chapter 4 mentions the research methods that are utilised for the analysis. Chapter 5 discusses in detail the issue of whether Satan can be regarded as a classical epic hero and can be compared with Homers Achilles. Chapter 6 provides a summarisation of the received findings, and Chapter 7 points at the limitations of the research and suggestions for further investigation. 3 Review of the literature John Miltons epic work Paradise Lost attracts attention of various researchers who are especially interested in the figure of Satan. Gerald J. Schiff horst analyses symbolism, through which Milton creates such characters as Satan. As he points out, because Miltons personified characters and events stand for moral, religious, or political ideas, he was able to combine classical and Christian elements3. Abrams also supports the idea that in this poem Milton applies to pagan and Christian elements in the characters portrayal4,while Martindale makes stress on Christian components that influenced the figure of Satan 5. Analysing Miltons character, Northrop Frye claims, What Satan himself manifests in Paradise Lost is the perverted quality of parody-heroismConsequently it is to Satan and his followers that Milton assigns the conventional and Classical type of heroism6. Thus, providing Satan with some heroic actions, Milton implicitly criticises God that rejects those who do not want to follow his rules. However, Shaw cross doesnt regard Satan as a real hero; contrary to other critics of Miltons poem, Shaw cross states that In Satan we have the antithesis of heroic action although he appropriates the language of that action. [The Son]becomes the exemplary hero, or prototype hero, for all men7. In this regard, Francis C. Blessing ton goes further in his analysis of Miltons Satan; in particular, the researcher points out that Satan is the perversion of the classical heroic virtues [He is] not a classical hero but a classical villain who heroically defeats creatures furbelow him in stature8. Martin Mueller pays attention to the epic conventions in representing the figure of Satan; according to him, because Satan is the idol, or hideous double of Christ, he necessarily acts within the conventions of the epic tradition9. Neil Forsyth claims that Milton reveals sympathy towards the figure of Satan, but the poet moves the narrator away from this character; thus Forsyth suggests that Paradise Lost should be interpreted from an unorthodox perspective10. In particular, the researcher points out that at the beginning of the poem Milton demonstrates heroic features of Satan, uncovering the characters viewpoint, because Milton doesnt consider Satan to be fully wretched. By creating the figure of Satan and applying to Satans vision, Milton opposes to Christian orthodoxy from time to time and contributes to the ambiguity of narration. Forsyth considers Satan as a self-divided creature, a portrayal of our modern and divided selves11. Michael Bryson goes even further in his analysis; he regards God as a tyrannical evil, while Satan seems heroic because he is heroic12. Contrary to the claims of some critics, Bryson doesnt support the notion that Satan is bad from the very beginning; instead the researcher states that Satans moral advantages that he does not begin as a tyrant13. According to Bryson, the tragedy of Satan is not in his revolt against God, but in his deliberate or in deliberate inclination to follow the structure that he repelled at the beginning of the poem. Thus, Satan rejects the Son as king, only to aspire to be a king himself aspiring to be like God in the wrong way14. Stanley Fish, one of the principal researchers of Miltons Paradise Lost, considers that Satan cant be blamed for peoples fall, rather he prefers to regard people for their failure15. On the basis of the analysed literary works, it is clear that Miltons poem has been widely researched, producing a variety of interpretations. However, each critical study is restricted to the investigation of certain aspects, thus it is necessary to analyse different contradictory viewpoints in order to receive accurate findings in regard to the figure of Satan. 4 Research methodology This dissertation utilises two principal methods of investigation: a qualitative research method and a discourse analytical approach. The qualitative research method allows to analyse the discussed issue on the basis of various interpretations, generating new findings that havent been received in earlier studies and researches. As Ricoeur points out, interpretation is the work of thought which consists in deciphering the hidden meaning in the apparent meaning, in unfolding the levels of meaning implied in the literal meaning16. This particular method is based on specific qualitative data taken from various researches that reveal contradictory views on the analysed literary work. The discourse analytical approach provides an opportunity to investigate the historical and social contexts that influenced Miltons artistic vision, investigating different aspects of the narration. Applying this approach to the conducted research, the paper reveals the reasons for the controversial nature of Miltons character and the poets difficulties in integrating the classical world with his own historical world. Both methods present certain theoretical tools to evaluate the discussed issue in depth and to analyse various interpretations. 5 Discussion 5.1. Miltons Satan as a non-traditional epic hero Every epic poem reflects a destroyed historic civilisation and the existing virtues through the principal characters of the narration. Miltons Paradise Lost created after the complex political and social events also applies to certain conventions that are utilised in such epics as Homers Iliad. As Martin Mueller puts it, Milton himself drew attention to the thematic affinities between the central actions of Paradise Lost and the Iliad, for in his poem he followed the Iliad more closely than any other epic17. With the help of classical allusions the poet reinstates these conventions, but simultaneously he greatly changes them in order to reveal his own artistic vision and his acceptance or rejection of various aspects. According to Kates, this is especially true in regard to one of the principal characters of Miltons narration Satan18. In general literary terms, Satan is presented as a character who is engaged in various intrigues in his courageous struggle against God. However, Satan is not a complete antagonist, but rather a figure that, to some extent, can be compared with a classical epic hero. As Ralph Condee points out, I propose that Satan is not the hero of Paradise Lost, but that he is in a very significant way one of the heroes19. In this regard, Milton rejects a stereotypical representation of the hero that possesses only positive features. Miltons Satan is portrayed as an opponent to the despotic power of God. The poet reveals the flaws of Satan, presenting him as a heroic and detestable character that can be admired for his struggle, but is supposed to finally lose because of his deeds. According to Schiff horst, Milton defines heroism negatively by contrasting it with what it is not. The very fact that Satan is given some traditional heroic attributes reveals Miltons dissatisfaction with the heroic tradition of the epic20. Miltons vision of the hero contradicts the portrayal of a hero in classical literature, that is, his hero is someone who rises against any stereotype, religious dogma or established norms. As Collet states, combining pagan epic elements with Christian traditions, the poet creates his own truth that is based on historicalpast21. Such unusual artistic viewpoint can be also explained by the social and historical context that shaped the way Milton presented Satan. Milton lived in the period, when England was involved in the severe political and religious struggle. On the one hand, the Anglicans made constant attempts to influence people of various religious beliefs and, on the other hand, English government utilised its power to implement certain laws that were not accepted by some members of society. Milton supported any struggle against oppression, either religious or political. As Lowenstein claims, Writing in the English Revolution and the Restoration, Milton places great emphasis on the freedom and responsibility of human agents to choose22. The figure of Satan reflects this particular viewpoint, expressing the necessity of free will. As Satan claims, And what I should be, all but less than he/ Whom thunder hath made greater? Here at least / We shall be free23. These words prove that God possesses divine power to prohibit any expression of free will, thats why Satan opposes to this power. Contrary to a classical epic hero who is rather fictitious and unbelievable, Satan is a hero who, according to Hamilton, wins our admiration the more firmly because he is intimately real, while the inhabitants of Heaven are remote and strange24. This is only one side of Satans character; however, he possesses many other contradictory features. As the narration progresses, Satan appears to reveal certain heroism that, to some extent, reflects the classical understanding of heroic actions. In particular, Hamilton states that Satans heroic qualities are enhanced by this strain of something approaching tenderness in his character His courage and will-power are not the expression of nature irrevocably hardened or incapable of gentle emotion25. Thus, Milton makes an attempt to distinguish real heroism from the classical representation of heroism, depriving a classical epic hero of its heathen nature and providing him with new features. According to Lowenstein, virtue for Milton cannot simply be taken for granted, but must be continually tested26. Satan is presented through specific epic similes that allow the poet to intensify the figure of Satan and reveal his epic characteristics, comparing Satan with the Son who appears less heroic. In this regard, heroism of Achilles from Homers Iliad contradicts Miltons understanding of heroism, because Achilles heroic actions are inspired by the heros rage and wish to take revenge. According to Michael Silk, Achilles embodies the heroic ideal of Greek people; he is the principal epic hero that shapes the portrayal and understanding of classicalheroism27. However, drawing a parallel between Satan and Achilles, Milton cant accept Achilles heroism without reserve; instead he expresses his own vision on the example of Satan and regards the epic poems as spasms of a dying tradition28. Achilles who is usually called as the man breaker applies to heroic actions to perform his duty, but the heros rage results in many negative consequences. Achilles heroism doesnt go beyond the fortune assigned by Gods, as he claims at the end of the epic narration, Such is the way the gods spun life for unfortunate mortals, that we live in unhappiness, but the gods themselves have no sorrows29. Contrary to Achilles, Satan resorts to various tricks in his struggle against God, but he explicitly reveals his attitude towards God, challenging and criticising his power. Achilles heroism brings death and havoc, while Satan wants to provide people with freedom and understanding. As Mueller points out, The comparison with Achilles reveals the formal elements of tragedy but in a Christian context the experience of tragic recognition undergoes a radical transformation30.For Milton, Satan is better than Achilles or other classical epic heroes, because Satan not only acquires his heroism after his failure, but he also refuses to accept his predetermined destiny. Satan is better than angels, because the latter possess no will power and freedom; they are mere instruments in the hands of God, while Satan has necessary power to oppose God and everything that threatens his independence. As Satan claims, Here we may reign secure; and, in my choice, / To reign is worth ambition, though in Hell31. Throughout the narration Satan is engaged in heroic search that ends tragically for Satan and other creatures of hell. Although some critics do not consider Satan as a hero, Milton reveals that he possesses many heroic features. Satan leaves hell and jeopardises his life to find the truth, to prove his freedom. He makes an attempt to create another world that will be different from the world created by God, but he fails, because he doesnt possess enough power for such action. Thus, Milton doesnt fully reject the classical epic elements, but as Lowenstein puts it, Rather than involving full-scale rejection of classical forms and themes his poems tend to involve revisionary transformations of them, infusing these earlier forms with new prophetic Christian meaning32. In the character of Satan, Milton embodies those features that he considers crucial for aero, such as strength, independence, brightness and wisdom. Satan reveals all these characteristics and rises in opposition to God, initiating a rebellion. According to Danielson, heroic values have been profoundly transvalued in Paradise Lost33. But despite the unique interpretation of heroism, only such powerful and clever creature as Satan is able to make others follow him. Satans speeches are similar to the speeches of a revolutionary who struggles against any despotic power. The discourse analytical approach suggests that such speeches allow to analyse the character of the narration and his relations with other creatures34. As Quint puts it, these voices of resistance receive a hearing, as the epic poem acknowledges, intermittently, alternative accounts vying with its own official version of history35. However, Satans negative features contribute to his failure, transforming him into a tragic hero. According to classical traditions, a tragic hero is someone who possesses certain flaws that result in the characters ruin. This is just the case with Satan who reveals pride and jealousy, but can also evoke powerful emotions. As Silk puts it, Satans revenge and pride recall Homers Apollo and also his Achilles; he is cast out from heaven as Virgils Aeneas was fromTroy36. Milton calls Satan the proud/Aspirer37, stressing on the ambiguous nature of Satan and revealing his heroic features. When Satan together with other fallen angels is driven away from heaven, he manages to take a full control over the situation and create Pandemonium. Satan doesnt want to accept his defeat and appears as a leader for his followers, convincing them in their triumph. On the other hand, he provides angels with a chance to express their opinion as to the struggle against God. Satans courage is especially obvious when he decides to personally perform the task of seducing Adam and Eve. In this regard, Satans heroic actions are constantly intensified by Milton, as well as Satans despair. In his talks with himself Satan uncovers his inner suffering and misery. Presenting a heroic figure of Satan at the beginning of the poem, Milton provides his readers with an opportunity to understand Satans viewpoints and feelings. As Dennis Danielson puts it, The fallen Satan is, we gather, a creature of moods, apprehending reality through mists of self-deception andforgetfulness38. Satan is not an ideal character, like such classical epic heroes as Homers Achilles, but this doesnt prevent him from revealing certain heroic features. Satan is an ambiguous hero with divided self that makes him turn to evil, but Satans powerful speeches, courage and a direct opposition to the power of God reveal his heroism. Danielson claims that the epic question and answer present Satan and hell in heroic terms, with reference to a range of epic passions, motives, and actions39. Although some researchers do not regard Satan as an epic hero, many famous writers and poets, such as Burns, Shelley, Blake, Baudelaire and Godwin supported the idea that Satan was one of the principal heroes of Miltons Paradise Lost. In particular, they appreciated his freedom and power, his resistance and courage; for them, Satan was a creature that couldnt accept any inequality, thus he decided to oppose it. For instance, William Godwin claims, Why did Satan rebel against his maker? It was, as he himself informs us, because he saw no sufficient reason for that extreme inequality of rank and power which the creatorassumed40. The controversy in presenting the figure of Satan can be explained by the fact that Milton rejects any stereotypic or traditional notions, providing his own interpretation of various religious and classical issues. As Quint claims, Milton famously bids farewell to the traditional epic of war Instead, he moves the story to a private realm that is at once the figure of the inner, spiritual heroism of Christian fortitude and of a domestic sphere41. In this regard, Satan appears as a hero that realises his damnation, but he doesnt want to passively accept it. He considers that he is right in his struggle against the power of God, and this confidence in his own truth is really crucial for John Milton. Satan inspires great passions that reflect the essence of political and religious life of that period. It is through this character that the poet reveals a close connection between people and the occurred events, between peoples virtues and cultural traditions. The character of Achilles reflects the Greek ideals on virtues and appropriate behaviour, but Achilles himself doesnt always conform to these particular ideals. However, Satan, due to his ambiguity, embodies contradictory ideals of different cultural, historical and religious origins, generating new interpretations. Applying to qualitative research method, Taylor claims that interpretation is an attempt to make clear, to make sense of an object of study. This object must, therefore, be a text, or a text-analogue, which in some way is confused, incomplete, cloudy, seemingly contradictory in one way or another, unclear42. The poets similes in regard to Satan do not produce a single interpretation, but instead create a variety of different meanings for understanding of this character. For instance, Satan is compared with wolf, a thief, a pharaoh, but these are only some images of this hero that he reveals from time to time. However, it is difficult to recognise the whole reflection of Satan, because he acts differently in various situations and presents different images. This can be explained by the fact that, contrary to classical epic poets that made attempts to create history through their narratives, Milton utilises some historical fragments with novel representation, interpreting classical elements from different perspectives. As Mueller states, such approach allows John Milton to produce a completely new epic within the older epic, profoundly contributing to the ambiguity of the narration, in general, and the principal characters, in particular43. According to the social constructionist approach, appropriate understanding of certain cultural traditions can be obtained from the history of the whole civilisation that is reflected in some heroic individuals. Milton is well aware of Greek history that is shown in classical epics, but he finds it impossible to fully integrate the created classical world in his own narration. A classical epic poem reveals certain beliefs, ideologies and morality; David Quint goes further by dividing the genre of epic on the epics of losers and the epics of winners. The researcher claims that Homers Iliad belongs tithe epics of winners, as Achilles manages to receive a victory, while Miltons Paradise Lost falls under the epics of losers due to Satans failure. But further in the analysis Quint points out that Milton overcomes this general division and forms a new kind of epic genre with rather contradictory character of Satan44. As William Porter states, in the epic poem Iliad Achilles is presented as a powerful hero who reflects some cultural values of Greek civilisation and who protects his people, but he also pursues his own interests in this struggle, although this fact is only implicitly revealed in the narration45.Satan is a more complex figure that doesnt conceal his intentions. Achilles appears to be too ideal and thus, unreal, while Satan, with his positive and negative features, is more genuine and is able to arouse sympathy and understanding. As one hero is a winner and another hero is a loser, they seem to show different notions and ideals; in the case of Achilles, his heroism reflects subjugation and the preservation of old traditions and values, while Satan struggles for survival and appropriate changes. As Milton supports the ideals of struggle against any despotic power, he implements these ideals in his ambiguous character. Though he values some classical traditions, he strives for changes that became crucial in the world he lived. Contrary to Achilles who tries to preserve his civilisation, Satan rises against despotism that Milton embodies in the figure of God who is our grand Foe, / Who now triumphs, and in thexcess of joy / Sole reigning holds the Tyranny of Heavn46. Achilles wont dare struggle against gods, because he understands that this is avian fight. But Satan rises against God, realising that he will be cruelly punished in the case of his defeat. According to Blessing ton, Satan struggles for his own freedom, as well as freedom of other fallenangels47. As Satan claims, I come no enemy, but to set free / From outhits dark and dismal house of pain48. Thus, Satan is not only a wise and powerful leader, but he also possesses some human emotions that allow readers to better understand this character. His tragedy as an epic hero is explained by Satans inability to understand reality and accept those values that are assigned to him. As a result, Satan says, So Farwell Hope, and with Hope farwel Fear, / Farwel Remorse: all Good to me is lost; / Evil be thou my Good49. Satan prefers to live in an invented world with his own values and principles that substitute real-life, and this world greatly depends on hate that weakens him and results in his defeat. Satan constantly puts crucial questions, and his inner doubts reveal his intelligence and deep emotions, being unable to passively accept the established moral norms: What though the field be lost? All is not lost; the unconquerable will / and courage never to submit or yield / that glory never shall his wrath or might extort from me50. However, throughout the narration Satans power is replaced by great despair, the emotion that demonstrates that the hero is not void of normal feelings and that he is rather vulnerable. A creature that experiences such powerful emotions is not completely evil; rather he appears to be thrown into evil by some really strong force, like God. Satan fails to realise that God utilises him for his own purpose, but this manipulation reveals Satans heroic nature, contrasting him to God. And though God cruelly punishes Satan and other fallen angels, Milton reveals that heroic values are inseparable from the struggle initiated by Satan. Whatever are the reasons for this particular fight, it is through the struggle that Satan manages to acquire some important features and openly rise against the Creator. In this regard, Milton moves away from many epic conventions, but those conventions that the poet utilises reflect much irony. As Mueller states, Milton did notuse epic conventions in the spirit of the faithful imitator, but housed them with the ironic consciousness of their conventionality51. For Milton, utilisation of epic conventions provides the whole narration and the characters with many limitations that the poet tries to overcome in Paradise Lost. According to Mueller, Miltons poem reveals the inadequacy of epic perfection to serve even as the image of a higher perfection, and this inadequacy is further underscored in the quite unpick account of the Creation52. On the example of Satan, the poet uncovers the impact of these epic conventions on the character and his heroism, showing how Satan is restricted by these traditions. Therefore, Milton changes not only epic values, but also the epic representation of the principal characters, although, according to Miller, a real epic hero should possess such important features as military virtues and lethal risk53. Despite the fact that Satan doesnt confirm to these classical virtues, his challenge to God transforms him into a character, because he rises against reality and the established order. As he denies the supreme power, he acquires inner strength that is reflected in his physical image: Forthwith upright he rears from off the pool / His mighty stature54. Such portrayal of Satan is further intensified by the classical conventions that allow Milton to compare Satan with some epic heroes. This grand fallen angel possesses ancient armour that puts him into achieve position over other angels: his ponderous shield / ethereal temper, massy, large and round. / Behind him cast; the broad circumference / Hung on his shoulders like the moon55. Satan is close to his fellows and experiences the same pain, making a courageous attempt to improve their conditions. In this regard, Satan reminds such classical heroes as Beowulf, Titan, Achilles and other characters that oppose Greek gods; however, Milton doesnt identify Satan with these heroes. Contrary to some classical heroes, Satan arouses respect in fallen angels; Satans powerful speeches persuade his fellows in the necessity of struggle. As Satan claims, Princes, Potentates, /Warriors, the flower of heaven, once yours, now lost / Awake, arise, or be for ever falln56. Satan appears as a great commander, similar to Caesar, Hannibal or Alexander. Milton reveals that one of the principal features of a real hero is a powerful spirit that allows aero to overcome complexities and misfortunes. Satan, despite his negative traits, preserves his potent spirit till the very end. He rises against the supreme creature, understanding that there is little hope to conquer him, but being unable to stand aside. Although the traditional representation of Satan reveals him as a dastard, Miltons Satan rejects this portrayal. When he decides to perform the mission by himself, he shows real heroism, passing through Chaos and finally appearing in Eden. It is obvious that a part of this motive is explained by his wish to achieve recognition and power over others; however, the difficulties of his journey outweigh his initial incentive. According to Bryson, Satan more closely resembles a character from Greek drama or Homeric epic than one from the Bible57.Satan understands that he will face dangers during his trip, but nothing can stop him in his pursuit of the crucial goal. As William Ker puts it, heroic poetry implies an heroic age, an age of pride and courage, in which there is not any extreme organization of politics to hinder the individual talent and achievements, nor on the other hand too much isolation of the hero58. The classical epic represents a heroes a defender of people, a character that possesses deity, fortitude and spirit. Throughout the narration Satan reveals some of these features, although his actions are usually dishonest. As Satan rises against the established values, God starts to consider him as an evil; but, perhaps, it is God himself, not Satan, that can be blamed for this evil in a fallen angel. In this regard, Satan appears as the forerunner of a romantic hero that is portrayed as a villain who destroys the established moral norms and defends new codes of behaviour. But such hero is still appreciated for his courage and ideals. Similar to a romantic hero, Satan reveals many images on the surface, but deep inside he suffers, like any human being, and he is able to evoke awe and admiration. Although Satan turns to evil and utilizes the wrong ways to achieve his principal goal, he remains aero with valuable virtues and powerful spirit. Satan continues to struggle, even when he realises that his attempts are vain. This hero destroys his past, feeling despair and destruction and creating his reality: Me miserable! Which way shall I fly / Infinite wrath, and infinite despair? / Which way I fly is Hell; myself am hell59. On the one hand, Satan, like a classical hero, yearns for his previous life, while, on the other hand, he believes in the necessity of his struggle against God. Thus, according to Charles Grosvenor Osgood, ancient mythology plays an important part in Miltons narration, although the poet presents his vision in unusual and contradictoryways60. Satan as a hero emerges, as the poem progresses; Milton doesnt explicitly point at Satans heroic features, but he gradually uncovers them, presenting different sides of Satan. 6 Conclusions Analysing Miltons character, the received findings suggest that Satan cant be fully considered as a classical epic hero, especially in his comparison with such heroes as Achilles. In his poem Milton redefines the idea of heroism, finding it hard to integrate the classical world with his own historical vision. Despite the fact that Milton implements some classical elements into his poem, he changes these components, as he combines them with the orthodox meaning and historical context. The poet rises against the stereotypic representation of a hero, supporting the notion that a real hero is someone who struggles for freedom and destroys the established standards or despotic power. Applying to the discourse analytical approach and the qualitative research method, the paper analyses the figure of Satan and Miltons unusual artistic vision through historical, political and religious contexts. Interpreting Satan from different angles, the research uncovers the ambiguity of the character and his contrast with a classical epic hero. As Satan fails at the end of the narration, he appears to be a tragic hero that still reveals much strength and freedom. Thus, Milton utilises some epic conventions in Paradise Lost, such as the utilisation of supernatural elements, the epic journey of the principal character, the application of profound epic similes and the struggle against some power; however, he implements his own historical view that reflects his beliefs and ideals. From this point on, Satan is created as a creature with certain values and goodness, but who further turns to evil. In this regard, the research rejects some previous findings and conventional interpretations on Miltons Satan, focusing on ambiguous representation of this character. Drawing upon various sources of analysis, the paper reveals that Milton maintains the classical epic traditions, considering them to be essential for the creation of an epic genre, but his narration moves beyond these conventions. Miltons Satan demonstrates contradictory images throughout the poem, uncovering his strength and resistance, oppression and spirit, as well as pride and rejection of reality. Although Milton seems to follow the orthodox principles in his narration, he constantly departs from these ideals in his portrayal of Satan. Therefore, Miltons Paradise Lost is both classical and orthodox epic, despite the fact that the latter aspect is usually challenged by the poet himself. 7 Suggestions for further research Although the conducted research has provided important findings for better understanding of Miltons Satan, it has some limitations. Above all, Satan is mainly compared with Homers Achilles as one of the most famous classical epic heroes, thus further research may be aimed at comparing Satan with other classical heroes, like Virgils Aeneas. Such investigation will provide valid data due to the fact that there is ascertain difference between Greek and Roman epics, especially in regard to their representation of the principal characters and virtues. In addition, it is crucial to broaden the analysis by comparing Miltons Satan with some modern heroes, like the heroes of T.S. Eliot, Thomas Mann, Samuel Beckett, Albert Camus, Ernest Hemingway. But such research requires prior investigation of appropriate research methods and theoretical implications. As Burckhardt points out, strenuous effort at this stage is precisely the wrong way to achieve the desired result; an attentive ear and a steady pace of work will succeed better61.Therefore a combination of different methods and a profound analysis of various aspects are able to provide successful findings towards the investigation of Miltons poem Paradise Lost. Endnotes 1. M. Lefkowitz, Heroines Hysterics (New York: S.T. Martins Press, 1981), p.41. 2. J.B. Hainsworth, The Idea of Epic (Berkeley: University of California Press, 1991), p. vii. 3. Gerald J. Schiff horst, John Milton (New York: Continuum, 1990), p.70. 4. M. H. Abrams, ed., The Norton Anthology of English Literature (6th ed. Vol. 1. New York: Norton, 1993), p.1075. 5. Charles Martindale, John Milton and the Transformation of Ancient Epic (London: Croom Helm, 1986), p.20. 6. Northrop Frye, The Story of All Things, in Paradise Lost. By John Milton, ed. Scott Elledge (New York: Norton, 1993), p.521. 7. John T. Shaw cross, The Hero of Paradise Lost One More Time, inMilton and the Art of Sacred Song, eds. Patrick, J. Max, and Roger H.Sundell (Madison: University of Wisconsin Press, 1979), p.143. 8. Francis C Blessing ton, Paradise Lost and the Classical Epic (Boston: Routledge K. Paul, 1979), p.18. 9. Martin Mueller, Children of Oedipus, and Other Essays on theImitation of Greek traged y, 1550-1800 (Buffalo: University of TorontoPress, 1980), p.246. 10. Neil Forsyth, The Satanic Epic (Princeton: Princeton University Press, 2003), pp.11-17. 11. Forsyth, p.152. 12. Michael Bryson, The Tyranny of Heaven: Miltons Rejection of God asKing (Newark: University of Delaware Press, 2004), p. 83. 13. Bryson, p.82. 14. Bryson, p.111. 15. Stanley Fish, Surprised By Sin (London: Macmillan, 1997), pp.115-132. 16. P. Ricoeur, The Conflict of Interpretations: Essays in Hermeneutics (Evanston: Northwestern University Press, 1974), p. xiv. 17. Mueller, p.214. 18. J. A. Kates, Revaluation of the Classical Hero in Tasso andMilton, Comparative Literature 26 (1974), pp.229-316 (pp.300-303). 19. Ralph Waterbury Condee, Structure in Miltons Poetry: FromFoundation to the Principles (University Park: Penn State UniversityPress, 1974), p.7. 20. Schiff horst, p.70. 21. J. H. Collet, Miltons use of classical mythology in Paradise Lost, PMLA 85 (1970), pp.88-96 (pp.90-93). 22. D. Lowenstein , Milton: Paradise Lost (Cambridge: Cambridge University Press, 1993), p.14-15. 23. John Milton, Paradise Lost, ed. Roy Flannagan (Upper Saddle River: Prentice Hall, 1993) Book I, 257-259. 24. G. Rostrevor Hamilton, Hero or Fool: A Study of Miltons Satan (London: George Allen Unwin Ltd, 1944), p.39. 25. Hamilton, p.25. 26. Lowenstein, p.14. 27. Michael Silk, Homer. The Iliad (Cambridge: Cambridge University Press, 2nd ed., 2004), pp. 80-87. 28. Hainsworth, p.45. 29. Homer, The Illiad, trans. Richmond Lattimore (Chicago: University of Chicago Press, 1951), 24.525-26. 30. Mueller, Children of Oedipus, p.235. 31. Milton, Book 1 261-262. 32. Lowenstein, p.11. 33. Dennis Danielson, The Cambridge Companion to Milton (Cambridge: Cambridge University Press, 2nd ed., 1999), p.114. 34. R. Fowler, Hodge, B., Kress, G., Trew, T., Language andControl (London: Routledge Kegan Paul, 1979), pp. 23-30. 35. David Quint, Epic and Empire: Politics and Generic Form from Virgilto Milton. Litera ture in History (Princeton: Princeton UniversityPress, 1993), p.99. 36. Silk, p.98. 37. Milton, Book IV 89-90. 38. Danielson, p.166. 39. Danielson, p.118. 40. William Godwin, Enquiry Concerning Political Justice, ed. I. Kramnick (Harmondsworth: Penguin, 1976), p. 309. 41. Quint, p.282. 42. C. Taylor, Hermeneutics and Politics, in Critical Sociology,Selected Readings, ed. P. Connerton (Harmondsworth: Penguin Books Ltd,1976), pp.153. 43. M. Mueller, Paradise Lost and the Iliad, Comparative Literature Studies 6 (1969), pp.292-316 (pp.300-303). 44. Quint, p.340. 45. William M. Porter, Reading the Classics and Paradise Lost (Lincoln: University of Nebraska Press, 1993), pp. 37-45. 46. Milton, Book I. 122-124. 47. F. Blessing ton, Paradise Lost and the Apotheosis of theSuppliant, Arion: A Journal of the Humanities and Classics, 6, 2 (Fall1998), pp.83-97 (pp.85-87). 48. Milton, Book 2 822-823. 49. Milton, Book IV, 109-111. 50. Milton, Book 1, 105-111. 51. Mueller, Children of Oedipu s, p.247. 52. Mueller, Children of Oedipus, p.248. 53. Dean A. Miller, The Epic Hero (Baltimore and London: Johns Hopkins University Press, 2000), pp.10-13. 54. Milton, Book 1, 221-222. 55. Milton, Book 1, 284-287. 56. Milton, Book 1, 315-330. 57. Bryson, p.80. 58. William Paton Ker, Epic and Romances: Essays on Medieval Literature (London: MacMillan and Co., Limited, 1931), pp.20-21. 59. Milton, Book 4, 73-75. 60. Charles Grosvenor Osgood, The Classical mythology of Miltons English poems (New York: Gordian Press, 1964), pp.73-80. 61. J. Burckhardt, The Greeks and Greek Civilization (St. Martins Press, 1996), p.6. Bibliography Abrams, M. H., ed., The Norton Anthology of English Literature (6th ed. Vol. 1. New York: Norton, 1993). Blessing ton, Francis C, Paradise Lost and the Classical Epic (Boston: Routledge K. Paul, 1979). Blessing ton, F., Paradise Lost and the Apotheosis of the Suppliant,Arion: A Journal of the Humanities and Classics, 6, 2 (Fall 1998),83-97. Bryson, Michael, The Tyranny of Heaven: Miltons Rejection of God as King (Newark: University of Delaware Press, 2004). Burckhardt, J., The Greeks and Greek Civilization (St. Martins Press, 1996). Collet, J. H., Miltons Use of Classical Mythology in Paradise Lost, PMLA 85 (1970), 88-96. Condee, Ralph Waterbury, Structure in Miltons Poetry: From Foundationto the Principles (University Park: Penn State University Press, 1974). Danielson, Dennis, The Cambridge Companion to Milton (Cambridge: Cambridge University Press, 2nd ed., 1999). Fish, Stanley, Surprised By Sin (London: Macmillan, 1997). Forsyth, Neil. The Satanic Epic. Princeton: Princet on University Press, 2003 Fowler, R., Hodge, B., Kress, G., Trew, T. Language and control (London:Routledge Kegan Paul, 1979). Frye, Northrop, The Story of All Things, in Paradise Lost. By John Milton, ed. Scott Elledge (New York: Norton, 1993), 509-526. Godwin, William, Enquiry Concerning Political Justice, ed. I. Kramnick (Harmondsworth: Penguin, 1976). Hainsworth, J. B. The Idea of Epic (Berkeley: University of California Press, 1991). Hamilton, G. Rostrevor, Hero or Fool: A Study of Miltons Satan (London: George Allen Unwin Ltd, 1944). Homer, The Illiad, trans, Richmond Lattimore (Chicago: University of Chicago Press, 1951). Kates, J. A., Revaluation of the Classical Hero in Tasso and Milton, Comparative Literature 26 (1974), pp.229-316. Ker, William Paton, Epic and Romances: Essays on Medieval Literature (London: MacMillan and Co., Limited, 1931). Lefkowitz, M., Heroines Hysterics (New York: St. Martins Press, 1981). Lowenstein, D., Milton: Paradise Lost (Cambridge: Cambridge University Press, 1993). Martindale, Charles, John Milton and the Transformation of Ancient Epic (London: Croom Helm, 1986). Miller, Dean A., The Epic Hero (Baltimore and London: Johns Hopkins University Press, 2000). Milton, John, Paradise Lost, ed. Roy Flannagan (Upper Saddle River: Prentice Hall, 1993). Mueller, M., Paradise Lost and the Iliad, Comparative Literature Studies 6 (1969), 292-316. Mueller, Martin, Children of Oedipus, and Other Essays on the Imitationof Greek tragedy, 1550-1800 (Buffalo: University of Toronto Press,1980). Osgood, Charles Grosvenor, The Classical Mythology of Miltons English Poems (New York: Gordian Press, 1964). Porter, William M., Reading the Classics and Paradise Lost (Lincoln: University of Nebraska Press, 1993). Quint, David, Epic and Empire: Politics and Generic Form from Virgil toMilton. Literature in History (Princeton: Princeton University Press,1993). Ricoeur, P., The Conflict of Interpretations: Essays in Hermeneutics Evanst on: Northwestern University Press, 1974). Schiff horst, Gerald J., John Milton (New York: Continuum, 1990). Shaw cross, John T., The Hero of Paradise Lost One More Time, in Miltonand the Art of Sacred Song, eds. Patrick, J. Max, and Roger H. Sundell(Madison: University of Wisconsin Press, 1979), pp.137-147. Silk, M., Homer. The Iliad. (Cambridge: Cambridge University Press, 2004). Taylor, C., Hermeneutics and Politics, in Critical Sociology, SelectedReadings, ed. P. Connerton (Harmondsworth: Penguin Books Ltd, 1976),pp. 153-193.

African American Stereotypes Reality Television - 1531 Words

Reality programs have dominated television networks since their rise in popularity began in the early 1990s with MTV’s The Real World. The reality genre quickly gained viewership as it redefined the formulaic set up of televisions shows from the past. Reality television has infiltrated television because networks prefer low budgets for their programs that also generate high ratings (Hasinoff, 2008). People watch reality shows because they are intrigued by the seemingly â€Å"real† drama with ordinary people as characters (Dubrofsky, 2006). Now at its peak of growth, reality television evokes ideas of social order and cultural norms to its audiences, while perpetuating racial stereotypes in society (Mendible, 2004). My purpose of the review of†¦show more content†¦Reality show characters are often shown in embarrassing situations and their personal matters are publicized to the world. The research found that frequent viewers of reality TV highly value revenge, c ompetition, and achieving status and prestige (Mendible, 2004, p. 336). Mendible further discussed reality television’s strategic use of humiliation as a form of entertainment to draw in viewers (Mendible, 2004). With constant exposure to media images, audiences may be influenced by the television show’s values and subliminal messages. People use reality television as an informational tool to â€Å"people watch† and observe what is socially acceptable or not (Tyree, 2011, p. 397). The problem with using television to observe and decipher social norms with is that reality shows are not actually based on real events. Reality television contains fictional aspects that allow producers to manipulate situations that appear to be â€Å"real† on screen. In order to keep their characters interesting and easily recognizable throughout the season, a show must clearly establish heroes, villains and supporting characters to keep their audience coming back for more (Ty ree, 2011, p. 395). This involves the heavy use of racial stereotypes in their shows because it allows for quick character development as well as cheap entertainment. The way a particular race or culture is represented on reality television can adversely affect the way society views thatShow MoreRelatedThe Representation of African Americans in the Media and Popular Culture901 Words   |  4 PagesIntroduction In popular culture, specifically American television, representations of African Americans often rely upon an array of stereotypes. Representation is the production of meaning through language or signifying systems. In media, the dominant stereotypes of African Americans include the sapphire, the coon, the jezebel, and the buck. 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RCT Trial of Older Adults For Fall Assessment - myassignmenthelp.com

Question: Discuss about theRCT Trial of Older Adults For Fall Assessment. Answer: Introduction Fall is a devastating and a very common issue in the older age affecting a broad array of older adults across the world. Falls causes highest amount of morbidity and mortality in the older people and is one of the prime reasons for primary nursing care admission rates. These falls are associated with different recognizable risk factors such as confusion, weakness, high dose medication, unsteady gait and so on (Muir, Gopaul Montero Odasso, 2014). There are several cost effective fall reduction programs such as fall risk assessment program, targeted interventions, exercise program and hazard-reduction program. Medical evaluation of the risk associated with falls and applied interventions are challenging because the nature of falls are different and involves interdisciplinary collaborations to assess and apply innovative interventions to treat such falls. Particular attention need to be given to the applied interventions such as exercises, medical conditions environmental and hazard co ntrol (Mirelman et al., 2012). In this following assessment, the thorough discussion of the topic EnvironmentalAssessmentandModificationtoPreventFallsinOlderPeople by (), will be done. Furthermore, the description of the paper, its strengths and limitations, implication of the interventions and further two more sources to follow up will be given. Description The project pilot, after receiving ethical approval from the Airedale National Health Service Trust in Yorkshire, England, a process of randomized control trial (RCT) has been taken for the assessment. The care home did not had any specific fall service and they used to name the fall events as an unexpected event. The age group that has been selected for the study are of old people aged 70 or more. The reason for the selection was the risk of falling associated with these kind of aged people. However, people living in this old age home and having applied non occupational therapy on them to deal with the risk of falling were excluded (Ambrose, Paul Hausdorff, 2013). As the rat of people, falling in that old age care center was 50 percent in the year, and if all those people were included in the study, 960 people need to be assessed. Hence, the researchers decided to carry out the research using falls as the secondary outcome and the fear of falling as the primary outcome. Participant s then was assigned to three groups randomly. These groups were non-occupational theory led environmental assessment, environmental assessment in the presence of a trained assessor and finally a usual care control team. Results were obtained at the end of the trial and FES-1 was used to represent the fear of fall EuroQol was used to assess the secondary outcome that is falls, quality of life of those participants and the Barthel index. Baseline or first measures of this research were taken and further results were obtained in 3, 6 and 12 months interval using surveys and self-report questionnaires. All these data were analyzed at the end of baseline, three, six and twelve months interval and those three test groups were analyzed. 66 % of all the participants fell during the research process. The control group was exactly similar to the group under trained assessor and the OT group ontai9ns highest amount of participants falling during the research process. Whereas, the other attribu tes, quality of life was better in assessors group and adherence to the trial was maximum in the OT group (Pighills et al., 2013). Strength and limitation of the assignment The assignment did not had a significant effect on fear of falling among old aged person. This pilot was the very first RCT to compare between occupational therapist and trainer assessors. Number of falls in this one year of trial was significantly high and the primary reason was not properly assessed in the research article. This RCT study was not properly designed to detect any statistically significant data on falls in old aged people. However, the people who left the intervention at the end of one year was very less, 238 people from the trial reported 668 falls. There was a statistically significant difference in Eurokol scores. This difference was between trained assessor groups and the control group, the finding was not very specific. This pilot did not assessed the cognition of the participants. Thedimensionofthisvariablewouldhavedemandeddirectcontactwitheverycontributor,increasingcost.As there is a strong relationship between dementia and fall, the falling incidences can be enhanced due to dementia. These results of the study are applicable to community dwelling older adult and was convinced to single center and may not be generalized to other settings. Implications of interventions TheWestmeadHomeSafetyAssessment(WeHSA)wasapplied to guide the intervention in the positive way. This intervention represented a systematic approach to identify different hazards. A training program for the staff was developed that includes a half-day workshop on the basis of the content of the WeHSA manual. The staff also scored a video of an older person doing tasks at home and practices those WeHSA and practical using assessment tools at home. Interventions were guided using standard protocols only (Stone Skubic, 2015). Two more sources to follow up, why the team need to follow these The first paper by Gillespie et al. (2012), they used different interventions to assess the fall management in the older adults. The intervention applied by them to reduce the number of fall was making the participants aware of the risk factors associated with every consequences. The participants became fearless about the fall and implemented all those ideas to improve their quality of life. Pighills et al. (2014), did not used this intervention hence, this need to be followed up. Another research showed the process to assess the fall in older adults. They used falls as the primary outcome and other environmental factor as the secondary outcome. Hence, these two papers need to be followed up to determine the process (Clegg et al., 2014). Conclusion In this critical analysis, a proper discussion of the paper has been done. Falls in the older adult is nowadays major reason to hospital admissions. There are several risk factors associated with it. Hence, the detailed discussion of the paper was needed. In critical assessment assess the description and methods of the process and compared it with two other articles to rationalize the data found. References Ambrose, A. F., Paul, G., Hausdorff, J. M. (2013). Risk factors for falls among older adults: a review of the literature.Maturitas,75(1), 51-61. Clegg, A., Barber, S., Young, J., Iliffe, S., Forster, A. (2014). The Home-based Older People's Exercise (HOPE) trial: a pilot randomised controlled trial of a home-based exercise intervention for older people with frailty.Age and ageing,43(5), 687-695. Gillespie, L. D., Robertson, M. C., Gillespie, W. J., Sherrington, C., Gates, S., Clemson, L. M., Lamb, S. E. (2012). Interventions for preventing falls in older people living in the community.The Cochrane Library. Mirelman, A., Herman, T., Brozgol, M., Dorfman, M., Sprecher, E., Schweiger, A., ... Hausdorff, J. M. (2012). Executive function and falls in older adults: new findings from a five-year prospective study link fall risk to cognition.PloS one,7(6), e40297. Muir, S. W., Gopaul, K., Montero Odasso, M. M. (2012). The role of cognitive impairment in fall risk among older adults: a systematic review and meta-analysis.Age and ageing,41(3), 299-308. Pighills, A. C., Torgerson, D. J., Sheldon, T. A., Drummond, A. E., Bland, J. M. (2011). Environmental assessment and modification to prevent falls in older people.Journal of the American Geriatrics Society,59(1), 26-33. Stone, E. E., Skubic, M. (2015). Fall detection in homes of older adults using the Microsoft Kinect.IEEE journal of biomedical and health informatics,19(1), 290-301.