Reflecting the Concept of Social Rank in Courtly Texts Methods and Strategies.

Reflecting the Concept of Social Rank in Courtly Texts Methods and Strategies. Analysis Defining the specifics of social relationships and analyzing the principles in accordance with which these relationships develop is, perhaps, one of the most complicated tasks for a writer of courtly texts.Advertising We will write a custom essay sample on Reflecting the Concept of Social Rank in Courtly Texts: Methods and Strategies. specifically for you for only $16.05 $11/page Learn More Because of a large variety of factors, starting with the complexity of the leadership model adopted by the head of the state, up to the structure of the society in question and the traditions of the time, the means of defining social ranks turns into a major problem. However, with the help of an array of literary tools, the authors of some of the most famous courtly texts, Benvenuto Cellini with his Vita and Baldesar Castiglione in his The Book of the Courtier manage to nail down the specifics of social relationships in a very accurate manner. One of the most fam ous representatives of courtly texts writers, Castiglione used assorted methods of introducing his idea of social ranks in court. Although his concept of social ranks was also largely based on the idea of masculinity, Castiglione used different tools in order to convince the reader in the necessity to follow the principles of gender profiling. The examples of gender based social ranking within the court system can be found throughout the text: â€Å"I bear to women as these ladies think, but for my own good†1. However, some researchers argue that Castiglione was, in fact, the first to suggest that the courtly relationships between men and women should be based on the principles of chivalry, along with the ideas of â€Å"kindness and noble courtesy†2. Therefore, apart from masculinity, nobility principles should be mentioned as the elements required for the court social rankings to base on, Castiglione explained3. Castiglione’s text is a perfect example of humani st principles working their way into the society of the XV century.Advertising Looking for essay on comparative literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More Another peculiar concept that Castiglione seems to cling to concerns the phenomenon that Bernard4 defined as rhetoric of exemplification. Not only does it allow envisioning the court system in motion, but also link the actual reader and the internal reader. In contrast to Castiglione, Cellini uses more obvious methods to define social ranks. In fact, Cellini disregards the idea of incorporating more subtle literary devices and shifts the emphasis from a slight mimicry of social relationships in his work, as Castiglione suggests, to downright instructing on the principles that social relationships must be based on. When it comes to defining the specifics of Cellini’s writing style, one must give him credit for using the imagery created throughout his work to his advantage. Not only does he mold characters efficiently, but also knows how to use them to make an impression on the reader. One of the most obvious â€Å"instructions† concerns the way in which Cellini envisions male – female relationships. Cellini obviously insists on male superiority, nearly comparing women to objects at some point of his work: â€Å"As a background to the women, there was spread an espalier of natural jasmines in full beauty†5. The given objectification of women often occurs on Cellini’s reminiscences, and is in most cases made by the narrator: â€Å"Now I must make you understand that the woman is mine†6. Another tool used by Cellini in his attempt to describe the system of social ranking within the court system, the transition from an artisan to an artist also deserves a proper mentioning7. In fact, Cellini reinvented the entire concept of being a courtier, stressing the significance of art as the means to separate the p osition of a courtier and any other position that a civilian may possibly take. Finally, such tool as self-representation deserves a thorough scrutiny. Indeed, when considering the approach that Benvenuto Cellini uses to describe the principles of social relationships and the concept of social rank, one will inevitably realize that the author does not analyze the environment that already exists but, instead, molds it in accordance with his vision of society.Advertising We will write a custom essay sample on Reflecting the Concept of Social Rank in Courtly Texts: Methods and Strategies. specifically for you for only $16.05 $11/page Learn More As a result, Cellini resorts to the methods that can be defined as mimesis. When taking a closer look at his work, one will eventually note that Cellini creates a model of social behavior for people to comply with and, therefore, defines the existing social ranks instead of providing his commentary on the already existi ng ones. Though hardly being a literary device, self-representation still makes the structure of social rank seem more palatable, since it allows defining the leader and, therefore, tracing the course of the directions that shape the society and grant its members with particular social ranks. According to Gardner, the given model adds an artistic touch to the strategy chosen by Cellini; she states explicitly that Cellini’s Viva broke new grounds as â€Å"an example of an individual’s attempt to mold his own reputation and historical legacy through a cohesive literary representation of his personality and his art†8. One should give Cellini credit for his idea of using masculinity as the key tool for defining the principles of social ranking. The given tool works rather well in the context of the text, yet hardly seems efficient on its own. Another tool that serves its purpose of defining the specifics of the social stratification of the era and at the same time c onvinces the audience is a careful stylization of the text. It is remarkable that the choice of vocabulary made by the author has stood the test of time successfully: â€Å"the autobiography makes things easy by addressing the reader in a comfortable, if stylized, English [†¦]. A measure of the status of these translations has been the fact that no one ties to replace them with fresh, modern ones†9. Thus, the use of masculinity principles defines the roles that men and women are supposed to take within the court by stressing the necessity for the former to participate within the system, and for the latter to remain a part of the background.Advertising Looking for essay on comparative literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More It is quite peculiar that the process of objectification of women is practically described in Cellini’s book as he mentions the process of sculpting a lily, which serves as the metonymy for Gismondo’s wife (whose name is actually never mentioned in the book): â€Å"I promised the jewel should be twice as good as the model.†10 Correspondingly, Cellini assumes that women are not supposed to take active part in court meetings, as well as they must not offer and, worse yet, defend their point of view in court; on the contrary, women are viewed as damsels, the pretty faces that are not expected to have any significance of the court processes and course of events. Consequently, the manifestation of the artistic autonomy seems like the next obvious stem in Cellini’s design of social structure within the court. Apart from making it clear that a member of the court has to undergo a transformation from an artisan into an artist, Cellini states that the latter is su pposed to enjoy artistic autonomy for his actions to have a tangible effect on the artist’s subjects. It is worth stressing that Cellini uses a hyperbole to prove his point by claiming that artistic leaders â€Å"made a crown of artistic glory for their city above anything the world had seen†11, which shows that his means of reflecting the social rank were rather harsh and straightforward. The differences in the methods chosen by the authors in question are defined largely by the goals that these authors pursued in writing their books. While Castiglione was clearly trying to shed some light on the events of the epoch and provide a fairly decent account of the latter, Cellini was obviously trying to strengthen his power over the nation even more. As a result, the representation of the social rank in two texts did not quite match, Cellini’s one being more focused on the subordination issue When it comes to defining the differences in the way that Cellini and Casti glione described the social ranks of their time period, it should be mentioned that Castiglione used a wide range of tools that served their own unique purpose and were to reflect the true state of the society. It is obvious that Cellini’s take on the representation of the social ranking in his courtly autobiography is more than obvious – it is a straightforward, in your face manifestation of Cellini’s viewpoint, which is far from being democratic. The author clearly puts his stake on the expressivity of his arguments and the convincingness of his speech, which can be easily traced in the numerous reiterations of certain elements of his argument. The aforementioned masculinity, therefore, ousts the very idea of democratic relationships, as well as democratic attitudes towards women; quite on the opposite, masculinity serves as the means to subdue women to the dominance of men and to subdue any attempts of resistance against it. In many ways, Cellini’s sel f-representation defines the manner in which social ranks were depicted in courtly texts of the time. Castiglione, on the opposite, prefers to express his idea of the court members’ social roles and the position of men and women in court in a more discrete manner12. In addition, Castiglione does not seem to rely on his authority among readers when defining the key principles of social ranking in court. Instead, the author decides to integrate the principle of masculinity, which still remains the key to arranging court’s social ranks, together with the idea of introducing gentlemanly manners, as Hinz defined Castiglione’s strategy13. The given method works rather well with the target audience, even though it lacks the persistence that Cellini’s work has.  Cavallo, in her turn, makes it obvious that Castiglione uses portrait as the key tool in his representation of social ranks in court. In contrast to Cellini, Castiglione adopts – or, at the very least, pretends to adopt – an objective viewpoint by having several narrators in his story and, therefore, drawing a portrait of a courtier by using what is supposed to be several opinions. The efficacy of the given method is amplified by the fact that the narrators do not seem to agree on their visions of a courtier: â€Å"the critics have uncovered tensions on various forms which threaten to disrupt the game and to expose deep rifts under the elegant courtly veneer†14. Defined as the engagement of both the actual reader and the internal reader into the argument, the given method works quite well and is much more subtle than the one that was chosen by Cellini. According to Bernard, â€Å"Hence from the vantage point of the author the limited, indeed parochial, perspective of his texts interlocutors stands in contrast to his own hard-won prudential knowledge† (Bernard 34). However, the aforementioned does not mean that Castiglione disregards the idea of using ma sculinity in his writing. There are evident traces of the chauvinist concepts in his work as well, which signify that the court was still organized in accordance with the idea of male dominance. Nevertheless, Castiglione uses other tools apart from masculinity principle in his work, which can be explained by his lack of certainty regarding the efficacy of masculinity in his persuasion. It should be noted, though, that the given authors were not the only ones who resorted to the integration of masculinity ideas into the principles that the court was guided by; as recent researches show, a number of theorists considered masculinity and the dominance of men in the court as the only legitimate principle that the latter could be organized by. Apart from the concept of masculinity and the gender issue in general, the authors make efficient use of a range of literary devices, including hyperbole and reiterations of the argument throughout the work. However, compared to the aforementioned d istinctive feature of both works, the given devices can be seen as minor ones. Conclusion It would be wrong to assume that the methods of reasoning used by the two authors are impeccable; more to the point, they are rarely objective. However, what one cannot deny these authors with their methods is the efficacy of the latter. Although the emphasis on masculinity as the necessary feature of court social relationships is being stressed by both authors, Cellini seems to be more persistent with his chauvinist concepts, while Castiglione clearly attempts at introducing the elements of chivalry into the courtly relationships between men and women. In addition, Cellini, being obsessed with the idea of power, sees the social ranking system as the means to reinforce his influence among the representatives of the court, thus, stating blatantly that he needs to use the existing court system to his advantage. While the given principle works bizarrely well on the target audience of Cellini, Cast iglione understandably avoids black-and-white judgments, preferring to introduce the principles of courtesy into his system of social rankings. Each work clearly serving its purpose, it can be assumed that the tools used by both writers to represent the concept of social ranking within the court system are fully justified, though not quite appropriate in the XXI century. A product of their time, the given tools perform their social function well enough for their authors to be credited as innovators. Bibliography Bernard, John, ‘Formiamo un Cortegian’: Castiglione and the Aims of Writing,’ MLN 115 (2000), pp. 34–63. Castiglione, Baldesar, Ct. ‘Book of the Courtier,’ in Project Gutenberg http://archive.org/stream/bookofcourtier00castuoft/bookofcourtier00castuoft_djvu.txt. Cavallo, Joan, ‘Joking Matters: Politics and Dissimilation in Castiglione’s Book of the Courier,’ Renaissance Quarterly 53 (2000), pp. 402–424. Celli ni, Benvenuto, ‘Autobiography,’ trans. By John Addington Symmons, in Project Gutenberg gutenberg.org/dirs/etext03/7clln10h.htm. Creighton, Gilbert, ‘Cellini’s Other Medium: His Writings and Their Reception,’ Studies in the Decorative Art 14 (2006–2007), pp. 19–25. Gardner, Victoria, ‘Homines non Nascuntur, Sed Figuntur: Benvenuto Cellinis Vita and Self-Presentation of the Renaissance Artist,’ The Sixteenth century Journal 28 (1997), pp. 447–465. Hinz, Manfred, ‘Castiglione, Gracin, and the Foundation of Gentlemanly Manners in Early Modern Europe,’ in Dietmar Schloss, ed. Civilizing America: Manners and Civility in American Literature and Culture (Heidelberg, Germany: Universittsverlag Winter, 2009), pp. 2-18 Richards, Jennifer, ‘Assumed Simplicity and the Critique of Nobility: Or, How Castiglione Read Cicero,’ Renaissance Quarterly 54 (2001), pp. 460-486. Saccone, Eduardo, ‘The Portrai t of the Courtier in Castiglione,’ Italica 64 (1987), pp. 1–18. Footnotes 1 Castiglione, Baldesar, Ct. ‘Book of the Courtier,’ in Project Gutenberg http://archive.org/stream/bookofcourtier00castuoft/bookofcourtier00castuoft_djvu.txt. 2 Castiglione, Baldesar, Ct. ‘Book of the Courtier,’ in Project Gutenberg http://archive.org/stream/bookofcourtier00castuoft/bookofcourtier00castuoft_djvu.txt. 3 Richards, Jennifer, ‘Assumed Simplicity and the Critique of Nobility: Or, How Castiglione Read Cicero,’ Renaissance Quarterly 54 (2001), pp. 460-486 (p. 462). 4 John Bernard, ‘Formiamo un Cortegian’: Castiglione and the Aims of Writing,’ MLN 115 (2000), pp. 34–63 (p. 35). 5 Cellini, Benvenuto, ‘Autobiography,’ trans. By John Addington Symmons, in Project Gutenberg gutenberg.org/dirs/etext03/7clln10h.htm. 6 Cellini, Benvenuto, ‘Autobiography,’ trans. By John Addington Symmons, in Project Gut enberg gutenberg.org/dirs/etext03/7clln10h.htm. 7 Gardner, Victoria, ‘Homines non Nascuntur, Sed Figuntur: Benvenuto Cellinis Vita and Self-Presentation of the Renaissance Artist,’ The Sixteenth century Journal, 28 (1997), pp. 447–465. 8 Gardner, Victoria, ‘Homines non Nascuntur, Sed Figuntur: Benvenuto Cellinis Vita and Self-Presentation of the Renaissance Artist,’ The Sixteenth century Journal, 28 (1997), pp. 447–465 (p. 447). 9 Creighton, Gilbert, ‘Cellini’s Other Medium: His Writings and Their Reception,’ Studies in the Decorative Art 14 (2006–2007), pp. 19–25 (p. 19). 10 Cellini, Benvenuto, ‘Autobiography,’ trans. By John Addington Symmons, in Project Gutenberg gutenberg.org/dirs/etext03/7clln10h.htm. 11 Cellini, Benvenuto, ‘Autobiography,’ trans. By John Addington Symmons, in Project Gutenberg gutenberg.org/dirs/etext03/7clln10h.htm. 12 Saccone, Eduardo, ‘The Portrait of t he Courtier in Castiglione,’ Italica, 64 (1987), pp. 1–18 (p. 1). 13 Hinz, Manfred, ‘Castiglione, Gracin, and the Foundation of Gentlemanly Manners in Early Modern Europe,’ in Dietmar Schloss, ed. Civilizing America: Manners and Civility in American Literature and Culture (Heidelberg, Germany: Universittsverlag Winter, 2009), pp. 2-18 (p.2). 14 Cavallo, Joan, ‘Joking Matters: Politics and Dissimilation in Castiglione’s Book of the Courier,’ Renaissance Quarterly 53 (2000), pp. 402–424 (p. 402).

Maia, Greek Nymph and Mother of Hermes

Maia, Greek Nymph and Mother of Hermes The Greek nymph Maia was  the  mother of Hermes (in Roman religion, he was called Mercury) with Zeus and was associated, by the Romans, with the goddess of spring, Maia Maiestas. Background and Personal Life A daughter of the Titan  Atlas  - he of the big muscles and carrying the world on his shoulders - and Pleione, Maia was one of the seven mountain nymphs known as  Pleiades  (Taygete, Elektra, Alkyone, Asterope, Kelaino, Maia, and Merope). Her sisters went on to marry some bigwigs in ancient Greece, but Maia snagged the biggest of them all - Zeus himself!   Her son  Hermes was proud of his heritage, saying in Euripides  Ion, Atlas, who wears away heaven, the ancient home of the gods, on his bronze shoulders, was the father of Maia  by a goddess; she bore me, Hermes, to great Zeus; and I am the gods servant. Although Zeus was already married to Hera, that didnt stop him from loving on nymphs and mortal women alike. He  and  Maia had a fling. In the, their affair is recounted: Ever she avoided the throng of the blessed gods and lived in a shadowy cave, and there the Son of Cronos [Zeus] used to lie with the rich-tressed nymph at dead of night, while white-armed Hera lay bound in sweet sleep: and neither deathless god nor mortal man knew it.   This  caused Maia to give birth to their precocious baby boy. She hid out from Hera in a cave on Mount Cyllene. In the Virgil has Aeneas mention, Mercury: Your sire is Mercury, whom long beforeOn cold Cyllenes top fair  Maia  bore.Maia  the fair, on fame if we rely,Was Atlas daughter, who sustains the sky. When I Grow Up... In Sophocles play  Trackers, the eponymous nymph of the mountain recounts how she took care of baby Hermes: This business is a secret even among the gods, so that no news of it may come to Hera.  Cyllene adds, You see, Zeus came secretly to Atlass house ... to the deep-girdled goddess  ... and in a cave begot a single son. I am bringing him up myself, for his mothers strength is shaken by sickness as if by a storm. Hermes grew up  really  fast. Cyllene marvels, He grows, day by day, in a very unusual way, and Im astounded and afraid. Its not even six days since he was born, and he already stands as tall as a young man. Half a day after his birth, he was already making music! The  Homeric Hymn (4) to Hermes  says, Born with the dawning, at mid-day he played on the lyre, and in the evening he stole the cattle of far-shooting Apollo on the fourth day of the month; for on that day queenly  Maia  bare him. How did Hermes steal Apollos oxen? The fourth Homeric Hymn recounts how the trickster was really into stealing his older half-brothers herds. He  picked up a  tortoise, scooped out its meat, and strung sheep gut across it to create the first lyre. Then, he cut off from the herd fifty loud-lowing kine, and drove them straggling-wise across a sandy place, turning their hoof-prints aside by sweeping them away. So he took fifty of Apollos best cows - and covered his tracks so the god couldnt find them! Hermes killed a cow and cooked up some  delicious steak, but when he came  home to Mama Maia, she wasnt too thrilled with his knavery. Hermes replied (no doubt in baby talk), Mother, why do you seek to frighten me like a feeble child whose heart knows few words of blame, a fearful babe that fears its mothers scolding? But he wasnt a baby, and Apollo soon  discovered his misdeeds. Baby Hermes tried to fake sleep, but Apollo wasnt fooled. Apollo brought the baby before Zeus - a tribunal of their dad! Zeus forced Hermes to show Apollo where the cows were hidden. In fact, the infant deity was so charming that Apollo decided to give his domain as lords of herdsmen   - and all his cattle - to Hermes. In exchange, Hermes gave Apollo the lyre hed invented - and thus lordship over music. -Edited by Carly Silver

Quality and Performance Excellence Essay Example | Topics and Well Written Essays - 500 words

Quality and Performance Excellence - Essay Example It is evidently clear from the discussion that Baldrige focuses on the performance excellence for all aspects of an organization in an overall management framework. Six Sigma deals with the internal quality with an aim of improving the standards and reducing the costs. Overall, they are all similar since they deal with quality improvement in the workplace.ISO 9000, on the other hand, pay more attention to the quality and conformity of the products and services according to the set guidelines to provide equity in the market. The system is more concerned with fixing the issue with the products and service non-conformity and quality system problems. For the Six Sigma, more emphasis is laid on measuring the quality of the products and working on process improvement design to reduce the overall costs. All these processes, however, are management-led, data-based, process focused and aims at helping the organization improve performance and increase customer satisfaction. The level of emphas is and how these processes of operations are carried out causes variation within an organization such as the quality of the processes policies instituted, and the review of these policies. TecSmart Electronics dwell on quality, service and to meet the customers’ expectations which in turn help the organization grow. The management of the company followed some of the quality and performance excellence models which help it maintain a clear focus. One of the quality and performance models the company has focused on is the Deming’s 14 points. Some of the plans instituted include framing company policies such as an emphasis on quality and services. Imparting skills to the employees and dissemination of the information; information gathering for quality control; analysis of the obtained data to assess the areas where to rectify; standardization of the products and services; quality assurance of the entire processes and having future plans about the organization.

History of Theatre Research Paper Example | Topics and Well Written Essays - 1250 words

History of Theatre - Research Paper Example The spectacle is the inclusion of effects such as costumes, scenery and everything else to do with the fact that a player has a visual element and is watched and not just heard. (Bryson) Aristotle quells such questions and explains that music creates and enhances the mood that compliments the emotion being depicted by the characters in the play. Music’s major function in a play is to reinforce the emotional content (Aaron). Music has been forever championed as an effective mode of communication. (Lipscomb and Tolchinsky)Even when played in the background when at many times one doesn’t even notice that a melody is being played, music is still effective in setting the mood and creating an environment that compliments the theme of the play. Music at times has also been called the ‘fourth dimension’ that magnifies the impact of a particular scene or setting within the play (Drama Music). The famous novelist Victor Hugo stated that music can be used to put across thoughts and emotions which need to be expressed but there are no words to describe them. Also mentionable is the fact that audiences, once they leave the theatre, do not remember the dialogues but can definitely recall the songs and re-live the entire play through the songs and melody recollection in their minds (Mackintosh). All evidence supp orts Aristotle views that ‘music is a form of imitation’ and that different types and tones of music can easily help and elicit different types of responses from individuals. It has been suggested that theatre and drama fell into total crumble during the early 17th century. In the late 16th century, renaissance drama evolved during the period of Queen Elizabeth 1. During this time, neoclassicism was almost completely ignored. The  drama focused more on forms that were popular with the audiences.

A Rose For Emily - In Memory Of Emily Grierson Essay -- essays researc

In the short story  ¡Ã‚ §A Rose for Emily, ¡Ã‚ ¨ (1930) William Faulkner presents Miss Emily ¡Ã‚ ¦s instable state of mind through a missed sequence of events. Faulkner arranges the story in fractured time and then introduces characters who contribute to the development of Miss Emily ¡Ã‚ ¦s personality. The theme of isolation is also presented by Faulkner ¡Ã‚ ¦s descriptive words and symbolic images. Faulkner uses anachronism to illustrate Miss Emily ¡Ã‚ ¦s confused mind. The story is split into five sections. The first section begins with Miss Emily ¡Ã‚ ¦s funeral and moves on to her past. Faulkner first recaptures the dispensation of Miss Emily ¡Ã‚ ¦s taxes in 1894, he continues by illustrating Miss Emily ¡Ã‚ ¦s nature no to accepts new concepts. When the  ¡Ã‚ §next generation, with its more modern ideas ¡Ã‚ ¨ comes along, Miss Emily refuses to accept them (1009). Miss Emily ¡Ã‚ ¦s mixed feeling about the past is reflected in the structure of the story. Unlike most stories, the narrator does not continue the plot with the next chronological event rather presents one that happened two years earlier. This switch once again mirrors Miss Emily ¡Ã‚ ¦s unclear state of mind. The story ¡Ã‚ ¦s disjointed time frame not only reflects a puzzled memory but it also suggests Miss Emily ¡Ã‚ ¦s unwillingness to move along with time. While the reader reads through time and expects the story to be in sequence, Faulkner deliberately switches the time back and forth to emphasize Miss Emily ¡Ã‚ ¦s desire to stay in past. After the author introduces the character of Miss Emily, he goes back even further into the past to explain why Miss Emily possesses her unique personality. He also contributes to the development of Miss Emily ¡Ã‚ ¦s personality through the introduction of her father, Homer Barron, and Miss Emily ¡Ã‚ ¦s great aunt who all influence her maturity and experience of life. The primary figure in Miss Emily ¡Ã‚ ¦s life is her father. Faulkner uses this relationship to reveal Miss Emily ¡Ã‚ ¦s reserved nature. Because her father is an upper class figure, some of his ways of thinking has  ¡Ã‚ §thwarted [Miss Emily ¡Ã‚ ¦s] life ¡Ã‚ ¨ (1013). Miss Emily has always been kept in confined environments that only her father knows what she will do. The event of her father ¡Ã‚ ¦s death is a shock to Miss Emily because the guidance of her father is gone. This explains Miss Emily ¡Ã‚ ¦s behavior after her father ¡Ã‚ ¦s death as well as her reaction to another ... ...ulkner ¡Ã‚ ¦s short story  ¡Ã‚ §A Rose for Emily ¡Ã‚ ¨ uses many literary devices such as plot to emphasize the theme of mixed memory. While most stores are written in chronological order, this story is broken up into characters to build up Miss Emily ¡Ã‚ ¦s personality both externally and internally. While Faulkner uses Miss Emily ¡Ã‚ ¦s father and homer Barron to affect miss Emily in her environment, Faulkner also old lady Wyatt to suggest the possible inheritance of this unexplainable behavior from her family. Descriptive words are another big part of the story since Faulkner uses them to describe the themes of old age and isolation. While  ¡Ã‚ §coquettish decay ¡Ã‚ ¨ and  ¡Ã‚ §tarnished gold head ¡Ã‚ ¨ is used to compare old to new,  ¡Ã‚ §noblesse oblique ¡Ã‚ ¨ is used to reflect Miss Emily ¡Ã‚ ¦s past. Not only does Faulkner use descriptive words to describe Miss Emily, but he also uses symbolism. Throughout the story, Faulkner uses the description of Miss Emily ¡Ã‚ ¦s house to refer to Miss Emily herself. Miss Emily ¡Ã‚ ¦s once normal behavior and deterioration is captured in the house ¡Ã‚ ¦s old-fashioned look and the decayed look. Faulkner uses all these literary devices to present the themes of mixed memory, old age and isolation.

Elizabeth I Versus the Stuart Monarchs

Elizabeth I versus the Stuart Monarchs Kayla Christie 3rd Block The difference between Elizabeth I and the Stuart monarchs defines the way they ruled and their actions. When comparing Elizabeth I and the Stuart monarchs, one should take in factors such as each individual’s personality, religious views, and views on parliament. Elizabeth I was intelligent, and wanted religious unity in her country. She also believed that parliament was essential during her reign. The Stuart monarchs such as James I, James II, Charles I, and Charles II were not so intelligent, and wanted a definite religion whether it is Catholicism or Arminianism. The Stuarts also wanted to enhance their authority at the expense of losing parliament. Elizabeth I was intelligent, and would work to keep her reign. In Elizabeth’s speech to the troops before the battle of the Armada she states â€Å"†¦Spain, or any prince of Europe should dare to invade the borders of my realm†¦ I myself will take up arms†¦Ã¢â‚¬  Elizabeth clearly says that she would fight for her country. Being intelligent, she exercised frugality in the expenses of the government and increasing taxation, which showed a sign of a strong and efficient state. She wanted to achieve religious harmony. On the other hand, the Stuarts were stubborn. They refused to extend religious toleration. Like his father, Charles I believed in the Divine Right of Kings (that he was answerable to God alone and could not be tried by any court), and he upset the Scottish citizens of his country, many of whom were Puritans, by insisting that they follow the same religion as his English subjects. The result was the two wars that ruined England’s financial state and that would lead to the civil war and his execution.

Analysis Of The Hookup Culture By Conor Kelly - 1344 Words

In his essay, â€Å"Sexism in Practice: Feminist Ethics Evaluating the Hookup Culture,† Conor Kelly argues that the hook up culture prevalent in today’s society is sexist towards females. He argues that this culture gives off the illusion of freedom, but it instead disempowers women. Kelly begins by giving the definition of hook up culture. He defines it as, â€Å"the practice of pursuing sexual activity without any expectation of a relationship.† He then states what he believes are the four main factors that contribute to the disempowerment brought on by this culture: a lack of commitment, use of ambiguous language, alcohol use, and a social pressure to conform. Kelly then gives his argument as to why hookup culture should be concerning. Kelly†¦show more content†¦One can never escape this culture and other students expect each other to partake in it. Kelly transitions into his argument about why hookup culture should be concerning. Referring to his fou r main factors, he summarizes how each could be potentially harmful, especially to women in college. A lack of commitment takes away the emotions and connection made through physical contact. Future relationships are at risk due to this detachment. Ambiguous language creates a lack of trust between partners, causes classmates to make assumptions, and distorts risks. Alcohol impairs judgement relating to hooking up. This ends up in several undesirable scenarios, including rape and regrettable sex. Lastly, social pressure forces students into the hookup culture. Kelly stresses that there is a severe skewness against women. There is a fine line for them between participating in the culture and being known as a slut. There is a substantial double standard in hookup culture. From this, Kelly concludes that these elements â€Å"offer only the perception of freedom† (72). Hookup culture places a burden upon students. The sexist nature of this culture puts women at a disadvantage; an d this can be extremely harmful in developmental years. Main Argument: 1. Women walk a fine line in participating in the culture. 2. The social stigma for men that sleep around is