World Literature Essay Example for Free

World Literature Essay Flaubert’s Madame Bovary was published to critical acclaim and public scandal during Second Empire France (1852–1870). Government censors cited the novel for offending public morality and religion, though prosecution and defense both acknowledged the artist’s achievement. Flaubert was tried and acquitted for a compelling portrait of his heroine’s unhappy marriage, adulterous love affairs, financial ruin, and suicide. The creation of a powerful and profoundly conflicted male imagination, Emma Rouault Bovary is a polarizing figure. She embodies yet challenges archetypal images of women (virgin/mother, madonna/whore, angel/siren) arising from male experience. She calls into question education, marriage, and motherhood, institutions that inculcate these dichotomous views of women. Thomas Manns Death in Venice opens, like Flaubert’s Madame Bovary, on the scene of Aschenbachs creative composure shattered by an unfamiliar nervous excitement. As Aschenbachs mind spins unproductively, we sense immediately that Venice itself will be ultimately just a picturesque exterior, the backdrop to a story whose cardinal events belong to a mental world– to what Mann called â€Å"reality as an operation of the psyche† (Mann 29). Thomas Mann has spared no allusion to suggest that the hero of the story resembles its author at least with regard to his literary production. Yet Aschenbach is said to have achieved in earnest the classical style befitting a conqueror of the abyss the very style which Flaubert parodies in telling the tragic story of Madame Bovarys disillusion and downfall. The societal scandal of Madame Bovary is as remote now as the asceticism of the spirit practiced by Flaubert and Mann, who seem almost self indulgent. Emma seems as boisterous as Aschenbach. With these heroes the novel enters the realm of inactivity, where the protagonists are bored, but the reader is not. Poor Emma, destroyed by usury rather than love, is so vital that her stupidities do not matter. A much more than average sensual woman, her capacity for life and love is what moves us to admire her, and even to love her, since like Flaubert himself we find ourselves in her. Why is Emma so unlucky? If it can go wrong, it will go wrong for her. Flaubert, like some of the ancients, believed there were no accidents. Ethos is the daimon, your character is your fate, and everything that happens to you starts by being you. Rereading, we suffer the anguish of beholding the phases that lead to Emmas self-destruction. That anguish multiplies despite Flauberts celebrated detachment, partly because of his uncanny skill at suggesting how many different consciousnesses invade and impinge upon any single consciousness, even one as commonplace as Emmas. Emmas I is an other, and so much the worse for the sensual apprehensiveness that finds it has become Emma. Whenever Emma is seen in purely sensuous terms, Flaubert speaks of her with a delicate, almost religious feeling, the way Mann speaks of Aschenbach. Flaubert punished himself harshly, in and through Emma, by grimly mixing in a poisonous order of provincial social reality, and an equally poisonous order of hallucinated play, Emmas fantasies of an ideal passion. The mixing in is cruel, formidable, and of unmatched aesthetic dignity. Emma has no Sublime, but the inverted Romantic vision of Flaubert persuades us that the strongest writing can represent ennui with a life-enhancing power. Flaubert despised realism and said so over and over throughout his life; he loved only the absolute purity of art. Madame Bovary has little to do with realism, and something to do with a prophecy of impressionism, but in a most refracted fashion. All of poor Emmas moments are at once drab and privileged. At moments of more overpowering sensuality there even emerges a â€Å"formula† for Emmas sensual intensities, a characteristic style of sensation which, as we know from Flauberts other works, wasnt invented for Emma alone but rather seems to be a basic formula for Flaubertian sensation in general. Sexuality in Flaubert is frequently expressed in terms of a rippling luminosity. â€Å"Here and there,† Flaubert writes as part of his description of Emmas first happy sexual experience (with Rodolphe in the forest near Yonville), â€Å"all around her, in the leaves and on the ground, patches of light were trembling, as if humming-birds, while in flight, had scattered their feathers† (Flaubert 56). Much later, as she lies alone in bed at night enjoying fantasies of running away with Rodolphe, Emma imagines a future in which â€Å"nothing specific stood out: the days, all of them magnificent, resembled one another like waves; and the vision [cela] swayed on the limitless horizon, harmonious, bluish, and bathed in sun† (Flaubert 94). A world heavy with sensual promise (and no longer blindingly illuminated by sexual intensities) is, in Flaubert, frequently a world of many reflected lights blurred by a mist tinged with color.

Red Chevy vs Spilled Salt :: essays research papers

Rape is a crime of violence and aggression that not only hurts a victim and the assailant for the moment, but it shatters their entire lives. Rape is defined by society as "any kind of unlawful sexual activity, usually sexual intercourse, carried out forcibly or under threat of injury and against the will of the victim." This definition has been redefined to cover same-sex attacks and attacks against those who are incapable of valid consent, including persons who are mentally ill, intoxicated, and drugged .Rape crimes affect all races, cultures, ages, and economical classes. In the chronicles of the "Red Chevy? and ?Spilled Salt, rape was the issue in both stories, though the two stories are tedious, ?Red Chevy? is better. In the sense that the two stories are alike, they fluctuate in points of view. The "Red Chevy uses first person and the victim tells the narrative. There is a use of the five senses in this narrative. In ?Spilled Salt?, the story is narrated partially by the rapist?s mother. Because the rapist?s mother narrated the tale, the imagery of this tale wasn?t intense. The stories dealt with the circumstances in different ways. In ?Spilled Salt? the mother runs away from her dilemma, she didn?t cope with it well. She had no understanding of why her son would do such a dishonor as rape. On the other hand, the victim in Red Chevy accepted the fact that she was raped, she tried to move on with her life, though she was confused about why it happened to her. The life after the situation was different in both stories .In ?Spilled Salt?, the rapist was full of pain because of his family. There was of stress brought down on him for that act of dishonor. In Red Chevy, the girl bought stress on herself. It was like she was in prison. She stated, ?I climbed into my bed for three days. I spent seventy-two hours staring at the ceiling and vomiting. When I finally emerged form my emotional coma, I could not eat or sleep." People cannot control life, the acts of others, nor death. Whether good or bad, things from rape to everyone getting alone happen.

Multiplication and Addition

If students see that addition and altercation is similar because In multiplication you simply repeat the Dalton problem several times then they will have an easier time learning to multiply numbers. A way in which students can relate Dalton and multiplication Is by teaching them and having them work on grouping. By grouping the students will need to draw circles for the first number that Is being multiplied and starts Inside the circles for the second number that Is being multiplied.For example In the student will need to draw 3 circles and then the student will need to draw 5 stars inside each circle. This way the student will be able to see that they are simply adding 5 three times. The commutative property states that the order in which you add or multiply two numbers does not affect the result. (ABA=baa) For example 3*5=5*3=15. A way that this property is connected to thinking strategies is by grouping. The teacher may have the students first draw 3 bubbles and 5 stars inside eac h bubble and then have them count the stars for the total of 15 stars.Then the teacher can have the students draw 5 bubbles and put 3 stars inside each bubble ND once they have done this the teacher can once again make the students count the stars and they will realize that it once again equaled 15 stars, signifying that the two ways came out with the same answer, teaching them the commutative property. The associative law states that when you add or multiply numbers, the grouping of the numbers does not affect the result ((ABA)c=a(BC). For example (2*6)3=2(6*3)=36. The associative property can be worked out by drawing it out and grouping together.For example for the (2*6)3=2(6*3) problem the students can draw 3 bubbles and raw 12 stars inside each bubble or draw out 2 bubbles and draw 18 stars inside each bubble, if the students count both of the different group of stars there will be 36 stars in each picture, therefore showing the students that the order In which the numbers are m ultiplied does not affect the outcome. The distributive law states that multiplying a number by a group of numbers added together Is the same as doing each multiplication separately. When the distributive property Is used you distribute a number to get the same answer. (b + c) = ABA + AC and (b + c)a = baa + ca) For example 2(3+4)= With the deliberate property the students can connect It to a thinking strategy Is by skip counting. For example In the problem 2(3+4) the students can either break the problem apart and do It separately or do It together, they can skip count by as 3 times and then by as 4 times and add the numbers or skip count by as 7 times, both will equal 14. One conceptual error that may be associated with addition and multiplication Is that students may rush themselves ND not look at the sign if it is addition or multiplication.One way to help the worksheet using highlighters. Once the worksheet is handed out to the students the teacher can ask the students to take out their highlighters and when they are working out each problem they must first highlight the sign, whether it is addition or multiplication, this way they will take their time and look at the sign to correctly answer the problem. A second misconception associated with multiplication is that the students may not correctly work out the distributive law.In a problem such as (2+4) they may forget that they must distribute the 3 to each number and instead do 3*2+4. A way to help the students not commit this error is to first hand them out a worksheet that they only need to write the next step they will take, such as 3(2+4)=3*2+3*4. A second way to help the students not commit this error is to have them draw an error from the number three to the number to and a second arrow from the number three to the number 4 for each problem, this way the students will remember that they must multiply the first number to each number inside the parenthesis first.

Exordium - Definition and Examples

In classical rhetoric, the introductory part of an argument in which a speaker or writer establishes credibility (ethos) and announces the subject and purpose of the discourse. Plural: exordia. Etymology: From the Latin, beginning Observations and Examples: Ancient rhetoricians gave elaborate advice for exordia, since rhetors use this first part of a discourse to establish their ethos as intelligent, reliable, and trustworthy people. Indeed, Quintilian wrote that the sole purpose of the exordium is to prepare our audience in such a way that they will be disposed to lend a ready ear to the rest of our speech (IV i 5). However, in Book II of the Rhetoric, Aristotle contended that the main purpose of the introduction was to make clear what is the end (telos) of the discourse (1515a). Other functions of introductions, according to Aristotle, include making the audience well disposed toward the rhetor and the issue and grabbing their attention.(S. Crowley and D. Hawhee, Ancient Rhetorics for Contemporary Students, Pearson, 2004) Analysis of the Exordium of Dr. Kings I Have a Dream Speech The exordium [paragraphs 2-5] breaks down into two parts, both of which make a similar syllogistic argument while shifting its major premise. The syllogism takes the form of (a) America consists of a promise of freedom, (b) the Negro in America still is not free, therefore, (c) America has defaulted on its promise. The major premise of the first argument is that the Emancipation Proclamation constituted a promise of freedom for Afro-Americans. The major premise of the second argument is that the American Founding as expressed in the Declaration of Independence and Constitution constituted such a promise. In both cases, King argues, the promise has not be fulfilled.Kings exordium is essentially moderate. This is necessary because he must win the attention and trust of his audience before he can make his more militant plea. Having established his ethos, King is now ready for confrontation.(Nathan W. Schlueter, One Dream or Two? Lexington Books, 2002) Exordium of John Miltons Address to His Classmates (An Academic Exercise) The noblest masters of rhetoric have left behind them in various screeds a maxim which can hardly have escaped you, my academic friends, and which says that in every type of speech--demonstrative, deliberative, or judicial--the opening should be designed to win the goodwill of the audience. On those terms only can the minds of the auditors be made responsive and the cause that the speaker has at heart be won. If this be true (and--not to disguise the truth--I know that it is a principle established by the vote of the entire learned world), how unlucky I am! What a plight I am in today! In the very first words of my speech, I am afraid that I am going to say something unbecoming to a speaker, and that I shall be obliged to neglect the first and most important duty of an orator. And in fact, what good will can I expect from you when in as great an assembly as this I recognize almost every face within eyeshot as unfriendly to me? I seem to have come to play an orators part before an utt erly unsympathetic audience.(John Milton, Whether Day or Night Is the More Excellent. Prolusions, 1674. Complete Poems and Major Prose, ed. by Merritt Y. Hughes. Prentice Hall, 1957) Cicero on the Exordium The exordium ought always to be accurate and judicious, replete with matter, appropriate in expression, and strictly adapted to the cause. For the commencement, constituting the introduction and recommendation of the subject, should tend immediately to mollify the hearer and conciliate his favor. . . .Every exordium ought either to have reference to the entire subject under consideration, or to form an introduction and support, or a graceful and ornamental approach to it, bearing, however, the same architectural proportion to the speech as the vestibule and avenue to the edifice and temple to which they lead. In trifling and unimportant causes, therefore, it is often better to commence with a simple statement without any preamble. . . .Let the exordium also be so connected with the succeeding parts of the discourse that it may not appear artificially attached, like the prelude of the musician, but a coherent member of the same body. It is the practice of some speakers, after having p ut forth a most elaborately finished exordium, to make such a transition to what follows, that they seem solely intent upon drawing attention to themselves.(Cicero, De Oratore, 55 BC) Pronunciation: egg-ZOR-dee-yum Also Known As: entrance, prooemium, prooimion