In the interlude and the eleventh chapter of Thomas C. Foster’s How to Read Literature Like a Professor, Foster analyzes the different effects violence has in literature. Firstly, Foster distinguishes that there are two different types of violence in literature. The first form of violence is when a specific injury is brought upon a character by themselves or another character through “shootings, stabbings, garrotings, drownings, poisonings, bludgeonings, bombings” and other harmful means (96). Contrasting with this, the second kind of violence is general harm brought forth by the all-powerful author. The author does this in order to advance the plot or thematically develop the story. The greatest distinction between the two violences is, “no…
Carter’s The Bloody Chamber, uses pornography to critique the inequity of sexual relationships between males and females by focusing on the objectification and violence inherent in normative sexual gender roles. The text analyses and exploits the style and language of pornography to satirize the objectification of women (Barry 1995: 126). Additionally, The Bloody Chamber integrates that if a through the objectification of the woman, she becomes the subject of violence. The only means of change is through self realization and self actualization, when she liberated from the position of dehumanization. Cater utilizes numerous literary devices, such as symbolism, imagery, and satire to scrutinize the relationship between the oppressed and objectified female and the dominant male.…
He shows us that often times we don't even realize the literature we are reading is political,“That world contains many things, and on the level of society, part of what it contains is the political reality of the time – power structures, relations among classes, issues of justice and rights, interactions between the sexes and among various racial and ethnic constituencies. That’s why political and social considerations often find their way onto the page in some guise, even when the result doesn’t look terribly “political. ”(Foster 63) If you look anything in writing it can be political from a story of a prince and a princess to a story of the United States, most stories, even if the author does not intend it to be, is influenced by what is going on at the time. Political is not limited to those who serve in Washington D.C., politics is all around us.…
Then she lay still” (Rand 217). The violence in this scene is intense. This is the “Character-on-character-violence” that Foster talks about in How to Read Literature Like a Professor. The way Dominique “fought like an animal”(218) proves that she did everything in her ability to get free from Roark. Violence is a symbolic action, it happens for a reason, but to be able to recognize that reason or meaning is hard. The sexual violence that took place in this scene is the type of violence that hurt other characters, such as shooting, stabbing, poisoning and of course rape.…
Jennifher Castro Mrs. Mary Smith AP Literature 20 September 2017 Analysis Essay – How to Read Literature Like a Professor One of the major recurring techniques that Foster discusses in his novel that really caught my attention would have to be the technique in chapter 2, which is the technique symbolism. The definition of symbolism is the practice of representing things by symbols, or of investing things with a symbolic meaning or character. In chapter 2 Foster tells about a symbolism that takes place in this chapter where the characters are having a meal together. This is an example of symbolism because basically having a meal together is sort of saying that we are a family together. He also talks about it as he says “in the real world,…
Butler, Judith. Bodies That Matter: On the Discursive Limits of Sex. New York and London:…
Sexual tones are expressed throughout the story through symbols, character interactions, and Lawrence 's word usage. The boy 's rocking horse and the manner in which Lawrence describes the use of this horse can be considered very sexual. "The rocking horse is his "mount" which is "forced" onwards in a "furious ride" towards "frenzy." These descriptions are very suggestive of sexual activity" (Themes 2). The first time Lawrence tells of Paul riding his horse, Paul 's sisters are present in the same room. The sisters ' reactions to witnessing Paul riding his horse point towards him doing something inappropriate and sexual, as if he were masturbating. Lawrence writes, "When the two girls were playing dolls in the nursery, he would sit on his big rocking-horse with a frenzy that made the girls peer at him uneasily The little girls dared not speak to him" (Lawrence). The boy is clearly doing something that his sisters will not, and probably could not, associate themselves with. The climactic scene at the end, when Paul dies as a result of riding his horse too hard, strongly relates to masturbation. Even Lawrence himself indirectly relates this scene to masturbation in one of his other works, an essay entitled "Pornography and Obscenity." Simon Baker speaks of this subject, "Likewise, it is impossible to ignore the…
Brantley Foster (Michael J. Fox) is a a recent graduate of Kansas State University who moves to New York City where he has landed a job as a financier. Upon arriving, he discovers that the company for which he's supposed to work has been taken over by a rival corporation. As a result, Brantley is laid off before he even starts working.…
In “Lust” by Susan Minot the narrator reflects upon sexual encounters and the responses that follow from herself and the opposite gender. For the time period of 1984 the responses are stereotypically accurate based on the narrator’s perceptions of the situation. Many times it is our own perception that creates the reality that one lives. In the case of our young narrator it is her own self worth and perceptions that are creating a stereotypical response to the genders and how they should respond to having sex. However, to push that idea even further it is society that helps mold the perceptions that we should have and the types of responses that we are supposed to have to such…
One of the main suggestions of the article is the functioning of the inner oral narratives as forms of seduction, to be more specific, seductions into a promise. In other words, they try to persuade their listener to promise the satisfaction of a desire that could not be satisfied directly. The two main examples for this are the Monster's as well as Frankenstein's story, but the themes of seductive narration and promises can be found also elsewhere in the novel. The Monster's desire is to be loved by someone. When he realises that not only the DeLaceys but every human being will reject him because of his uglyness, he tells Frankenstein his story in order to persuade him to create a female being of his kind for his companion. At the end of Chapter 8 of Volume II (page 97 of our edition) the monster says: "We may not part until you have promised to comply with my requisition. I am alone, and miserable; man will not associate with me; but one as deformed and horrible as myself would not deny herself to me. My companion must be of the same species, and have the same defects. This being you must create."…
Henry James ' paste tells us much about the human condition and the tendencies of man. The first and most overtly depicted tendency of man is the concept of honour. One can perhaps extend that to the more localized theme of sexual honour regarding women:…
Fosters, the beverage giant of Australia has been all over the news recently, as the company has reported a huge loss and the stock price keeps falling. All of these problems might be brought by its troublesome wine business. This report will try to explain why Fosters is under this infaust circumstance by answering the eight following question.…
These strong links, or “atrocious manifestations” are caused by a “distortion” of sexual reality and desire. These desires become awakened by external stimuli that don’t affect the common individual. Krafft-Ebing states that the “sadistic sensations” can even sometimes be traced back to childhood, or be influenced by events that occurred and impressions made in childhood…
In James Joyce’s short story “An Encounter,” a young boy recounts an adventure he had when skipping school with a classmate. Throughout the story, many Freudian themes are present, including Freud’s stages of psychosexual development and subconscious narration that contains sexual imagery. These are exhibited in passages that contain phallic symbols and provocative speech.…
Sexual metaphors are abundant in Tender is the Night, they enable readers to see the theme of incest more clearly. Sexual metaphors can be found in almost every chapter in Book One, through this readers are given an inside look of Dick’s inability to see when he crosses professional and moral lines. Throughout the novel Dick has an internal power struggle between his code of conduct and what he really wants. It is quite odd that he compares rosemary so often to a child; the he uses this to dismiss Nicole when she asks him and the affair. “Such a lovely child, he said gravely. Suddenly she came toward him, her youth vanishing as she passed inside the focus of his eye and he had kissed her breathlessly as if she were any age at all, (Fitzgerald 93). After Dick gives into his immoral desires, he completely ignores his earlier moral code of conduct dilemma. Dick is old enough to be Rosemary’s father, the age gap between the two crosses a moral line. Dick uses Rosemary’s youth as an excuse to not love her, but then he does what he wants anyway; leading her on and then crawling back to Nicole, for the stability he can not find with someone…