tag:blogger.com,1999:blog-67209981966760450732023-11-15T08:24:38.557-08:00@P L!T3R@TUR3Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.comBlogger24125tag:blogger.com,1999:blog-6720998196676045073.post-32061811023477391112015-03-11T21:31:00.003-07:002015-03-12T08:05:40.698-07:00El Papel Pintado Amarillo (idk why i did this)<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"Cambria Math";
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1107305727 0 0 415 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">Charlotte Gilman’s <i style="mso-bidi-font-style: normal;">The Yellow Wallpaper </i>follows the deterioration of Jane, a
nineteenth century middle-class woman. Many take Gilman’s story as a gripping
thriller, purely for entertainment. But, as literary critics delved into the
story, something much deeper and haunting was revealed. Gilman bravely shed a
light on something not often discussed: the docile and domestic role of women
during her era. By showing the dangers of the submission of women, and how it
essentially leads to madness, Gilman was able to point out the issues in gender
roles almost seamlessly. So, why did this all happen to Jane? </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>There are various instances in the
story that push Jane’s mental deterioration further and further, but the one
occurrence that stood out the most was her husband, John’s, complete and utter
infantilization of her. An example of his treatment of her follows: “</span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I got up softly and went to feel and
see if the paper <i>did</i> move, and when I came back John was awake. ‘<b style="mso-bidi-font-weight: normal;">What is it, little girl?’</b> he said.
‘Don't go walking about like that--you'll get cold’” (Gilman 4). Through many quotes just
like this, calling his wife “little girl” and more, John completely disregarded
Jane’s intellectual capacity as an adult (which we knew was present as she
demonstrated knowledge of advanced architecture various times throughout the
story) and dumbed her down to the level of a child. Gilman represented the
woman during this time as nothing but a baby, placing Jane in a nursery and
giving her no control whatsoever. By doing this, Gilman was able to emphasize
the absolute lack of independence and power women had, pushing on the obvious
fact of the underestimation of women, perhaps her goal in writing <i style="mso-bidi-font-style: normal;">The Yellow Wallpaper. </i></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>This
story fits right in to the context of the nineteenth century. With women as
nothing more than a tool, a domestic slave used for elementary tasks, Gilman
does a fantastic job in emphasizing not only the reality of life for women during
her time, but the unbelievable dangers of their treatment.<i style="mso-bidi-font-style: normal;"> The Yellow Wallpaper </i>is an amazing story that was years beyond its
time in regards to gender roles. Gilman touched on the issues relating to women
in a subtle yet thrilling way that causes the reader to contemplate the larger
issues and assumptions of men’s superiority in our society. Technically, this
story could be extrapolated to society today. Although we are amazingly close
to gender equality, women continue to fight for their rights to equal pay and
more each day. Gilman’s lesson on the dangers of gender roles not only
applicable today, but encourage women to continue their fight against their age-old
assumptions of domestication.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Works Cited</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="color: #1a1a1a; mso-bidi-font-family: "Times New Roman";">Gilman, Charlotte Perkins. <i>The Yellow
Wallpaper</i>. N.p., n.d. United States Library of </span></div>
<br />
<span style="color: #1a1a1a; mso-bidi-font-family: "Times New Roman";">Medicine. Web. 11
Mar. 2015.</span><br />
<div class="MsoNormal" style="line-height: 200%; text-align: left;">
<br /></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com3tag:blogger.com,1999:blog-6720998196676045073.post-59825670482976815312015-03-08T20:37:00.000-07:002015-03-08T20:37:29.462-07:00Heart of Darkness
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Many literary critics have argued
over time about the nature of Joseph Conrad’s <i style="mso-bidi-font-style: normal;">Heart of Darkness</i>: is it a work of Gothicism or not? According to
Campbell, Gothic novels are made to create terror and to “open fiction to the
realm of the irrational – perverse impulses, nightmarish terrors, obsessions –
lying beneath the surface of the civilized mind,” (Campbell). With these points
in mind, it’s clear that readers can assume Conrad’s famous novel is a work of
Gothicism, specifically, a gothic horror.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>One of the major gothic aspects
visible in <i style="mso-bidi-font-style: normal;">Heart of Darkness</i> is the
clear gothic atmosphere. One of the most prominent examples of the darkness of
the atmosphere is in the opening of the novel: “</span><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The air was dark above Gravesend, and farther back still
seemed condensed into a mournful gloom, brooding motionless over the biggest,
and the greatest, town on earth” (Conrad 2). Here, Conrad contrasts the neutral
sea with the tainted land, now dark due to the inherent evilness of man. The
atmosphere touches on the perverse impulses that man has, which are actually
evil, initially creating an aura of Gothicism. The forest shown in the novel is
also a major representation of the Gothic movement, explaining it as
“motionless in the moonlight was like a rioting-invasion of soundless life…to
sweep every little man of us out of his little existence” (Conrad 79). The
forest, in a sense, holds the secrets of Kurtz and his weaknesses in regards to
his “perverse impulses,” one of the main Gothic characteristics explained
previously. Other examples of Gothic elements in Conrad’s <i style="mso-bidi-font-style: normal;">Heart of Darkness</i> are the fact that Kurtz sees a ghost, a “nightmarish
terror” Campbell discussed in her explanation of Gothic novels. </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Although only a few examples of the
Gothicism of <i style="mso-bidi-font-style: normal;">Heart of Darkness</i> were
touched on, Gothic elements are extremely visible many more times throughout
the novel, making Conrad’s famous work a clear piece of Gothic horror. </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Works Cited<span style="mso-bidi-font-family: Verdana;"> </span></span></div>
<div class="citation">
Campbell, Donna M. " Gothic, Novel, and Romance: Brief Definitions." <i>Washington State University</i>. N.p., 3 July 2014. Web. 8 Mar. 2015.<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: Verdana;"> </span></span></div>
<div class="citation">
<br /></div>
<div class="citation">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: Verdana;">Conrad, Joseph. <i>Heart of Darkness</i>.NY, NY: W.W. Norton and
Company, Inc., 1988.</span> </span></div>
<div class="citation">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: left;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Lipka, Jennifer. "The Horror! The Horror!: Joseph Conrad's Heart Of Darkness as a Gothic Novel."Web. 8 Mar. 2015.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: left;">
<br /></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com0tag:blogger.com,1999:blog-6720998196676045073.post-90103639391711746212015-02-19T18:17:00.001-08:002015-02-19T18:17:32.087-08:00Rochester is ____? Joon Ooyoor
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">In Charlotte Brontë’s <i style="mso-bidi-font-style: normal;">Jane Eyre, </i>many times Jane’s love
interest Rochester is seen as a hero. But which type of hero is Rochester? Many
literary critics argue between Rochester being a tragic hero, others a Byronic
hero. When analyzing the text, Rochester seems to embody much more of a
Byronic character, someone dark and moody, yet brilliant who “sometimes hints
of forbidden love,” and can be seen as a “wanderer” (UHCL). Through these
characteristics and many more that come with being a Byronic character, it’s
very clear that Brontë was influenced by this extremely popular Romantic-era
personality.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">Initially, Rochester’s “wanderer”
characteristics are very evident and are announced in Chapter 11 by Mrs.
Fairfax: </span><span lang="EN-GB" style="font-family: "Times New Roman"; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">"He is
rather peculiar, perhaps: he has travelled a great deal, and seen a great deal
of the world, I should think. I dare say he is clever" (Brontë 136). Other
times Rochester is seen as a wanderer is when his trips throughout Europe
before meeting Bertha are written about, where his promiscuous affair with
Celine Varens is revealed. Rochester never can really “sit still,” he is always
moving around from country to country, not even being able to stay at his own
home at Thornfield Hall for more than a few weeks before departing again
mysteriously. The wanderer that Rochester is just begins to classify him as the
type of hero Byron developed. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="EN-GB" style="font-family: "Times New Roman"; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Furthermore, Byronic heroes many times have sinful
thoughts and like previously stated, crave forbidden love. Essentially,
Rochester and Jane’s love was forbidden, considering his on-going marriage with
the insane Bertha. Rochester simply neglects to think of the moral and legal
importance of not cheating on his wife by marrying another woman, as he gets as
far as the wedding ceremony before his secret is revealed. Overall, his lack of
care for Bertha and their marriage, seeing her as “his burden,” as well as his
sin of attempting to marry another woman while already married further shows
Rochester as a Byronic character. Although sinful and, sometimes, hard to love,
Rochester still somehow makes his way into many of the readers hearts as we
constantly root for Jane and his relationship to become a reality. Brontë shows
us that even the most careless and sometimes evil characters can somehow become
likeable for readers in both Brontë’s time and today.</span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center; text-indent: .5in;">
<span lang="EN-GB" style="font-family: "Times New Roman"; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Works Cited</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">"American Renaissance &
American Romanticism: The Byronic Hero." <i>University of <span style="mso-spacerun: yes;"> </span>Houston - Clear Lake</i>. N.p., n.d. Web. 19
Feb. 2015.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Brontë, Charlotte, Fritz Eichenberg,
and Bruce Rogers. <i>Jane Eyre</i>. New York: Random<span style="mso-spacerun: yes;"> </span>House, 1943. Web.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span></span></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com0tag:blogger.com,1999:blog-6720998196676045073.post-74467009348775011402015-01-28T19:31:00.003-08:002015-01-28T19:31:37.598-08:00Lost in Paradise
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"Cambria Math";
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Milton depicts Lucifer in a very unique way in
his work <i style="mso-bidi-font-style: normal;">Paradise Lost.</i> In lines 242
to 270, Lucifer exclaims his defiance against God and, furthermore, his lack of
interest in changing. Lucifer truly believes he has the power to become greater
than God. This shows how much of a high-risk creature Lucifer is. The quote,
“Better to reign in Hell than serve in Heaven” shows Lucifer’s unwillingness to
better himself, and furthermore shows how strong he is in his opinions, even
though they are completely backwards (Milton 263).</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Milton shows Lucifer as a quite envious
character, wanting to be essentially just like God, ruling his part of the
world, Hell, as opposed to God’s heaven. Lucifer goes on explaining how in
Hell, “at least we shall be free…” and then explains the positives of God being
“out of the picture” in Hell (Milton 258-259). Lucifer is seen as quite obsessive
in the given passage, so focused on comparing himself with God and heaven, and
doing whatever he can to make sure his Hell is seen as more superior. Although
Lucifer is clearly evil, he is also seen as an anti-hero that readers can
somehow relate to. Lucifer craves sympathy, and readers, like myself, cannot
help but feel for him. In my opinion, God and Lucifer represent a very common
archetype of the “older brother,” or in this case father. God is always more
successful, and is always seen in a better light, while Lucifer is stuck in his
shadow. Readers can relate to this feeling of being “second best,” and
therefore classify him as a hero, even if he has evil tendencies. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Milton’s Lucifer has made a huge mark on literature
through his creation of a very unpredictable anti-hero. Milton’s Lucifer
explored a new, unexplored area in literature that was somewhat revolutionary,
as it completely changed the way readers rigidly classified a hero and villain.
Milton furthered the idea of the anti-hero, and helped literature evolve into
the multilayered creative outlet it is today.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"> Works Cited</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Milton, John. <u>Paradise Lost</u>. Ed. Scott Elledge.
2nd ed. New York: Norton, 1975.
</span></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com2tag:blogger.com,1999:blog-6720998196676045073.post-63290833016801800852015-01-14T21:02:00.002-08:002015-01-14T21:04:49.070-08:00The Toompoost, nina<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Jake
Nusynowitz<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">AP
Literature<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Ms.
Howard<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">13
January 2015<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span style="mso-tab-count: 1;"> </span>Shakespeare’s <i style="mso-bidi-font-style: normal;">The Tempest </i>can be interpreted as both a tragedy and romance. When
truly interpreting Shakespeare’s final work, though, there are many elements of
romance that lead us to lean towards the affectionate genre. Initially,
Schwartz writes about “extraordinary occurrences” in his list of
characteristics of Shakespearean romance (Schwartz). <i style="mso-bidi-font-style: normal;">The Tempest </i>employs quite a few extraordinary occurrences, most
specifically the beginning when a shipwreck takes place: “We were all
sea-swallow’d, though some cast again” (Shakespeare 2.1). Furthermore, Schwartz
speaks about supernatural events, which are extremely relevant in <i style="mso-bidi-font-style: normal;">The Tempest. </i>For example, one
supernatural being, Prospero, uses his magic to regain his Dukedom and punish
his enemies. At the end of the play, Prospero longs to return to society and
speaks about his now disinterest with using magic: “…I’ll break my staff, bury
it certain fathoms in the earth, and deeper than did ever plummet sound I’ll
drown my book” (Shakespeare 5.1). Another example of a supernatural character
is Ariel, a magical being who casts spells throughout the play: “<span style="background: white; color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Then I beat my tabour; At which, like
unback'd colts, they prick'd</span><span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> <span style="background: white;">their ears,</span> <span style="background: white;">Advanced
their eyelids…As they smelt music: so I charm'd their ears</span>…” (Shakespeare
4.1.15). Schwartz comments on the supernatural aspects by explaining, “</span><span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Romance is <span style="mso-bidi-font-weight: bold;">unrealistic</span>. <span style="mso-bidi-font-weight: bold;">Supernatural elements</span> abound, and
characters often seem "<span style="mso-bidi-font-weight: bold;">larger than
life</span>" (Schwartz). <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Lastly, <i style="mso-bidi-font-style: normal;">The Tempest
</i>employs a romantic feel through its sudden “happy ending.” Schwartz
explains that “The "happy ending" may seem unmotivated or contrived,
not unlike the <span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">deus ex machina” (Schwartz). <i>The Tempest’s </i>happy ending comes
with setting prisoners free, Prospero giving up his island, as well as his
powers that allowed him to control Caliban. The conflict is essentially
resolved at the end of the play and all of the characters seemingly live
“happily ever after.” Shakespeare commonly employed these characteristics in
his works, and <i>The Tempest </i>in no way lacks in being one of his most well-known
romances to date. </span></span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: xx-small; mso-fareast-font-family: "Times New Roman";"><br /></span>
<span style="font-family: Times, Times New Roman, serif; font-size: xx-small; mso-fareast-font-family: "Times New Roman";">Works
Cited</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Schwartz, Debora B. "Shakespeare's Four Final Plays: The Romances. 2005. Web. 14 January 2015.</span></div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal" style="background: white; line-height: 22.3pt;">
<span style="color: #333333; font-family: Arial; font-size: 11.5pt; mso-fareast-font-family: "Times New Roman";"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"> "The Tempest: Entire Play." <i>The Tempest:
Entire Play</i>. N.p., n.d. Web. 9 Jan. 2015.</span><o:p></o:p></span></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com0tag:blogger.com,1999:blog-6720998196676045073.post-23068257595960119422014-12-07T21:27:00.001-08:002014-12-07T21:27:01.541-08:00Magical Realism<div class="MsoListCxSpFirst" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Jake Nusynowitz<o:p></o:p></span></div>
<div class="MsoListCxSpMiddle" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">AP Literature<o:p></o:p></span></div>
<div class="MsoListCxSpLast" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Ms. Howard<o:p></o:p></span></div>
<div class="MsoDate" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">6
December 2014<o:p></o:p></span></div>
<div class="MsoBodyTextFirstIndent" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">We are told we evolved from an ancestor
common to humans. A wizard, Mermis of Atlantis, activated our DNA. Something
not many people know was that Atlantis was in touch with the supernatural
world. Atlantis was not forever, though. Mermis foretold the end of
Atlantis, but few heeded his warnings. My ancestors chose to have their genes
activated and imbued with special powers. When Atlantis sank, we were the
only ones to survive. Mermis became our leader. We rebuilt Atlantis deep
beneath the ocean as our new home. <o:p></o:p></span></div>
<div align="center" class="MsoBodyTextFirstIndent" style="line-height: 200%; text-align: center; text-indent: .5in;">
<span style="font-family: "Times New Roman";">I<o:p></o:p></span></div>
<div class="MsoBodyTextFirstIndent" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">I always have this dream that I’m flying.
It always starts the same, my lone body hovering above cerulean waters. All of
a sudden, I am in total control, exploring the world, watching humans. You
know, it’s in that fantasy where I feel completely safe. I’ve finally escaped
the waters that trapped me for seventeen years. And then I wake up.<o:p></o:p></span></div>
<div class="MsoBodyTextFirstIndent" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">That dream was, in a way, always a
fantasy, until the eleventh full moon of the year. It was a normal day; I woke
up, had breakfast with my parents, collected four baskets of sea kelp, and
raced Meranda around Mermis Rock. It wasn’t until I returned to my parents that
things became far from normal. <o:p></o:p></span></div>
<div align="center" class="MsoBodyTextFirstIndent" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">II<o:p></o:p></span></div>
<div class="MsoBodyText" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">“You’re
going to land today, Meredith. We’ve found a beautiful city for you to stay in
and go to school. There are many prospective humans there,” my parents
explained. I felt my head getting light. I never thought this day would come.
They were sending me out of the ocean and to land. I felt the sea kelp I ate
earlier come up. But I knew it was time, and I was ready. When a mermaid turns
seventeen, she joins the human world to search for a human man who can help her
reproduce and continue her family. I just didn’t know they would send me off so
soon. That night, I said my goodbyes to Meranda and my parents. Soon, the
Transfer Committee took me to land. As soon as the sun came up, they brought me
out of the water. I always imagined what my legs would look like, but I never
actually thought I would have them. They were so long and beautiful, just like
a human! We all walked to a black box, what we were told were called “cars,” I
thanked them, and they were gone. I was on the road to my new home.<o:p></o:p></span></div>
<div align="center" class="MsoBodyText" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">III<o:p></o:p></span></div>
<div class="MsoBodyTextFirstIndent" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">We pulled up to a beautiful house in
“Miami, Florida.” As I stumbled to the front door (I was still learning how to
use my legs), a man, a woman, and a boy were standing there, smiles beaming
from cheek to cheek. “Welcome to Miami, Meredith!” They all shouted. They all
shook my hand and brought me inside. This was my new home. This was my new
family. They showed me the kitchen, the family room, and my bedroom equipped
with a pool of water for me to sleep in. When the moon came out, my tail came
back and without water, I would not be able to survive. They showed me my
clothes and where I would be going to school. It all seemed to happen so fast,
but I loved it. After getting to know them, I settled in, then headed
downstairs for dinner. The mother and father prepared something called sushi. I
did not know what sushi was but it reminded me of the ocean. I liked it. <o:p></o:p></span></div>
<div align="center" class="MsoBodyTextFirstIndent" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">IV<o:p></o:p></span></div>
<div class="MsoBodyTextFirstIndent2" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">That night, the boy came into my room.
His name was John. He had brown hair and beautiful piercing blue eyes. He asked
me how I liked it here. We started off with small talk, talking about school
and friends and Miami. We couldn’t stop talking. We talked about religion and
politics and the mermaid world and the human world and love and hatred and everything
in between. We talked for six hours. I loved him. I knew he was the one. As the
sun came up, he went back to his room while as we both grasped the few hours of
sleep we could get. He woke me up and told me to get dressed. He told me he was
taking me somewhere. I didn’t argue. I slipped on my new shorts and a shirt and
walked downstairs. He stood at the bottom of the stairs with a picnic basket
and told me we were going to have lunch. We headed to a park with a grassy spot
that looked like it was meant for picnicking. We ate and talked for hours. As
we got ready to leave, he leaned in and kissed me. I knew it was real. I could
feel it. As the sun started going down, he told me we needed to get back before
my tail came back out. We got into his car and drove home. I knew I needed to
ask him to be mine.<o:p></o:p></span></div>
<div align="center" class="MsoBodyTextFirstIndent2" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">V<o:p></o:p></span></div>
<div class="MsoBodyTextFirstIndent2" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">We arrived back to the house to the
surprise of our parents standing there at the front door with three tall men in
suits. “What’s going on?” John asked. “Back away from Meredith,” his mom
yelled. All of a sudden, the three men started walking towards me. They grabbed
me and shoved me in the back of a car. I yelled for help, but nobody was there.
It was over.<o:p></o:p></span></div>
<div align="center" class="MsoBodyTextFirstIndent2" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">VI<o:p></o:p></span></div>
<div class="MsoBodyTextFirstIndent2" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">I woke up in a white room. I was tied up
and had things stuck to my entire body. I screamed and cried for hours until
finally a man came into the room. “What am I doing here, please let me out!” I
yelled. “Hello Meredith! Welcome to the MCA! Here, we control disgusting
creatures like you. We are a branch of the US government that works with mermaids,
mainly. Your new parents were communicating with us the entire time and helping
us pinpoint the exact time to bring you here and exterminate you! I appreciate
you cooperating so well.” I felt queasy. This was it. I was going to die. My
life was over. “Are you going to kill me?” I asked, my voice shaking. “Oh,
Meredith, of course we are. And then, once we’ve killed you, we’re going to
throw you back into the ocean so your disgusting relatives can see their dead
daughter, their dead sister, cousin, and friend and know to stay in the water.
Land is not a place for you things. I’ll be back shortly.” I couldn’t stop
crying as he left the room. My family, Meranda, John, I would never see them
again. I sat there, tied up, with my eyes closed and prayed. As I prayed, I
heard screaming. All of a sudden, the door swung open. It was John. “Meredith!
I found you!” He quickly untied me. “We have to go.” I kissed him and then we
went. We ran. Gunshots seemed to be coming from everywhere. We made it out of
the building and jumped into his car. We drove for miles until we were safe and
could talk. He apologized to me about his family and told me he never wanted to
go back. He asked me to be his forever. I cried and nodded, “yes, of course.”
He asked me, “Where do you want to go?” I smiled, and said “Anywhere, as long
as I’m with you.”<o:p></o:p></span></div>
<div align="center" class="MsoBodyTextFirstIndent2" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">Five Years Later<o:p></o:p></span></div>
<div class="MsoBodyTextFirstIndent2" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">We moved to Orlando, Florida, where we
both got jobs at Sea World. I could use their facilities every night and we got
to be together every day. We moved into a modest house outside of the city and
eventually had a baby girl. We named her Mercy. We visited my family in the
ocean every so often, and made trips down to Miami to show Mercy where her
father grew up. We truly had it all. And I didn’t want it any other way.<o:p></o:p></span></div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; tab-stops: .5in 1.0in 1.5in 2.0in 2.5in 3.0in 3.5in 4.0in 4.5in 368.9pt;">
<br /></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com0tag:blogger.com,1999:blog-6720998196676045073.post-32101234388761405082014-11-20T06:15:00.000-08:002014-11-20T06:15:47.825-08:00Fairy Tale<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Two exquisitely
curious juveniles were once dropped in the center of an immense thicket. Before
being left by their abominable progenitors, one of the children left a pathway
in hopes that it would lead them back to their household. Being dragged out
into the boscage once again, the children instead assembled a different kind of
path to lead them back. But, to their dismay, an unsolicited visitor consumed
their avenue; one who knew nothing about their dire situation. Wandering
aimlessly, the two juveniles stumbled upon a beautiful cream-colored bird and
followed it to a clearing in the boscage. Soon, they discovered a magnificent
home, rather a cottage, built of tasteful gingerbread and cakes, with
windowpanes of sparkling sugar. They could resist anything but temptation.
Famished, the children began to eat the rooftops of the candy-coated home. They
couldn’t help but feel slightly selfish, but, then again, selfishness is not
living as one wishes to live, it is asking others to live as one wishes to
live. A decrepit woman soon emerged from the woods, luring them inside and
promising them soft, pillow-covered beds and exquisite meals. They comply, the
wise fools, completely unaware that the hostess is really not only decrepit,
but wicked and plans to cook and devour the children. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>The
following morning, the conjurer sealed one of the adolescent’s in a rigid iron
cage in the garden and forced the other into slavery. Feeding the trapped child
constantly, in hopes to augment their weight, the witch prepares to indulge in the
growing child. As the witch prepares the blazing oven for the plump juvenile,
she decides she is ravenous enough to devour both children. The witch coaxes
one of the children to open the oven and prods her to lean over in front of the
blazing inferno. Knowing what the corrupt woman plans to execute, the child
acts befuddled in hopes to get the witch to demonstrate her intentions. As the
woman leans over the flame, the child thrusts her into the oven, slams, and
bolts the door shut. The children emerge free, finding vases full of exquisite
treasures and precious stones. With riches beyond compare, the children set off
for their home.<o:p></o:p></div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>In
this world there are only two tragedies. One is not getting what one wants, and
the other is getting it. Coming to the realization that their father’s wife had
passed from unknown causes, and joyously finding out that he had spent all his
days lamenting the loss of his children, they return to their home and the
lives they once knew. With the witch’s wealth, they all live jubilantly for the
rest of their days.<o:p></o:p></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com0tag:blogger.com,1999:blog-6720998196676045073.post-32180156550336507482014-11-11T17:53:00.000-08:002014-11-11T17:54:15.257-08:00Bernard Marx<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">I<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>I wish I were more confident.
Approaching Lenina was hard enough, and you wouldn’t believe the amount of
happiness that rushed through my body – like a huge dose of soma – when she
agreed. Although, you couldn’t imagine the embarrassment I had when she publicly
discussed her sexual life. I wish she kept herself more private, but I didn’t
let myself think about it too deeply. The rumors going around about me are
absolutely repulsive: “…somebody made a mistake when he was still in the
bottle–thought he was a Gamma and put alcohol into his blood-surrogate. That's
why he's so stunted…” they say (Huxley 46). These ridiculous stories are
probably why I apparently am lacking so much on my confidence. Hopefully visiting
the reservation soon should be interesting. I hope the Director lets us. And I
really hope Lenina likes it. She says she interested. She also thinks I’m
sweet. I appreciate that. She fixes my lonely feelings; she makes me feel
wanted. She wants me to go to some sort of wrestling match. I agreed, but
really have not much interest in what she wants to do. I feel hugely
disconnected. It feels as if there is a rainstorm above my head, dark and
gloomy.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">II<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">She wanted me to take it. Over and over
again, “Take the soma! Take the soma!” No. No. As we returned, I hovered the
helicopter over the Channel. The silence makes me feel individual, I told her.
She begged me to take her away from the water and the emptiness that comes with
it. She eventually got me to take soma, way, way too much soma. We had sex. I
didn’t want to. I want to act mature. I wanted to act like an adult. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>The Director said yes! I was almost
positive he would disapprove. He told me how he lost a woman he went up there
with in a storm. It scared me; I could only imagine how much shock he suffered
from that. Then, something weird happened. He threatened to exile me to Iceland
due to my “antisocial behavior.” Why? Regardless, I was pretty proud. I felt
rebellious. I felt confident. More importantly, I felt ready to be with Lenina.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">III<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">Today was an especially important day. It
was the day we travelled to the reservation. It all seems like a blur, to be
quite honest. One thing that keeps playing back in my mind is Helmholtz’s news.
This whole “exiled to Iceland” thing seems to be becoming more and more real.
It seems unreal. I can’t be exiled! I belong here. All that I felt, my
proudness, my confidence, was gone. I was scared. I was scared until I took
soma, of course. We met John, a blond boy from the reservation. He could be one
of my greatest discoveries. He told us some shocking news: that The Director
was his father. Linda, John’s mother, a particularly frightening woman,
furthered the story and told us she had problems with her contraceptives. Why
would someone lie about this? It had to be true. I think John will help me. He
said he would come to London with me. John could change my life in the World
State. And, perhaps, help me embarrass the Director. I have plans to expose him
as John’s father, but I don’t plan on telling John about those. I was happy I
could make John happy to finally see the World State. I’m not sure why he is
excited, though. The World State is full of such hatred and disgust. I feel
like a misfit there. I hope he doesn’t have some type of false hope that London
will be some type of Shangri La. I fear he does…<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center; text-indent: .5in;">
<span style="font-family: "Times New Roman";">IV<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">I went to visit Mond today. He agreed
that John was important in the World States’ scientific interest. When I
returned to the Director, he had the nerve to call me a heretic. I was in
shock. What gave him the right to speak to me, let alone anyone like this! I’m
not an infant. And I will not be sent to Iceland or Greenland or any land
besides my land, the World State. I was so angry that I presented John and
Linda to the entire room. The look on the Director’s face was truly priceless. The
laughter that ensued as he ran out of the room was the cherry on top of an
unforgettable moment!<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center; text-indent: .5in;">
<span style="font-family: "Times New Roman";">V<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">The unforgettable moments continued. I
was a hit. I was popular, all thanks to John. Being his guardian gave me what
felt like some type of immunity. As if his popularity rubbed off onto me.
Nobody could stop me. Nobody could hurt my confidence or me. The amount of sex I
was having was amazing. Off the charts, I swear. I wish this wouldn’t end. I
owed everything to John. And I didn’t care about what Helmholtz thought about
me, he was simply jealous. These had to be some of the best moments I’ve had in
years. I refused to let them end.</span><span style="font-family: 'Times New Roman'; line-height: 200%; text-align: center;"> </span><br />
<span style="font-family: 'Times New Roman'; line-height: 200%; text-align: center;"><br /></span>
<div style="text-align: center;">
Works Cited</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
<span style="background-color: #f2f2f2; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 21px; text-indent: -35px;">Huxley, Aldous. </span><i style="box-sizing: border-box; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 21px; text-indent: -35px;">Brave New World</i><span style="background-color: #f2f2f2; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 21px; text-indent: -35px;">. New York: Harper & Bros., 1946. Print.</span></div>
</div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com2tag:blogger.com,1999:blog-6720998196676045073.post-35460256967756313942014-11-03T17:08:00.003-08:002014-11-03T17:08:22.370-08:00Froonkoonstoon :D<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Mary Shelley’s <i style="mso-bidi-font-style: normal;">Frankenstein </i>represents interplay of Enlightenment rationalism and
Romantic irrationality. Essentially, Victor Frankenstein represents the
Enlightenment’s ideas of rationalism, while his creation, the monster,
represents the irrationality of romanticism. The Enlightenment and its
rationality were focused on science, and all things that are physical. Victor
represented these ideals through his constant work in his laboratory, and
creation of the monster through research in chemistry and other sciences. </span><span style="font-family: "Times New Roman";">Essentially, his fall into a life with no
social skills and obsession with the monster represents a condemnation of
rationalism. Shelley showed the problems with thinking completely rationally
and like an Enlightenment thinker, but also showed the issues with thinking like
a Romantic: irrationally. Romantics argued that “<span style="color: #1d1d1d;">the
complexity of human experience could not be explained by an inhuman
rationalism,” and that is exactly what Victor attempted to do (Smith 2). By
creating life and attempting to bend the rules of nature and religion, he tried
to explain the complexity of human experience, such as creation, rationally.
This essentially caused his downfall, as he could care less about Romantic
ventures and was solely focused on rational thought. <o:p></o:p></span></span></div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal" style="line-height: 150%;">
<span style="color: #1d1d1d; font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>On the other
hand, the monster represented the Romantic Movement. By relying on his
feelings, for example begging Victor to make him a female companion so he can
be happy. Essentially, he lets emotions take over his life: “</span><span style="color: #1a1a1a; font-family: "Times New Roman";">I will revenge my injuries;
if I cannot inspire love, I will cause fear, and chiefly towards you my
archenemy, because my creator, do I swear inextinguishable hatred” (Shelley
182). The monster even takes it so far to say he will ruin Victor’s life if he
does not create someone for him to love. Through this, it’s clear that the
monster had a very Romantic way of thought which also caused his downfall, due
to his lack of rationality. Overall, Frankenstein still has resonance for our
culture as it poses questions that are still relevant today. It questions,
initially, the question of technology and science versus morality. Just because
we can do something, does that mean we should? It brings up questions of the
moral consequences of things such as cloning, which is, in a way, done in <i style="mso-bidi-font-style: normal;">Frankenstein. </i>As science becomes more
and more powerful in culture and society, the idea of <i style="mso-bidi-font-style: normal;">Frankenstein</i> and the monster becomes more and more powerful. We
continue to question more and more, is this possible? Could something like this
truly happen? These questions make Mary Shelley’s timeless piece live on today
and continue to live on for years to come.</span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="color: #1a1a1a; font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="color: #1a1a1a; font-family: "Times New Roman";">Works Cited</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="background-color: white; font-family: Lobster; font-size: 14px; line-height: 19px; text-align: justify;">Shelley, Mary. </span><i style="font-family: Lobster; font-size: 14px; line-height: 19px; text-align: justify;">Frankenstein</i><span style="background-color: white; font-family: Lobster; font-size: 14px; line-height: 19px; text-align: justify;">. New York: Dover Publications, 1994. Print</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="background-color: white;"><span style="font-family: 'Adobe Hebrew'; font-size: 13px; line-height: 18px;">Smith, Andrew. </span><i style="font-family: 'Adobe Hebrew'; font-size: 13px; line-height: 18px;">Gothic Literature</i><span style="font-family: 'Adobe Hebrew'; font-size: 13px; line-height: 18px;">. 2nd ed. Edinburgh: Edinburgh UP, 2013. </span><i style="font-family: 'Adobe Hebrew'; font-size: 13px; line-height: 18px;">Questia School</i><span style="font-family: 'Adobe Hebrew'; font-size: 13px; line-height: 18px;">. Web. 31 Oct. 2014.</span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="background-color: #cadfc1; color: #262626; font-family: 'Adobe Hebrew'; font-size: 13px; line-height: 18px;"><br /></span></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com1tag:blogger.com,1999:blog-6720998196676045073.post-84329361296141356872014-10-15T14:10:00.001-07:002014-10-15T20:35:01.474-07:00H3M!NGW@Y!!!<div style="text-align: left;">
<span style="font-family: Times, Times New Roman, serif; font-size: xx-small;">Hemingway has a very distinct writing style exemplified in all of his work, but specifically <i>The Sun Also Rises. </i>Hemingway's </span><span style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">style is focused on the realm of prose, which means written in an ordinary form without a metrical structure. Hemingway </span><span style="font-size: xx-small;"><span style="font-family: Times, 'Times New Roman', serif;">takes a very modern approach to writing, which is seen through the next few specifics found throughout </span><i style="font-family: Times, 'Times New Roman', serif;">The Sun Also Rises. </i><span style="font-family: Times, 'Times New Roman', serif;">Initially, he uses limited words in the dictionary of his novels. He speaks about this in the book, when Jake tells us "</span><span style="background-color: white; font-family: Times, 'Times New Roman', serif;"><span style="color: #333333;"><span style="line-height: 21px;">The </span></span></span><span style="background-color: white; color: #333333; font-family: Times, 'Times New Roman', serif; line-height: 21px;">English spoken language... must have fewer words than the Eskimo...The English talked with...One phrase to mean </span></span><span style="background-color: white; color: #333333; font-family: Times, 'Times New Roman', serif; font-size: xx-small; line-height: 21px;">everything...I liked the way they talked" (Hemingway 149). This is ironically, how he felt, and Hemingway managed to communicate effectively using very few words. Hemingway also employed very short sentences, such as "It was a fine morning" (Hemingway 35). The pattern of keeping short sentences continued throughout the book, furthering his radically modern approach to writing, unique during his time. Lastly, his lack of clarity between sentences is something very unique to him. Often, Hemingway would imply the relationship between two sentences, forcing readers to be active: "The wine was good. I drank much of it" (Hemingway 180). Furthermore, Hemingway's detached storytelling represents Jake, Mike, and Brett's world, once meaningful and now disconnected completely full of debauchery and nonsense. All of these style elements Hemingway employed represents his unique and modern style, one of the first of its kind.</span><br />
<span style="color: #333333; font-family: Times, Times New Roman, serif; font-size: xx-small;"><span style="background-color: white; line-height: 21px;">______________________</span></span><br />
<span style="color: #333333; font-family: Times, Times New Roman, serif; font-size: xx-small;"><span style="background-color: white;"><span style="line-height: 21px;">"Happy birthday Jake!" Oh god. I hate birthdays. I don't really like being the center of attention. Robert Cohn on the other hand, he couldn't handle not being talked to or talked about for two seconds. "You know, Jake. This reminds me of the one time I brought a cake to school. Everyone liked it, it was so flavorful..." Robert said a little louder than necessary. Everyone sighed, including Brett, who Cohn loves but Brett can't stand him. Now Cohn gets quiet! I like chocolate birthday cake. I wish my mom wouldn't take so many damn pictures. "Turn off the damn flash...for the love of god..." I yelled. Whatever. It's my party, I can yell if I want to. Having them at my party was nice, along with Bill and Mike. Brett's great. Robert is tolerable. I can't believe i'm eighteen. It feels like just yesterday I was running around, playing with action figures. "Shut up, Robert" I yelled. "What, why?" he responded. I ignored him. The sight of him can really piss me off.</span></span></span></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com0tag:blogger.com,1999:blog-6720998196676045073.post-86398778376662595512014-09-16T19:56:00.002-07:002014-09-17T06:35:00.349-07:00Vengeful Repetition in WH<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Times New Roman'; font-size: 12px;">
<span style="white-space: pre;"> </span><i>Wuthering Heights</i> is essentially a story focused on repetition. On the surface, this recurring theme is clear through things like Catherine and young Catherine, with a simple repetition of names. But as the book continues, repetition in a deeper sense is revealed. Many critics agree that the story essentially repeats itself with regard to conflicts: first with Hindley bothering Catherine and Heathcliff, and then later with Heathcliff bothering Hareton, Linton, and young Catherine. This repetition is obvious and is well supported throughout the text. </div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Times New Roman'; font-size: 12px;">
<span class="Apple-tab-span" style="white-space: pre;"> </span>Initially, when Heathcliff joins the Earnshaw family, he is very quickly loved by both Hindley’s father (as the new “baby” of the family) as well as Catherine. Hindley’s jealousy is obvious very quickly as he does not want to give up the privilege of being the young man of the house: “…The young master had learned to regard his father as an oppressor rather than a friend, and Heathcliff as a usurper of his parent's affections and his privileges; and he grew bitter with brooding over these injuries” (Brontë 55). Hindley quickly looks for ways to seek revenge on, essentially, his replacement by Heathcliff. When Hindley returns from college as head of the estate, he swears to seek revenge on Heathcliff for, in his opinion, ruining his childhood. His vengeful attitudes are blatantly spoken in chapter three and prove the beginnings of the vengeful cycle that is <i>Withering Heights</i>: “He [Hindley] has been blaming our father… for treating H. [Heathcliff] too liberally; and swears he will reduce him to his right place” (Brontë 30). When Hindley dies, and Heathcliff eventually becomes the master of Wuthering Heights, his vengeful attitudes to get back at how Hindley treated him soon come to surface.</div>
<span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Times New Roman'; font-size: 12px;">When Heathcliff ends up taking care of Hareton, he essentially treats him as Hindley and shows that he will truly do anything to inflict pain on the closest person who treated him so poorly: “He had the hypocrisy to represent a mourner: and previous to following with Hareton, he lifted the unfortunate child on to the table and muttered, with peculiar gusto, "Now, my bonny lad, you are mine! And we'll see if one tree won't grow as crooked as another, with the same wind to twist it!” (Brontë 119). Heathcliff soon bothers Linton, his own son, and young Catherine, his deceased love’s daughter, seeking revenge on all three of the children living in his estate. Young Catherine believes that Heathcliff torments Linton and herself because he sees that they are in love, and becomes jealous of what he never had with young Catherine’s mother. Regardless, it’s clear that the tormenting of Linton, young Catherine, and Hareton are part of the repeated storyline that </span><i style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Times New Roman'; font-size: 12px;">Wuthering Heights </i><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Times New Roman'; font-size: 12px;">is. Although the head of the estate changes, the estate that is Wuthering Heights always is full of vengeful feelings; whether Heathcliff is enduring them or forcing them on others. </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Helvetica; font-size: 11px;">Whether Heathcliff is truly a spiteful human being or he truly feels threatened by Linton, young Catherine, and Hareton is a psychological journey in itself.</span><br />
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Times New Roman'; font-size: 12px;">
<br /></div>
<div class="MsoNormal" style="line-height: 24px; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Works Cited<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 24px;">
</div>
<div class="MsoNormal" style="line-height: 24px;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"> Brontë, Emily. <i>Wuthering Heights</i>. New York: Scholastic, 1961. Print.</span></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com1tag:blogger.com,1999:blog-6720998196676045073.post-58094690697382161582014-04-10T04:00:00.000-07:002014-04-10T08:02:20.645-07:00Bright Lights Big City Reaction PostYou wake up. 7:40 AM. F**k.<br />
You lift your body out of bed and stumble to the bathroom. You squeeze too much Colgate toothpaste onto your toothbrush. You swirl the toothbrush around in your mouth and spit.<br />
You are going to be late.<br />
Your most important class starts at 8. Biology. You have a big test today: your midterm examination. Cellular respiration, Punnett Squares, and the Calvin Cycle flutter through your already scattered brain.<br />
7:45. As you struggle to put your contacts in, you drop one on the floor. Falling to your knees in rage, you search. With frustration at an all-time high, you decide to compromise and wear your shitty twenty dollar glasses from Walmart Optical. You try to do something with your hair but end up making it worse. You hit the bed frame. Multiple times.<br />
7:47. You look around for whatever clothes that are lying on the ground from yesterday. Theres no time to think of what could look good. You pull yourself together, grab your review sheets, trip over your mini-fridge, wake up your roommate, get a box of Premium saltine crackers thrown at you, and walk out the door. What a sh*tty brand of Saltine crackers he eats. You think it's time to reevaluate your friendship.<br />
7:50. You run through the campus, your review sheets disheveled in your hands. You flip through the pages, reviewing whatever you don't remember. A lot.<br />
7:54.You turn the corner at Mason St. and begin to sprint. You don't realize the huge f**king puddle of water to the left of you, and apparently neither does the car that drives right f**king through it. You are dripping wet.<br />
7:56. As you realize that there is less than no time to worry about how freezing cold and soaking wet you are, you continue sprinting and turn the corner on McInerney Road. You see the Biology building in plain sight. A tear streams down your face. You don't cry.. get your sh*t together.<br />
7:58 You enter the building and stumble through the hallway to the examination room. Your professor is waiting at the door, gives you either a disgusted or pissed look (you think it was a mix), and hands you a test.<br />
8:00. You need to get a f**king car. Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com0tag:blogger.com,1999:blog-6720998196676045073.post-25245306738624415682014-04-03T05:06:00.002-07:002014-04-03T05:06:46.640-07:00Catcher in the Rye Reaction Post<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"> In todays society, there is a constant push for individuality. "Be yourself" is plastered on walls throughout </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">schools, and conformists are often looked down on as "unoriginal" and "typical". The 50's, when <i>The Catcher in </i></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><i><br /></i></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><i>the Rye</i> was written, was an </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"> immensely different time. With the rise of television, societal norms were broadcast </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">widely, with characters </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">showing what the "protocols" were to dress nicely or poorly, act cooly or freakishly, and </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">generally be popular or </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">"alone". Salinger explores the idea of conformity vs. individuality in his novel <i>The Catcher in the Rye </i>through the </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">protagonist, compulsive liar Holden Caulfield. <i> </i>Throughout the novel, Holden, constantly makes up ridiculous lies </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">to, in a way, react to the "phoniness" and conformity of the world around him. One example of Holden's constant </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">lies, sometimes even for no reason, is when he meets Mrs. Morrow on the train and they begin to discuss her </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">son: </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: white;">"</span></span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">'...</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 19px;">Perhaps you know my son, then, Ernest Morrow? He goes to Pencey.' '</span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 19px;">Yes, I do. He's in my class.' </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 19px;">Her son </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: white; line-height: 19px;"><br /></span></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: white; line-height: 19px;">was doubtless the biggest bastard that ever went to Pencey, in the whole crumby history of the school.</span><span style="background-color: white; line-height: 19px;"> 'I must tell </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: white; line-height: 19px;"><br /></span></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: white; line-height: 19px;">Ernest we met,' he said. 'May I ask your name, dear?' '</span><span style="background-color: white; line-height: 19px;">Rudolf Schmidt,' I told her. I didn't feel like giving her my</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: white; line-height: 19px;"><br /></span></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: white; line-height: 19px;"> whole life history. Rudolf Schmidt was the name of the janitor of our dorm" (Salinger 87).</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: white; line-height: 19px;"><br /></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 19px;"> </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">Holden's random and often ridiculous lies can be seen as a reaction to the "phoniness" of other people. When </span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">Holden decides a person he is talking to is phony (a conformist), he lies to cope with their phoniness and, in a </span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">way, match what they exude. Holden also lies to cope with his own personal phoniness, which he attempts to </span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">break throughout his push for non-comformity throughout the novel. </span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"> Holden's move to New York, stay in a </span></span></span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 19px;">sketchy hotel, and constant conversing with strangers show his urge to </span><br />
<span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 19px;"><br /></span>
<span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 19px;">be independent. Through this, it can be </span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">seen that Holden is trying to find his authentic self. By dropping out of school and warping usual social rules, </span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">Salinger attempts to exemplify the importance of finding yourself through Holden's move from normality. Salinger, </span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">who pushes the idea of conformity equalling phoniness throughout the novel, presents an odd ending to the story.</span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">At the end of the novel, Holden is unhappy with his new life, formed through his independence, and decides to </span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">"conform" and go back to school. Through this, Salinger shows that although Holden might be "conforming", his </span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">authenticity could sprout from moving with the crowd. Salinger shows that, whether it's "conforming" or "being </span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">independent", it's important to find your authentic self and possible to in either instances. Some people are </span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;">leaders, and some followers, and Salinger mirrors this dichotomy through Holden's inner conflict, showing its true</span></span></span><br />
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"><br /></span></span></span>
<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 19px;"> importance in society both in the 50's and today. </span></span></span>Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com1tag:blogger.com,1999:blog-6720998196676045073.post-47657480710838043732014-02-14T11:47:00.002-08:002014-02-16T07:54:02.014-08:00Postmodernism in WHALITC<span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">Jake Nusynowitz</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">AP Language & Composition</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">Ms. Howard</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">13 February 2014</span><br />
<span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px; white-space: pre;"> </span><br />
<span class="Apple-tab-span" style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px; white-space: pre;"> </span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">Daniel Green explains postmodernist literature as “…challenging established literary</span><br />
<br />
<span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">convention” (Green 1). Shirley Jackson’s </span><i style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">We Have Always Lived In the Castle, </i><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">in many ways, can be </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">seen as a postmodernist work as it employs a trait many postmodernist works employ: an unreliable </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">narrator. </span><i style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">We Have Always Lived In the Castle</i><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;"> twists the truth, offering readers an undependable </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">narrator: the criminally insane Merricat. At the beginning of the book, we are introduced to Mary </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">Katherine as a relatively regular character with slightly odd tendencies. Her remaining family is </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">introduced shortly after, which includes Constance, whom she pins the death of her entire family on: </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">“My niece, after all, was acquitted of murder” (Jackson 66). Throughout the entire novel, we are lead </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">to believe that Merricat is a reliable narrator: why wouldn’t she be? From her eyes, we see her as the </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif;"><span style="letter-spacing: 0px;">only sane character in the story for a long time as Merricat's narration highlights the insanity of her </span></span><br />
<span style="font-family: Times, 'Times New Roman', serif;"><span style="letter-spacing: 0px;"><br /></span></span>
<span style="font-family: Times, 'Times New Roman', serif;"><span style="letter-spacing: 0px;">family. </span><span style="letter-spacing: 0px;">Firstly, her sister, Constance, is seen as the murderer </span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">who killed her entire family and got off scot-free. Uncle Julian is portrayed as the insane paralyzed </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">elder who, in Merricat’s “motherly” eyes, cannot take care of himself (he believes she is dead) and </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">constantly needs guidance. Lastly, Charles is seen as the enemy by Merricat, causing us to assume he </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">is without a doubt an enemy to the reader and automatically labeled as “antagonist”. But when the </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">unreliability of Merricat, our narrator, is revealed after the climactic fire, all of the previous </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">assumptions we have made of characters must be questioned: “I am going to put death in all their </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">food and watch them die…the way I did before” (Jackson 187). This plot-twist not only alters the</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">readers opinion towards Merricat, but the opinions on other characters </span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">formed throughout the novel </span><br />
<span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;"><br /></span>
<span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">as well. Is Constance truly mentally insane? Is Uncle Julian truly</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;"> paralyzed? Should Charles truly be seen as the enemy? Jackson’s portrayal of Merricat as a innocent </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">protagonist throughout the novel, only to steal the comfort the readers have gained in the novel by </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">revealing her as the true antagonistic character exemplifies postmodernism. But somehow, readers</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;"> still side with Merricat, seeing innocence in her. Why is this? Many times in postmodernist works, </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">every question can not be answered, but Jackson’s </span><i style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">We Have Always Lived In the Castle </i><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">is a chilling </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;">read that, without a doubt, fulfills horror and mystery cravings around the world.</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif; letter-spacing: 0px;"> Works Cited</span><br />
<br />
<div>
<span style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: 12px; line-height: 24px; text-indent: -30px;"><br /></span></div>
<div>
<span style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: 12px; line-height: 24px; text-indent: -30px;">Green, Daniel. "Postmodern American Fiction." </span><i style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: 12px; line-height: 24px; text-indent: -30px;">The Antioch Review</i><span style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: 12px; line-height: 24px; text-indent: -30px;"> Sept. 2003. </span><i style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: 12px; line-height: 24px; text-indent: -30px;">QuestiaSchool</i><span style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: 12px; line-height: 24px; text-indent: -30px;">. Web. 13 Feb. 2014.</span><br />
<span style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: x-small; line-height: 1.3em; text-indent: -40px;"><br /></span></div>
<div>
<span style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: x-small; line-height: 1.3em; text-indent: -40px;">Jackson, Shirley. </span><i style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: small; line-height: 1.3em; text-indent: -40px;">We Have Always Lived in the Castle</i><span style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: x-small; line-height: 1.3em; text-indent: -40px;">. New York: Penguin Books, 2006. Print.</span></div>
<div>
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div>
<br /></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com1tag:blogger.com,1999:blog-6720998196676045073.post-28734843714875315452014-02-02T21:18:00.003-08:002014-02-02T21:21:54.976-08:00Metafiction Piece "It's a very exciting day when the land of the free, none other than the United States of America is the first country to land humans (and sponge) on the moon. This monumental day, July 24, 1969, three brave men have successfully landed on the moon: Commander Neil Armstrong, Command Module Pilot Michael Collins, and Lunar Module Pilot Spongebob Squarepants. In our previous interviews, we spoke in depth about Armstrong and Collins, but did not get to really touch base and dig deep into Mr. Squarepants's past and interest in spaceflight.<br />
Spongebob Squarepants was born in the small town of Bikini Bottom, raised very traditionally. Starting in elementary school, his love for space developed, growing into something that interested him more than just a hobby, but a career. Working hard in high school, Squarepants worked at town favorite place to dine Krusty Krab where he earned high honor throughout the town for his friendly demeanor and flamboyant personality. Recruited by Nichelle Nicols, NASA Recruiter, Squarepants made his way to NASA for extensive training to eventually make it onto the first successful human/sponge mission to the moon. Squarepants is very proud to be supporting his family, his parents Harold and Margaret Squarepants. 'Some people might think,' Squarepants explains, '...that a sponge going to space is odd, perhaps the readers of this very article in an advanced English class in in Florida circa 2014, but i'd just like to set an example for all of the sponges out there who want to make a life for themselves and really make a change, besides being used as a kitchen supply.'<br />
Mr. Squarepants sets an example for all sponges and humans out there in the world who want to make a change: 'with hard work and determination, you can do anything,' he coins. We at the HSA, Human Sponge Alliance cant wait to see the future that not only Squarepants holds for us in space travel, but Armstrong and Collins in all of their near and far endeavors."<br />
--- HSAJake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com0tag:blogger.com,1999:blog-6720998196676045073.post-12267818205546113942014-01-22T21:02:00.001-08:002014-01-22T21:02:32.374-08:00Satire in Persuasion<span style="font-family: Times, Times New Roman, serif;">Jane Austen's <i>Persuasion </i>revolves around Anne Elliot, reserved daughter of fatuous and snobbish Sir Walter, and the trials and tribulations in both her family and love lives. Jane Austen focuses on satire in many of her great works, from<i> Pride & Prejudice</i> to <i>Sense & Sensibility</i> to her latest work <i>Persuasion, </i>where she pokes fun at the social extravagance and absurdity of her time. Many characters in Austen's <i>Persuasion </i>encompass the satirical ideas that she was looking to shed light on. Firstly, Anne's father, Sir Walter could most likely be the most satirical character in the entire novel for a few reasons. Firstly, Sir Walter is extremely vain and has multitudes of mirrors set up in his house, showing Austen's mocking of her society's complete arrogance and conceitedness. Sir Walter is also a satirical character due to his constant obsession with class and/or rank. This obsession is exemplified in a few of Walter's actions throughout <i>Persuasion</i>: initially, Sir Walter's favorite book is the Baronetcy (a book of all of the class and ranking of people in his society). Also, Walter refuses to associate with a man of the navy due to both their low class and ugly, worn out features. These both show satirical elements as he was so obsessed with rank, yet he frivolously spent money to the point of him moving out of his own home to control spending: clear irony (as well as showing his obsession with the superficial through his hatred of Navy men, Austen's way of satirizing the vanity of her time). Sir Walter's vanity (in both physicality and ranking), a purposely satirized element in his character is obvious throughout the text, very directly characterized by Austen: "<span style="background-color: white;"><span style="line-height: 19px;">Vanity was the beginning and the end of Sir Walter Elliot's character; vanity of person and of situation. He considered the blessing of beauty as inferior only to the blessing of a baronetcy; and the Sir Walter Elliot, who united these gifts, was the constant object of his warmest respect and devotion" (Austen 6). </span></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white;"><span style="line-height: 19px;">Other satirical characters include Elizabeth Elliot, much like her father, vain and arrogant, who although is so full of herself and obsessed with her "beauty", as well as being the older sister, is still single and quite lonely. This ironic element Elizabeth exemplified shows Austen's twisting of a usual family's values and practices back in her day. Overall, it's clear that Austen uses satire to poke fun at her society's slightly twisted and self-absorbed ways in </span><i style="line-height: 19px;">Persuasion. </i><span style="line-height: 19px;">By bringing out characters' flaws such as vanity and class-hunger, Austen successfully portrayed these foibles as crucial elements of her satirical games she so greatly demonstrates so very often. </span></span></span>Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com1tag:blogger.com,1999:blog-6720998196676045073.post-4929305720501898382014-01-20T20:38:00.001-08:002014-01-20T20:39:44.511-08:00WAYGWHYB Movie vs. Story Comparison<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"> "Where Are You Going, Where Have You Been?" a story by Joyce Oates follows the stories of the murders of three girls from Arizona. After the popularity of this story (which was based off of a true story), a movie recreation was born. A product of the 80's: Chopra's "Smooth Talk". In WAYGWHYB, Oates ends the story with Connie, the protagonist, freeing herself from all of her restrictions and letting herself go to Arnold Friend's control. Although the gruesome details are not written about at the end of WAYGWHYB, it can be assumed that Connie is murdered due to the story being based off of a news article about the murdering of three girls, one being Connie. On the other hand, "Smooth Talk" portrays a different story as the movie comes to a close. After Connie gets into the car with Friend and they "go for a ride", Connie is suddenly returned home after a, literal, drive around in his car. As a reader of WAYGWHYB and the news article about the killings of these girls, I was, as a viewer, expecting a completely different ending and was shocked and confused about why Chopra decided to end "Smooth Talk" on a different note: returning Connie to her house as if nothing occurred. Whether Connie was raped or not can't be assumed, but the fact that she returns to her home a changed woman is apparent. Connie's development before and after this climactic (or anti-climactic) moment is discussed in Brenda O. Daly's "An Unfilmable Conclusion: Joyce Carol Oates at the Movies". </span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"> At the beginning of the movie, Connie is demonstrated by Chopra as trapped: trapped by her mother's always overbearing grasp on her life and obsession with finding little things to reprimand her on, and trapped by her obsession with love and sex, causing her to almost feel overwhelmed with unsatisfied feelings. This is directly correlated in not only the story, but also physical and cinematic aspects of the movie as Daly explains: "<span style="background-color: white;"><span style="line-height: 20px;">Every time Connie is on screen, she’s shot in close-up...with no space around her, pinned to the tiny unmovable frame”. This supports the idea that Connie was literally not only, as she felt, trapped emotionally, but also physically in her life which is reflected through the metaphor of the actual shot that Chopra used in the movie. The eventual development of Connie's character is next seen through Arnold Friend's shots. Friend is shot in very wide shots, a metaphor, as Chopra explains, for the freedom that Friend gives Connie; a chance to be herself, and not worry about the restrictions that she feels are on her life put on by her family and friends. </span></span></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 20px;"> Through this, it's clear that Chopra intentionally did not shoot the gruesome ending to the story, because it was not important to the point of the story that she intended to get across. Connie's development is shown as she leaves Friend's shiny gold car and realizes that her dependency on men was not as required as she once believed; that freedom and a world open for her taking was up to her. Overall, it's clear that through Chopra's interpretation of Oates' story, the crucial theme of independence and Connie's constant search for it is gotten across and effectively establishes a successful bridge between the text and cinematic version of this iconic and classic piece of literature.</span>Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com2tag:blogger.com,1999:blog-6720998196676045073.post-87290841967621504482014-01-12T20:39:00.001-08:002014-01-12T20:39:17.772-08:00Parallels in "Where Are You Going, Where Have You Been?" & "Dont You Know Who I Am?" Oates's <i>Where Are You Going, Where Have You Been?</i> tells a haunting story of a typical teenage girl whose love-obsessed personality gets the best of her when she is thrown into a truly "life-or-death" situation with an unknown man. Inspired by three Tuscon, Arizona murders, Oates garnered her inspiration for this work from a <i>Life Magizine </i>article profiling the killings. A common theme in both WAYGWHYB and Joyce Wegs's critical paper <i>"Dont You Know Who I Am?"...</i> is religion: themes through Connie's interests in music and daily actions. Music functions as a bridge for Connie to escape from reality to fantasy, away from her overbearing mother to a world of pure bliss:<span style="font-family: inherit;"> </span><span style="font-family: inherit; letter-spacing: 0px;">“The music was always in the background, like music at a church service; it was something to depend upon” (Oates 120).</span><span style="font-family: inherit;"><span style="letter-spacing: 0px;"> Connie explains that music is her religion, the object of worship at the service that completely takes over her </span></span>existence<span style="font-family: inherit;"><span style="letter-spacing: 0px;">. Wegs further explains Connie's attachment to music as her religion through her embodiment of the superficial, love-obsessed characteristics in much of, specifically, Bob Dylan's lyrics. Connie's complete infatuation with love comes to surface when Arnold Friend approaches Connie, a seemingly youthful and experienced lover, embodying all of the characteristics Connie and other girls her age at the </span></span>time swooned over. Through this, it is understood that Connie's religion is not only music, but the perfect boy that music spoke of at the time, leaving her so vulne<span style="font-family: inherit;">rable and able to be taken advantage of: "...her first glance makes Connie believe that a teenage boy with his jalopy, the central figure of her religion, has arrived; therefore, she murmurs 'Christ, Christ' as she wonders about how her newly-washed hair looks (Wegs 103). In conclusion, it's clear that Connie's disregard for typical warning signs due to her unchangeable goal in life being finding love get her into trouble, making her the target in Arnold's sick game. As music runs her life, as well as the themes the music Connie listens to brings, a complete disregard for the reality of a situation and the growing oddity of Arnold Friends persona, is clear in her choices. As Arnold's true identity is slowly revealed to Connie: the makeup rubbing off, the wig falling off, the seriousness of Connie's obsession with love, is revealed as she lacks the judgement to stop herself from completely letting herself go to a man she is completely fooled by: "She watched herself push the door slowly open as if she were back safe somewhere in
the other doorway, watching this body and this head of long hair moving out into the sunlight where Arnold Friend waited" (Oates 131).</span><br />
<div class="page" title="Page 9">
<div class="layoutArea">
<div class="column">
<span style="font-family: inherit;"> </span><br />
<div style="background-color: white; color: #222222; line-height: 18px; text-align: center;">
<span style="font-family: inherit;">Works Cited:</span></div>
<div style="background-color: white; color: #222222; line-height: 18px;">
<span style="font-family: inherit; line-height: 32px;">Oates, Joyce Carol. “Where Are You Going, Where Have You Been?” </span><i style="font-family: inherit; line-height: 32px;">Where Are You Going, Where Have You Been</i><span style="font-family: inherit; line-height: 32px;">? Ed. Elaine Showalter. New Brunswick, NJ: Rutgers University Press, 2002. Print.</span></div>
<div style="background-color: white; color: #222222; line-height: 18px;">
<div class="MsoNormal" style="line-height: 26px;">
<span style="font-family: inherit; line-height: 32px;"><br /></span></div>
<div class="MsoNormal" style="line-height: 26px;">
<span style="font-family: inherit; line-height: 32px;">Wegs, Joyce M. “‘Don’t You Know Who I Am?’ The Grotesque in Oates’s ‘Where Are You Going, Where Have You Been?’” </span><i style="font-family: inherit; line-height: 32px;">Where Are You Going, Where Have You Been?</i><span style="font-family: inherit; line-height: 32px;"> Ed. Elaine Showalter. New Brunswick, NJ: Rutgers University Press, 2002. Print.</span></div>
</div>
</div>
</div>
</div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com2tag:blogger.com,1999:blog-6720998196676045073.post-73779127014263781382013-11-07T04:14:00.002-08:002013-11-07T04:16:14.453-08:00Consumed by Consumed<span style="font-family: inherit;">Benjamin Barber's <i>Consumed</i> is a tale of capitalism: the complete distaste of the commercial culture </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">that it has created and its tendency to reduce people, to mere consumers. He takes an almost offense </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">towards privatization in his argument that it gives us what we <i>want</i>, but does not give us what we </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">"<i>want to want", </i>which is a democracy. He explains that capitalism "...<span style="background-color: white; line-height: 22px;">seems quite literally to be </span></span><br />
<span style="font-family: inherit;"><span style="background-color: white; line-height: 22px;"><br /></span></span>
<span style="font-family: inherit;"><span style="background-color: white; line-height: 22px;">consuming itself, leaving democracy in peril and the fate of citizens uncertain" (Barber 89).</span><span style="background-color: white; line-height: 22px;"> With this, </span></span><br />
<span style="font-family: inherit;"><span style="background-color: white; line-height: 22px;"><br /></span></span>
<span style="font-family: inherit;"><span style="background-color: white; line-height: 22px;">he breaks society into two spheres: the child and adult cultures. Children are completely engulfed by </span></span><br />
<span style="font-family: inherit;"><span style="background-color: white; line-height: 22px;"><br /></span></span>
<span style="font-family: inherit;"><span style="background-color: white; line-height: 22px;">brand: </span>“They get up in the morning, put on their Levi’s and Nikes, grab their caps, backpacks, and</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Sony personal CD players, and head for school" (Barber 52). Their daily lives are so constantly</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"> bombarded by brands that, in a way, they become the brand itself. On the other hand, adult culture, </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Barber explains, has completely withdrawn from the "we", the public sphere, and focused itself </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">completely on the individual. Barber insists that whatever the public sector "claims" to be able to do, </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">the private sector can do more efficiently and appealingly. Barber revolves all of this around one</span><span style="font-family: inherit;"> idea: </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">the complete infantilization of our culture and society, as people are portraying children, so easily </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">convinced and persuaded; an "I want it now!" culture. Yes, all of Barber's arguments are completel</span><span style="font-family: inherit;">y </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">valid. He points out some accurate and frightening points that completely identify the problems in our</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"> society today. But, what Barber fails to do is be direct: something almost crucial in a complex piece </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">like this. Throughout the book, Barber never fails to go on complete tangents, straying from his initia</span><span style="font-family: inherit;">l</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"> argument: the infantilization of our society. The page-long tangents on Shaquille O'Neal and the </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Sims completely detract from his argument, making his work extremely unfocused. Usually I finish a </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">book with a central idea in my mind, a simple idea that the author tried to get across. With Barber, my </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">mind was all over the place. I had to go back, re-read, and completely translate too many parts of this </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">book. Overall, Barber has some pretty compelling points: the idea of our society being completely</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"> turned into a bunch of children running around, buying whatever they please and mesmerized by </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">industry. But, his unfocused structure, demonstrated too many times throughout the book, makes </span><br />
<i style="font-family: inherit;"><br /></i>
<i style="font-family: inherit;">Consumed </i><span style="font-family: inherit;">one unpleasant read. </span>Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com0tag:blogger.com,1999:blog-6720998196676045073.post-91400438553271684762013-10-28T18:33:00.001-07:002013-10-28T18:33:40.151-07:00Isaac & Ishmael: a Present Shock<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">When terrorism-themed episode "Isaac and Ishmael" aired in 2001 on the popular Show <i>The West Wing</i>, fans of the popular show, as well as people simply looking for answers were graced with a decent amount of clarity after viewing. Usually following the democratic administration of Josiah Bartlet, Sorkin decided to shift the scene to possibly answer some of the burning questions all of America had after the devastating September 11th attacks. "Why?" "What did we do to them?" "Do they hate us?" were some of the questions answered during this extremely instructive episode. The constant strive towards rationalism is seen very clearly in this episode, from the hour-long attempt to grasp "a terrorists perspective" to the thought-provoking analogies brought on by characters. "<span style="background-color: white;"><span style="line-height: 18px; white-space: pre-wrap;">Muslim extremists are to Islam as ____ is to Christianity" one character asks, followed by blank faces. The answer (the KKK), or lack thereof, highlights the bias that Americans put on people of Middle-Eastern descent, one that is clearly demonstrated in this episode. Through this, the apparent rationalism of </span><i style="line-height: 18px; white-space: pre-wrap;">The West Wing</i><span style="line-height: 18px; white-space: pre-wrap;"> gives not only a fairly unbiased look at 9/11, but a great amount of understanding to the devastating attacks and aftermath. Fast forward to today, society is in what Rushkoff explains as a "Present Shock", an immobile state filled with doubt (in this case, regarding terrorism). This "freeze" that we are in, has caused us to jump to conclusions, to fall back on stereotypes, and push blame on ones who are undeserving. Ever since the attacks on the Twin Towers, concluded to be the doings of middle-eastern terrorist group "Al Queda", Americans have jumped to the safety in which the "Present Shock" resides in. We must understand that terrorism does not stem from just one people, but can come from any corner of the Earth. The rationality and unbiased attitudes Sorkin brought us with "Isaac and Ishmael" shed light on the still fragile topic in 2001, and still shed's light on it today, exuding a rational explanation for the attacks and how us, as Americans, should respond to the tragedy that changed our country forever. </span><i style="line-height: 18px; white-space: pre-wrap;">The West Wing</i><span style="line-height: 18px; white-space: pre-wrap;"> broke the traditional idea of entertainment ("...'to hold within,' or to keep someone in a certain frame of mind" (Rushkoff 21).) and sparked thought and a new perspective, to consider all sides of the story. "Isaac and Ishmael"'s impact changed Americans thoughts on where to go next, even just for a moment, by not just standing by a group who would be condemned for all time because of an extremist group whom they share a race with, but by promoting rationalistic values for all of its viewers to see, consider, and implement in one another. </span></span></span>Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com1tag:blogger.com,1999:blog-6720998196676045073.post-40306080747715964192013-10-08T20:07:00.002-07:002013-10-08T20:07:46.213-07:00A Moveable Feast: Reaction <br />
<div style="font-family: Helvetica; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The clear tone and style Hemingway employs often through his writing is demonstrated in his memoir, <i>A Moveable Feast. </i>About his years in Paris in the 1920’s as a writer, it is clear that with this underlying theme of in a way, a autobiography, that there would be a very casual feel to the writing. Hemingway’s writing style can be seen as very conversational, as he keeps his use of words and grammar to an easily-understood level. One specific element of his work that stood out to me was his inclusion of quoted conversations very often in the memoir; these conversations of quotes would sometimes continue for pages, supporting the previous idea of a very direct and conversational tone employed throughout the memoir. With this in mind, Hemingway’s direct use of language and time causes the work to flee from a strong example of form following content. One chapter in which both Hemingway’s casual and direct tone as well as his continuous quoting of conversations is demonstrated in is <i>With Pascin at the Dôme</i>. A casual conversation goes on with Hemingway, Pascin, and the two model sisters for pages in this chapter: </span></div>
<div style="font-family: Helvetica; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>“‘You have to go?’</span></div>
<div style="font-family: Helvetica; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>‘Have to and want to.’</span></div>
<div style="font-family: Helvetica; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>‘Go on then’...” (Hemingway 109).</span></div>
<div style="font-family: Helvetica; font-size: 12px;">
<span style="letter-spacing: 0.0px;">This comfortable writing style makes the literature very easy to read and digest. Besides his large usage of quotes, Hemingway’s bias shines through often in many chapters. One moment stood out to me in <i>Ezra Pound and His Bel Espirit </i>when Hemingway first encounters Wyndham Lewis. Hemingway’s very strong opinions are very notable here and alter the opinion of a reader, as bias often does: “Lewis did not show evil; he just looked nasty” (Hemingway 115). Hemingway’s constant repetition of Lewis’s “nastiness” exemplifies the very prominent element of bias Hemingway uses in his memoir.</span></div>
<div style="font-family: Helvetica; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Overall, I think we read this book as a part of our AP Language study to get a peer into the daily life of one of history’s greatest writers and the environment he wrote in. It gives you a great perspective on the influences he had of other writers like Ezra Pound and Stein, and helps us further understand how they affected his writing and style. The text does not necessarily present any problems to solve as there is not a concrete plot (as it is a memoir), but readers are still required to make connections between the different authors Hemingway encounters and how his relationships affect him as a person and writer. </span></div>
<div style="font-family: Helvetica; font-size: 12px; min-height: 14px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com0tag:blogger.com,1999:blog-6720998196676045073.post-5997153507623791952013-09-26T20:37:00.001-07:002013-09-26T20:38:54.082-07:00The End of Education<br />
<div style="font-family: 'Times New Roman'; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Postman’s <i>The End of Education </i>brings readers through the cons of todays educational system, pinpointing where education suffers the most due to modern day ideals. Postman explains that there are three narratives, or gods, of modern day education, that are destroying todays schools. The three modern-day narratives, known as the gods of Economic Utility, Multiculturalism and Technology all contribute to Postman’s belief in the inevitable “end of education”.</span></div>
<div style="font-family: 'Times New Roman'; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Primarily, Postman argues about the god of economic utility, and perhaps the most important narrative in my opinion. This particular god “guarantees” students an ultimatum: if you work hard in high school, you will be successful in your future monetarily. This narrative essentially is seen as detrimental to education as it guarantees students to work towards an economic goal, not to work hard for a love and passion of learning. This narrative also is unrealistic, as jobs are becoming less and less about your alma mater, and more about your physical experience in that certain skill. </span></div>
<div style="font-family: 'Times New Roman'; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Secondly, the god of multiculturalism worries Postman, as he believes it "makes cultural diversity an exclusive preoccupation" (Postman 51). In a simpler sense, through this Postman means that multiculturalism is essentially harmful to the educational system as it implies that the idea of diversity and acceptance should only be applied at school and nowhere else in your everyday life.</span></div>
<div style="font-family: 'Times New Roman'; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Lastly, Postman speaks about the god of technology. Postman believes that technology is causing students to have a more individualized learning experience, which completely contradicts “...the value and necessity of group cohesion", a necessary component of education (Postman 45). The negative connotation Postman gives to technology, as well as economic utility and multiculturalism, reflects on his opinions on not only modern education, but today’s society as a whole: a negative, condescending view, which he seldom considers changing. </span></div>
<div style="font-family: 'Times New Roman'; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Postman’s relatively outdated book, in my opinion, undoubtedly provides some relevant points that still reign true today. For example, the god of Economic Utility absolutely still applies today, as I can say that I am personally affected by it myself and am completely encompassed by it’s misguided use. Moving past this fact, I think looking at the facts is necessary to truly understand the effects of this book: being published in the 80’s, this book clearly did not have a massive impact on educational systems as technology, economic gain, and multiculturalist pushes still exist profusely in school. Taking this into consideration, it is clear that although Postman addresses some facts that are accurate and need to be changed in order to move forward in education as a society, the antiquation of this book has caused it to be “just another one”, unable to have the massive effect it should have on school today. If this book was published today, on the other hand, I think it could definitely have a larger impact and higher advantage than the one it has right now being of little to no importance to most students, teachers, and other workers in the educational field. Postman’s <i>The End to Education</i> surely brings some good thoughts to the table, but is unable to be acted upon as, to put it blatantly, is an unwanted series of words to a multitude of uninterested readers looking for something modern and fresh to dig into. </span></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com2tag:blogger.com,1999:blog-6720998196676045073.post-67150983172874894732013-09-22T21:31:00.000-07:002013-09-22T21:31:24.928-07:00Goodbye, Privacy<br />
<div style="font-family: 'Times New Roman';">
<span style="letter-spacing: 0.0px;">Jake Nusynowitz</span></div>
<div style="font-family: 'Times New Roman';">
<span style="letter-spacing: 0.0px;">AP Language </span></div>
<div style="font-family: 'Times New Roman';">
<span style="letter-spacing: 0.0px;">Ms. Howard</span></div>
<div style="font-family: 'Times New Roman';">
<span style="letter-spacing: 0.0px;">22 September 2013</span></div>
<div style="font-family: 'Times New Roman'; text-align: center;">
<span style="letter-spacing: 0.0px;">Goodbye, Privacy</span><br />
<div style="text-align: left;">
<i style="letter-spacing: 0px;"> After the successful terrorist attack on the Empire State Building that killed a devastating 2,000 civilians in 2020, the TSA is cracking down on airport security even more than in 2001. Say goodbye to what was once thought as an “inconvenience”, and hello to three hour security procedures for every traveler consisting of: a full-body inspection, X-Ray procedures, extreme restrictions on what is allowed in-flight such as no electronics of any sort in carry-on bags, and trained eyes watching for any possible suspicious behavior at all times. Flying is no longer a pleasant experience, causing many to turn to travel by car or train. The skies have been closed down, restricting all AirCar travel until the United States’ security is ensured, causing traffic from Highway 1 in California, rolling up and down the West Coast, to Route 1 in Florida, moving north to New Brunswick, Canada. The TSA has no comment on this, except that it is a “necessary precaution to further ensure the safety of the American people”, said at a press conference days after the horrifying attack. Riots by the American people are forming, demanding their “basic rights to privacy and confidentiality as explained in The Fourth Amendment”. The eruption of this debate is causing a separation of citizens, much similar to the events leading up to the Revolutionary War. Will our country’s lack of compliance to one’s basic rights lead to a full-fledged war? Will the growing lack of privacy cause commercial air travel to go out of business? As air travel numbers dwindle, will what many believe is necessary to resort back to (and what seems as prehistoric) known as ground travel become inevitable? </i></div>
</div>
<div style="font-family: 'Times New Roman';">
<div style="text-align: left;">
<span style="letter-spacing: 0.0px;"><span style="white-space: pre;"> </span>Airports have completely re-envisioned the idea of efficiency through travel, getting one across the country in less than 5 hours. But many people, including government-appointed, believe that one particular and hated procedure all airport customers go through, known as the security checkpoint, is unnecessary and a breach on ones basic rights to privacy: ‘"Every inch of our person has become fair game for government thugs posing as 'security' as we travel around the country," says the online petition supporting Sen. Paul's bill to eliminate the agency.’ (Kenny). As each year comes and goes, it feels as if airport security gets increasingly intrusive. Honestly, it’s hard to imagine a time when airport security wasn’t intrusive. It’s easy to believe that in 2020, airport security will be almost impossible to handle. And, as much as Americans would like to believe the contrary, another terrorist attack similar to the devastating attacks on September 11 is inevitable. </span></div>
</div>
<div style="font-family: 'Times New Roman';">
<div style="text-align: left;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Some, patriotic suck-ups, disagree with the fact that TSA is violating one’s personal rights, believing that the fourth amendment doesn’t relate to anything the TSA does. "[T]he right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or affirmation, and particularly describing the place to be searched, and the persons or things to be seized.” (Kenny).</span></div>
</div>
<div style="font-family: 'Times New Roman';">
<div style="text-align: left;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>It seems that our only real solution is to completely eliminate the TSA entirely, and let competing commercial airlines deal with security individually. This way, people can decide the amount of protection they want in the air. Even taking this idea into consideration, it is clear that the government will never make this a reality, putting our personal privacy at stake. The harsh truth is that, the government would never lower the amount of security the TSA brings, as the scare of terrorism increases each and every day. Even after $56 billion federal investment over ten years, flying is still not as safe as it was before the September 11 attacks. As new weaponry is invented, and sneakier methods of violence become available, the risk cannot be taken lightly. But even with that in mind, is there no trust in the American people?</span></div>
</div>
<div style="font-family: 'Times New Roman';">
<div style="text-align: left;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The truth in all of this is that, even in the advanced year of 2013, America is still not used to the physical privacy that is violated through TSA. In a world with Facebook, Twitter, and Instagram, it is so simple to find everything out about a person in a matter of minutes. The idea of “privacy” no longer exists in that social way in which it used to. The idea of privacy socially and technologically is not a “confidential” issue today, but rather physical privacy has become a fragile topic that today’s Americans have trouble coping with. The idea of going through a machine that, essentially, takes a picture of your naked body, shakes America.</span></div>
</div>
<div style="font-family: 'Times New Roman';">
<div style="text-align: left;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The unchangeable truth lies with Americans. Although we ask ourselves, as if we have a choice, “will we continue to let airports violate us?” when our opinions really don’t matter. Our fighting, protesting, and demands won’t change the fact that privacy must be violated for the “safety” of “our country” . So we must hold on to the privacy we still have today, because, as the years go by, our privacy will dwindle. America, say goodbye to privacy, because it’s not coming back. </span></div>
</div>
<div style="font-family: 'Times New Roman'; min-height: 15px;">
<div style="text-align: left;">
<span style="letter-spacing: 0.0px;"></span><br /></div>
</div>
<div style="font-family: 'Times New Roman'; min-height: 15px;">
<span style="letter-spacing: 0.0px;"></span><br /></div>
<div style="font-family: 'Times New Roman'; min-height: 15px;">
<span style="letter-spacing: 0.0px;"></span><br /></div>
<div style="font-family: 'Times New Roman'; text-align: center;">
<span style="letter-spacing: 0.0px;">Works Cited</span></div>
<div style="font-family: 'Times New Roman'; margin-left: 35px; text-indent: -30px;">
<span style="letter-spacing: 0px;"><br /></span>
<span style="letter-spacing: 0px;">Kenny, Jack. "Ten Years of TSA: Ten Years after TSA's Inception, a Congressional Report Found That It's Wasteful, Inefficient, and Doesn't Stop Terrorist Threats, Though It Has a Vast Bankroll and Intrusive Powers." <i>The New American</i> 28.12 (2012). <i>Questia School</i>. Web. 20 Sept. 2013.</span></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com4tag:blogger.com,1999:blog-6720998196676045073.post-85497433714804834862013-08-20T19:39:00.001-07:002013-08-20T19:40:18.070-07:00Is Language Devolving yoooooo???!!!!<br />
<div style="font-family: 'Times New Roman'; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>“Is language devolving?” is an extremely vague, yet pressing question that we must ask ourselves in this modern day of television, iPhones, and continuous entertainment whether in the political or social sphere. Simply, yes, language is devolving, at an extremely fast rate due to our continuous strive for efficiency, either socially or through persuasion by politicians. There are many examples of this in many parts of literature such as George Orwell’s “Politics and the English Language”. In this article, he explains how it’s became so much easier to simply be vague and not concrete when using language to persuade. Much of this is used in politics where it is understood that it is easier to use words of high diction and value to persuade and, quite frankly, confuse than to be simple and speak in laymen's terms; today a much more difficult process. An example of this lack of concreteness is seen in Orwell’s article, where he analyzes a very “fluffed up” political quote and then further explains: “...no one capable of using phrases like ‘objective considerations of contemporary phenomena --- would ever tabulate his thoughts in that precise and detailed way. The whole tendency of modern prose is away from concreteness” (Orwell 8). Imagining a spectrum of language and it’s uses socially, politically, economically, etc. is a helpful visual to explain the various types of language and is fall. There are many different ways that each context language is used in is moving towards efficiency, a key factor in the devolving of our language.</span></div>
<div style="font-family: 'Times New Roman'; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Moving away from Orwell’s article, another way language is devolving is in a social sense. In the modern social world, just like in the political world, everything is expected to be done as fast as possible. For example, in schools we are expected to write in shorthand to take down notes in the most productive and speedy way possible, affecting the way we talk, whether we accept it or not. Another way is through technology. Texting is a massive factor is the degradation of our language, with terms such as “LOL!!!!!!!” and “OMG BROOOOOOOOOOOO!!!!!” becoming prevalent in even conversations today. Although mostly teens use this type of language in face-to-face conversation, these habits will carry on to adulthood and be passed down throughout generations; a vicious cycle of the continuous downfall of our once formal yet understandable language. Television and news is expected to be as simple and straight-forward as possible, written as short and sweet as physically possible so the modern day watcher/reader can move on to their next article with ease. Overall, language is devolving and rapidly and is most prevalent in politics and our daily social lives. But, a few questions remain. Can we control this destructive pattern? Of course. Will we? Most likely not.</span></div>
<div style="font-family: 'Times New Roman'; font-size: 12px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font-family: 'Times New Roman'; font-size: 12px;">
<span style="letter-spacing: 0.0px;">- Jake Nusynowitz N U S Y N O W I T Z!!!!</span></div>
Jake Nhttp://www.blogger.com/profile/10568312007099540216noreply@blogger.com3