Stylistic Analysis To--- by Peter Shelley - 1649 Words

Language through Poetry: A Stylistic Analysis of Percy Bysshe Shelley’s â€Å"To ---â€Å" A Stylistic Paper Presented to The Faculty of the Department of English Institute of Arts and Sciences Far Eastern University Manila In Partial Fulfillment Of the Requirement for the Course Eng C 31—Introduction to Stylistics Osabel, Julla C. Panis, Kimberly Nicole S. October, 2012 I. Reaction and it’s effects on you II. Summary of the Text Percy Bysshe Shelley’s â€Å"To ---â€Å" is one of his lyrical poetry—is a poem used to express feelings—ideally of the Romantic Era. In his poem, the poem is about an unrequited love—a term that is used when one person has strong feelings towards another that is not reciprocated. Or in†¦show more content†¦7. Repetition is anything that is repeated. e.g â€Å"goodnight goodnight, parting time is such a sweet sorrow that I shall say goodnight till it be morrow† --- Romeo and Juliet, W.Shakespeare These sounds or elements of sounds are used by the poets to convey the meaning of the text. In this procedure, the poet or author strengthen the vividness of the imagery of the poem to discern its effects or significance of the text. Sound Symbolism Sound symbolism is the study of the direct relationship between the sound of an utterance and its meaning (Hinton, 1999). Sound symbolism is persistent among the world’s languages. Furthermore, sound symbolism plays a significant role in language, especially at the affective level. Essential to the study of cognitive poetics is the concept of sound symbolism, which has been defined differently by different authors but here refers to cases in which ‘a sound unit such as a phoneme, syllable, feature, or tone is said to go beyond its linguistic function as a contrastive, non-meaning-bearing unit, to directly express some kind of meaning’ (Nuckolls,1999). Jespersen (1922) made the claims that sounds that are suggestive of meaning (which he claims happens through association, not because a sound intrinsically has a specific meaning) ‘makes words more fit to survive and give them considerable help in their struggle for existence’. Mithun (19 82) notes that, in manyShow MoreRelated Gender Inequality: Sex Discrimination in Employment Essay1617 Words   |  7 Pages2009). There is growing evidence in research that gender differences rely greatly on the cultural system of interaction (Ridgeway, 1997). â€Å"Biological gender, activities and interests, personal-social attributes, gender-based social relationships, stylistic and symbolic content, and gender-related values† all contribute to our segregation of gender roles starting at a young age and continuing throughout the life span (Best, 2009). â€Å"Children are able to identify feminine and masculine categories, similarRead MoreStylistic Potential of the English Noun16714 Words   |  67 PagesSTYLISTIC POTENTIAL OF THE ENGLISH NOUN Table of Contents Introduction -3 Chapter One. Stylistic resources of grammatical units on the basis of the English Noun -6 1.1 Functions of the language and connotative meanings -7 1.2 Grammatical Stylistics and Stylistic Grammar -9 1.3 The meaning of the grammatical form -10 1.4 Noun in different functional styles -10 1.5 Stylistic potential of the English noun -11 1.5.1 Stylistic

Relationship Between Capita And College Graduation Rate

I have chosen to compare the relationship between average life expectancy, per capita personal income, and college graduation rate by state in 2010. I intend to prove that average life expectancy by state, the dependent variable, will either positively or negatively correlate with income and college graduation rate, the independent variables. The null hypothesis (H0) for my independent variables is that there will be absolutely no relationship between income or college graduation rate and average life expectancy. On the other hand, the alternative hypothesis (Ha) for each independent variable will be that income and college graduation rate do relate to average life expectancy. As for the background of my topic, I chose to test these†¦show more content†¦Kaiser Family Foundation website in the State Health Facts section on Life Expectancy at Birth (in years). This information was given for the 2010 time frame for all states in the United States. For per capita personal income by state, I gathered my data from a table from the Bureau of Business Economic Research website looking only at the 2010 column. For college graduation rate by state, I utilized the U.S. Department of Education website article New State-by-State College Attainment Numbers Show Progress Toward 2020 Goal. The information I used came from percentages in the table inside the article under the column â€Å"Graduates as of 2010†. Based on the variables that I chose to test, I expect that per capita personal income will be more closely related to my dependent variable, average life expectancy, than college graduation rate for the year 2010. Higher income tends to allow for people to purchase the higher-end health or medical products necessary for longevity and better health. In my opinion, college graduation rate influences a person’s personal income that then influences life expectancy – a secondary piece of the correlation. The Excel Regression tool built a linear model using my data and variables to produce a summary output of my regression analysis. My equation provided by my Excel regression model can be written as Y=74.7255954+(-0.0000309729)X1+(12.95779303)X2+ÃŽ µ. This may seem difficult to understand so let me break it down. The regular

Joe Jonas by Jonas Brothers free essay sample

Joseph Adam Jonas (also know as Joe from the band the Jonas Brothers) grew up in Wyckoff New Jersey and was born on August 15th, 1989. He started having a passion for music when he was a toddler, but began performing in his mid-teens. Him and his band, the Jonas Brothers, sing pop music and have their own TV show called JONAS on Disney Channel. My favorite music artist is Joe Jonas because he writes his own songs with his band, he can play a variety of instruments, and he always spares other peoples’ feelings. He is very successful because of the nice sound he makes and the audience he puts in awe. Joe is able to dance, and he displays his talents on stage and in music videos. He does not have a back-up dancer or singer because he and his brothers put on quite a show! Joe sings â€Å"Love Bug,† and it is from his band’s CD, â€Å"A Little Bit Longer,† which he recorded in his tour bus which he describes as, â€Å"The biggest recording studio on wheels we’ve ever seen. We will write a custom essay sample on Joe Jonas by Jonas Brothers or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page † â€Å"A Little Bit Longer† is also their latest album that includes the songs: BB Good, Burnin’ Up, Shelf, One Man Show, Love Bug, Tonight, Can’t Have You, Video Girl, Pushin’ Me Away, and Sorry. Nick, his brother and band member who play the guitar, piano, percussion, and sings, composed that song. I enjoy listening to this song because it goes from really serene to a very swift tempo.

The characters and plot of Frankenstein reflect Shelleys conflicted feelings about the masculine circle which surrounded her Essay Example For Students

The characters and plot of Frankenstein reflect Shelleys conflicted feelings about the masculine circle which surrounded her Essay Shelley began writing Frankenstein in the company of what has been called her male coterie, including her lover Percy Shelley, Lord Byron and his physician John Polidori. It has been suggested that the influence of this group, and particularly that of Shelley and Byron, affected her portrayal of male characters in the novel. As Ann Campbell writes: characters and plot of Frankenstein reflect . . . Shelleys conflicted feelings about the masculine circle which surrounded her. Certainly the male characters in Frankenstein are more developed that those of the females. Elizabeth Fay has suggested that the female characters are idealised figures in much of Shelleys work, particularly in the descriptions of Caroline and Elizabeth, the two mother figures in the novel. Caroline is, on surface value, a perfect parent, together with her husband, which renders Victors irresponsibility in abandoning the creature more unforgivable. She possessed a mind of uncommon mould which was also soft and benevolent; she is compared to a fair exotic flower which is sheltered by Alphonse; she drew inexhaustible stores of affection from a very mine of love to bestow on Victor, and her tender caresses are some of his first recollections. She is the idealised mother, a figure that Shelley viewed wistfully, as her own mother died when she was ten days old to be replaced by a disinterested stepmother. We will write a custom essay on The characters and plot of Frankenstein reflect Shelleys conflicted feelings about the masculine circle which surrounded her specifically for you for only $16.38 $13.9/page Order now Carolines parenting provides the care that Frankenstein might well have lacked, had he been left to his father alone à ¢Ã¢â€š ¬Ã¢â‚¬Å" his father dismisses Agrippas work without explanation, thereby setting Victor on his course towards destruction. This is the first introduction of a theme that continues throughout the book, that of the necessity for female figures in parenting and in society. Without a mother figure and left only with Frankenstein who subsumes both parental roles, the creatures life is blighted by his imperfection and lack of companionship. However, Caroline is also the trigger to Alfonses chivalry, thus presenting him in an improved light and allowing his character to develop at the expense of her own weakness. This is a feminist comment from Shelley, whose mother Mary Wollenstonecraft was a notorious feminist and an important influence. Justine, too, is an idealised figure, described during the trial as having a countenance which, always engaging, was rendered, by the solemnity of her feelings, exquisitely beautiful. She is the archetypal innocent, being beautiful, weak and entirely accepting of her fate to the point of martyrdom. She would doubtless incense feminists now, accepting death with equanimity I am resigned to the fate awaiting me at the hands of misjudging and dominant men. She is a somewhat two-dimensional character, being compliant in all things, enduring the mistreatment by her mother and not objecting to the injustice of her condemnation. In this sense she serves merely as a plot device, used to introduce the evil of the creature and to show Frankensteins cowardice in refusing to defend her in time. Here she is another feminine figure used to   further a male characters development, just as Caroline was used to develop the character of Alfonse. She is also a vehicle for Shelleys attack on the contemporary judiciary system, which explains her name. The character of Safie is used by Shelley as a direct attack on sexism. Safie is a stronger character than the other women in the novel, as she defies her father in escaping to join Felix. Shelley comments upon the state of bondage inflicted on females in Islamic society at the time, which Safie objects to, encouraged to aspire to the higher powers of intellect, and an independence of spirit by her mother. Shelley, in applauding this determination and self-respect on the part of women, is condemning a society which oppresses females and upholds males as superior. However, Safie is not merely used for this; she is also presented as a contrast to the creature, who is similarly separated from the De Laceys by a language barrier, but who can never be accepted by them because he lacks her angelic beauty. She is an example of mans intolerance towards ugliness, as her beauty transcends the barrier of language whereas the creatures benevolence cannot. .ucb78a0fdbff5a8c04c3e2800aff7d9eb , .ucb78a0fdbff5a8c04c3e2800aff7d9eb .postImageUrl , .ucb78a0fdbff5a8c04c3e2800aff7d9eb .centered-text-area { min-height: 80px; position: relative; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb , .ucb78a0fdbff5a8c04c3e2800aff7d9eb:hover , .ucb78a0fdbff5a8c04c3e2800aff7d9eb:visited , .ucb78a0fdbff5a8c04c3e2800aff7d9eb:active { border:0!important; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb .clearfix:after { content: ""; display: table; clear: both; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb:active , .ucb78a0fdbff5a8c04c3e2800aff7d9eb:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb .centered-text-area { width: 100%; position: relative ; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb:hover .ctaButton { background-color: #34495E!important; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb .ucb78a0fdbff5a8c04c3e2800aff7d9eb-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ucb78a0fdbff5a8c04c3e2800aff7d9eb:after { content: ""; display: block; clear: both; } READ: To Be Or Not To Be, Innit EssayElizabeth is the most idealised figure of all the women in the novel, afforded the following romantic description: The saintly soul of Elizabeth shone like a shrine-dedicated lamp in our peaceful home . . . her smile, her soft voice, the sweet glance of her celestial eyes, were ever there to bless and animate us. She was the living spirit of love to soften and attract. She is here made to transcend ordinary mortality to become celestial and saintly. This makes her death more appalling and triggers Victors active fury, whereas the suffering of the innocent Justine did not. The base murder of the living spirit of love can be said to be the creatures revenge against humankind, as the killing of something so natural and integral to humanity kills happiness with it. But whilst Elizabeth is assigned this pivotal role in the novel, she is in herself two-dimensional as a character, having no friends outside of the family and no interests save trifling occupations within the household. She is content to wait for Victor, despite his long absences and frequent and serious depressions. She is the idealised woman at the time of the novels setting, being submissive, supportive and beautiful. However, the character of Elizabeth can also serve a further purpose. It has been argued by several critics that Elizabeth is the creatures opposite, that she and he together make up Victor. She is his good half and the creature his bad. Both characters are orphans and heavily dependent on Victor. Elizabeth is beautiful, good and female, whereas the creature is ugly, evil and male. The blending of the two create Victor, who has robbed himself of gender by assuming both parental roles. It has been suggested by one critic that Victor has feminine characteristics, being sensitive, passionate about literature . . . and becom enamoured with voice and feelings. This theory can be supported, in that Victor attributes to Elizabeth the ability to subdue to a semblance of her own gentleness. By contrast, the creature unfailingly enrages Victor, causing him to lose self-control and become violent. Whilst the feminine roles are flat and manipulated to affect the character and actions of the male roles, the latter are considerably more defined. As Elizabeth Fay writes, Shelley shows the realistic weaknesses and frailties of men in the novel. Walton is presented as sexist and selfish, mocking his sisters fears for his safety in his opening sentence: You will rejoice to hear that no disaster has accompanied the commencement of an enterprise which you have regarded with such evil forebodings. Margaret is an unsatisfactory audience, as he desires a companion whose eyes would reply to . This companion must necessarily be male, for how could a female possibly communicate adequately with him? However, despite this wish for male companionship, Walton possesses certain feminine characteristics, such as his distaste for violence: . . . my best years spent under your gentle and feminine fosterage, has so refined the groundwork of my character that I cannot overcome an intense distaste to the usual brutality exercised on board ship. He writes adoringly of the strangers conciliating and gentle manners, unparalleled eloquence, nobility and cultivated mind. Waltons ambition to discover uncharted territories is arrogant, as he desires to acquire dominion . . . over the elemental foes of our race. He craves idolatry and power. Shelley introduces this here so that Waltons later failure towards the close of the novel is celebrated by the reader, who has understood that Victors arrogance has caused devastation, whereas Walton has paid little heed and is bitter in his failure. Shelley is commenting on the stupidity of male hubris, which she sensed in the scientific ambitions of Romantics such as her husband, as the critic James W. Maerten has suggested. Maerten writes also of Anthony Easthope, who has drawn: a circular fortress as a model of the . . . masculine ego. Ego . . . is entrapped in its own defences, unable to escape the barriers it has raised against a universe an enemy . . . The most praised . . . in our civilisation are those who can contain and control the most monstrous powers: biological pathogens, nuclear fission, toxic waste, vast armies. .uc77b0eff2f9c2f0d60c8fbaff24d457c , .uc77b0eff2f9c2f0d60c8fbaff24d457c .postImageUrl , .uc77b0eff2f9c2f0d60c8fbaff24d457c .centered-text-area { min-height: 80px; position: relative; } .uc77b0eff2f9c2f0d60c8fbaff24d457c , .uc77b0eff2f9c2f0d60c8fbaff24d457c:hover , .uc77b0eff2f9c2f0d60c8fbaff24d457c:visited , .uc77b0eff2f9c2f0d60c8fbaff24d457c:active { border:0!important; } .uc77b0eff2f9c2f0d60c8fbaff24d457c .clearfix:after { content: ""; display: table; clear: both; } .uc77b0eff2f9c2f0d60c8fbaff24d457c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uc77b0eff2f9c2f0d60c8fbaff24d457c:active , .uc77b0eff2f9c2f0d60c8fbaff24d457c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uc77b0eff2f9c2f0d60c8fbaff24d457c .centered-text-area { width: 100%; position: relative ; } .uc77b0eff2f9c2f0d60c8fbaff24d457c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uc77b0eff2f9c2f0d60c8fbaff24d457c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uc77b0eff2f9c2f0d60c8fbaff24d457c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uc77b0eff2f9c2f0d60c8fbaff24d457c:hover .ctaButton { background-color: #34495E!important; } .uc77b0eff2f9c2f0d60c8fbaff24d457c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uc77b0eff2f9c2f0d60c8fbaff24d457c .uc77b0eff2f9c2f0d60c8fbaff24d457c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uc77b0eff2f9c2f0d60c8fbaff24d457c:after { content: ""; display: block; clear: both; } READ: Irony: incongruity between the actual result of a sequence of events and the expected results EssaySuch Promethean desires are ultimately the illusions of Icarus. Victors ego causes him to desire a new species which would bless as its creator and source. He cannot control the monster that he creates, thereby losing his essential masculinity. His attempt to defy Nature and steal Gods power for himself is as fatal as Icarus stupidity in trying to do what man cannot. This male arrogance is introduced by Alphonse, who assumes the care of Caroline and renders her submissive in gratitude. The blatancy of the strong male and weak female roles here has been condemned by some, who suggest that the imposition of a male role on Victor is a form of filicide. This is responsible for his insecurity which in turn leads to his overreaching ego inflation. A critic has argued that: Victor Frankenstein is compulsively self-destructive, driven by forces he cannot recognise to create a son by his own efforts and without the troublesome involvement of a woman . . . he is horrified . . . nd rejects the creature totally, thereby turning the son into the very monster whose existence he has always denied in himself. It is possible to corroborate this view to some extent, as Victors feminine qualities conflict with his identity as a man. Shelley was concerned with the issue of gender, as in her novel The Last Man she created an essentially genderless character, Lionel Verney, and discussed how he only acknowledged his gender when he viewed himself in a mirror. His reflection told him that he was an English gentleman, but without this empirical perception he had no such identity. Elizabeth Fay writes of him that he is a feminised ideal, combining masculine and feminine traits in such a way as to confute traditional notions of gender. Robert W. Anderson writes that: Frankensteins creature embodies gender transgression on two levels . . . the first being status as being a surgically constructed male, the second being Victors non-gender transgression in co-opting the female trait of reproduction, transforming his laboratory into a virtual womb. The creature has no real gender, despite being created physically as a male. He is denied male dominance over females by Victor, who has made him too ugly to be accepted into human society and then destroys the female mate that he had partially made for him. The creature, like Victor, has feminine characteristics, being profoundly affected by literature and nature, and being sensitive to emotion. He is made male only so that there can be no sexual overtones in the relationship between himself and Victor, and the battle between them can be physical and violent as well as rhetorical. The absence of femininity in the making of the creature is its integral flaw. Despite all of Victors efforts to make the creature perfect, it will ultimately be ugly, because it is unnatural for a male alone to reproduce. Beauty cannot result of only masculinity. Shelley is condemning a single father in this. The death of her mother left her to the care of her father, whom she adored. He often neglected her, leaving her feeling unwanted. The lack of grief on the part of her husband as their babies died augmented this conviction in mens inability to care for children alone. This reinforces her message throughout the novel of the necessity for women in society. Shelley was forced to ask her husband to claim to be the author of the novel, as women were not accepted as writers at the time. Men alone in science and education are fallible, as she suggested in making Frankensteins experiment so disastrous. Therefore the oppression of women at the time was irrational and arrogant. Frankenstein represents flawed masculinity, as an example of a society without women. Shelley manipulated masculine and feminine gender identities in her novel to try and persuade her audience that men alone cannot create, whether it be children or art.