"The Historical Background" in A Companion to the Gawain-Poet, pp. 71-90. Derek Brewer and Jonathan Gibson, editors. Cambridge: D.S. Brewer, 1997.
To be sure, readers from different backgrounds can "hear" different voices in a text. Readers who are initiated in a particular literary environment may find the prosodic features they hav... ... middle of paper ... ...enius. The death of Lycidas becomes a "national" tragedy. The principle of substitution works here: the poet who reminds his countrymen of the previous life of a dead poet also pleads for himself, seeks visibility through public discourse. In the context of the scarcity of patronage for poets in the seventeenth-century, a poet like Milton had reason to make such a plea by appealing to the puritanical instincts of an audience that would identify with a chaste genius who died in his integrity.
‘The Sorrows of Yamba’(1788) as it appears in the Course Handbook. "English Abolitionist Literature of the Nineteenth Century - Alan Richardson (essay date spring 1996)." Nineteenth-Century Literary Criticism. Ed. Russel Whitaker Marie C. Toft.
Now I will be transitioning to discussing the scholarly peer review journals. In the article, “Blind streets and seeing houses: Araby's dim glass revisited” by Margot Norris describes James Joyce's "Araby" as a piece of work that uses conspicuous poetic language that performatively offers the beauty of its art as compensation to the thematized frustrations of the story (304). In “Araby”, the theme was clearly seen in the sentence when James Joyce said "Gazing up into the darkness I saw myself as a creature driven and derided by vanity,”. Margot Norris also agrees that the theme was found in the sentence that I just mentioned as she also points it out in her article. For example, in one passage, Margot Norris writes: "Gazing up into the darkness I saw mys... ... middle of paper ... ...
2014. Dorsey, Peter A. "Becoming the Other: The Mimesis of Metaphor in Douglass's My Bondage and My Freedom." JSTOR. Modern Language Association, May 1996.
Works Cited 1- Allen, J., (March, 1994). Aristotle and Social-Epistemic Rhetoric: The Systematizing of the Sophist Legacy. Paper presented at the Annual Meeting of the Conference on College Composition and Communication, Nashville, TN. Paper retrieved from http://www.eric.ed.gov/ERICWebPortal/search/detailmini.jsp?_nfpb=true&_&ERICExtSearch_SearchValue_0=ED370110&ERICExtSearch_SearchType_0=no&accno=ED370110 2 – Jarratt, S., (1998). Rereading the Sophists: Classical Rhetoric Refigured.
Englewood Cliffs: Prentice-Hall, Inc. 1962. 104-109 "Rudyard Kipling and William Butler Yeats" http://www.en.utexas.edu/~benjamin/316kfall/316unit4/studentprojects/ kiplingyeats/intro.html Southam, B.C. A guide to the Selected Poems of T. S. Eliot. New York: Harcourt, Brace & Co., 1994. UVA class notes, Dept of English, lit.
Cleanth Brooks writes in his essay “The Formalist Critics” from 1951 about criticism that formalist critics encounter and tries to show these arguments from his point of view and even indicates common ground with other literary critics. Cleanth Brooks argues that we lose the intrinsically obvious points of works of literature if we view the work through the different lenses of literary theory, however we are always viewing the literary work through a subjective lens, since the author and the critic cannot subjectively separate themselves from themselves and in making these points he contradicts himself. Cleanth Brooks starts his essay by listing “articles of faith I could subscribe to” (Brooks 19) and pointing out statements about literary criticism that might go with a formalist criticism. Yet he questions that list in its end, and seems to slate that his writings have been largely misunderstood. What his statements have to do with faith in connection with literature is up to the reader, since in one of his articles he specifically mentions, “literature is not a surrogate for religion” (Brooks 19).
Meanwhile, Charles Mitchell argues that the poem’s strange narrative style has a purpose within the plot, and suggests it is not a monologue at all. “It has been generally assumed that the poem is formally a dramatic monologue. However, that assumption is not easily established, for the disclosure that Ulysses faces an audience comes gradually and belatedly,” (Mitchell 289). He argues that the poem is spoken