The character of the Wife of Bath is clearly feminist. She indicates this by her extreme ideas of female “maistrye” and statements such as “I have the power duringe al my lyf upon his proper body, and nought he,” which is extremely feminist. However, Chaucer makes us see the Wife of Bath as inconsistent, at times illogical, and also amoral and adulterous, The prologue and tale is spoken by a woman of supposed vast experience, yet was written by a man. While the prologue and tale may be seemingly
Authorial Comments in A Squatter’s Tale According to Charles Bohner and Dean Dougherty authorial comment is: An explanatory remark obviously put into the narration by the author. Authorial commentary tells us what to think instead of showing us. (1212) Authorial comment, as clearly defined above, is an artistic device used by authors to paint a vivid picture of a point they are trying to make. This gives the reader of a text the opportunity to deduce the point. Comments made in literary
active role that seduction plays in the passionate lives of the heroines presented in the writing of "the undisputed Queen of Romance," Eliza Haywood. Ros Ballaster's primary argument refers to Eliza Haywood's "creation of a specifically feminine authorial persona with a direct address to female readers, which is seen both as a form of scandalous prostitution and a seduction of other women." (53) Ballaster asserts that, though her work undergoes a well-defined stylistic change, related to the moral
and “The Crack-Up,” “Pasting it Together,” and “Handle with Care” appeared in the magazine in February, March, and April of 1936, respectively. The essays dealt with the “lesion of confidence” (Bruccoli 405) and the crippling sense of spiritual, authorial, and personal emptiness from which Fitzgerald was suffering during this period of his life. Their brutal honesty and the radical departure they meant for Fitzgerald as a literary figure elicited various reactions from his contemporaries and critics
In a novel as consummately constructed as this one is, we are tempted to look for places where the undercurrents of the text, the places where the text takes on its own life and force, run against, or at least complicate, the discernment of authorial judgment. By closely examining Tolstoy's treatment of Anna's moral crisis as compared with his handling of Levin, we might attempt to unravel the book's rather layered and complex system of condemnation. The novel's epigraph sets a certain
largely tell tales that conform to their personal experiences or attitudes, such as the Merchant, whose awful marriage is the occasion for his tale about a difficult wife. In most cases the influence of the narrator on his tale is apparent, but the authorial touch lightly felt. The Merchant's Tale, for example, gains little from the prologue's information that the Merchant is disenchanted with his own marriage. Only a few of these tales exist largely as extensions of the characters who tell them; the
Beware of Your Washing Machine and its Shiftless Partner, the Dryer Professor’s comment: This student’s writing embodies a peculiar configuration of literary polish, linguistic facility, playful authorial self-awareness, and unadulterated goofiness. It is proudly, but not without trepidation, that I submit this essay to 123HelpMe and unleash the elegant lunacy of Rob Geis upon an unsuspecting world. Around the world, across America, even here in town, there is a crime occurring—a robbery
modes, novels that altered or abolished fictional elements such as character, plot, setting, point of view, and chronological time in favor of repetitions, an absence of emotion, minute objective and sometimes geometric descriptions, the lack of authorial analysis, and the deconstruction of time. His films also reflect his desire to challenge the conventions of filmmaking, but he is recognized principally as a novelist. The novels of Robbe-Grillet all challenge their readers to reevaluate the way
with it's various literary and extra-textual codes, makes it literature. In the case of Les Liaisons Dangereuses, reception theory is not only helpful, it is positively essential to any sort of literary discussion of the novel. Considerations of authorial intent are clearly to no avail, in that, due to the epistolary format, no such intent can be gleaned from the text. Try as we might to construct some sort of original meaning in the mind of the author, we find at last that the meanings we come up
involving both the reading and writing of the material implies a reader’s attempt to recreate the act of writing as well as the writer’s attempt to guide the act of reading. I will focus on the former, given the difficulties surrounding the notion of authorial intention a.k.a. the Death of the Author. Using three familiar Dickinson poems—“The Brain—is wider than the Sky,” “The Soul selects her own Society,” and “This was a Poet—It is that,”—I contend that readers can penetrate the double mystery
infringing my copyright, but that they are doing so for commercial profit. If they want to make money from storing my paper in a database, they should pay me for a license." (EricSmith comment on Slashdot) "Why are we violating authorial integrity to teach students that violating authorial integrity is wrong?" (by Bob, first comment) "can shift attention away from teaching students how to avoid plagiarism in the first place. In “Defining and Avoiding Plagiarism: The WPA Statement on Best Practices,” the
"enlarged"); and that this quarto does not include some lines from the "perfect Coppie" (since it is "almost as much"). Indeed, a First Quarto exists dated a year earlier (1603); Q1 is shorter some 1600 lines; and the Folio does restore certain seemingly authorial passages. It appears as if "I.R.," the printer, or "N.L.," the publisher, is correct on all possible counts. We cannot even condemn I.R. or N.L. for self-interested advertising. They admit that their copy is "almost," but not quite, "perfect."* Thus
Title of Work: Medea Country/Culture: Greek Literary Period: Classical Type of Literature (genre): Drama/Tragedy Author: Euripides Authorial information: Euripides was born in 484 BC and took up drama at the young age of 25. At most drama competitions, however his plays came in last place until he was about 45 or 50 years old. In his entire life, he wrote 92 plays of which only five received first place awards at competition. Euripides despised women. He had been married twice to unfaithful women
Literature emerges from an amalgamation of external influence, literary form, readership, and authorial intent (Tyson 136). New Criticism asserts that only analysis of concrete and specific examples existing within the text can accurately assess literary work (135). New Criticism also discounts authorial agency and cultural force that informs construction of a text. New Critics believe sources of external evidence produce intentional fallacy, the flawed acceptance of the author’s intention as the
In their essay, ‘The Intentional Fallacy’ (1946), William K. Wimsatt Jr. and Monroe C. Beardsley, two of the most eminent figures of the New Criticism school of thought of Literary Criticism, argue that the ‘intention’ of the author is not a necessary factor in the reading of a text. During the time-period when they authored this essay, the commonly held notion amongst people was that “In order to judge the poet’s performance, we must know what he intended.”, and this notion led to what is termed
Literature emerges as an assemblage of external influence, literary form, readership, and authorial intent (Tyson 136). New Criticism asserts that only the analysis of literary form, being concrete and specific examples that exist within the text (135), can accurately assess a literary work. New Criticism discounts authorial agency and cultural force that informs the construction of a given text. New Critics believe that these sources of external evidence produce intentional fallacy, the flawed acceptance
The authorial power in David Mamet’s Oleanna and Rebecca Gilman’s Boy Gets Girl establish the relationship between a man and a woman in which their interactions provide the central role of the play. It is the interactions that illustrate the control over a given situation. In seeking power, an authority determines the direction of order and a so-called victim must comply. However, Oleanna and Boy Gets Girl reverse the control in which the so-called victim initiates the power over an authority. The
answer, the idea of authorial intent has gripped almost every influential piece of literature. If Shelley's intent in creating Frankenstein was highly
use of pronouns: “he,” “his mother,” “his father,” and “his brother,” rather than their names, enforces a sparse, universal feel, yet at the same time, Coetzee the individual, is evident and distinct. The fictional memoir is a combination of both authorial and figural narrative situations: the heterodiegetic narratological structure provides distance, a remove from the subject, but through psycho-narration we, as the implied reader, are provided limited perspective within the adolescent representation
texts use to show disapproval of the society each presents.’ Ken Kesey and Arthur Miller illustrate an analytical opinion on their own society’s inconsistencies and inequality through their texts using various techniques inclusively symbolism, authorial voice, metaphors and points of view, which urges the reader to question their own society. Kesey’s One Flew Over the Cuckoo’s Nest is a dramatic novel, which explores the confinements of a psychiatric ward in the 1950’s and the corruption within