How the Elements of Poetry Have An Effect on a Poem Essay

How the Elements of Poetry Have An Effect on a Poem - Essay Example On the other hand, a metaphor refers to the comparison of two phenomena but without the use of as, like or such. The metaphor usually states that one phenomenon is in fact another. Throughout this poem the entire concept of happiness was embodied with the use of metaphors and similes. Firstly, the author began the poem with the idea of an early morning setting. The imagery used to denote how early was the fact that ‘it was still dark out’. It appears that the poet used an extended metaphor of early morning to denote happiness. Every minute detail of the morning was ultimately equated to happiness. From the apparent darkness of the early morning to the welcoming light, which causes the moon to fade, indicate the sheer extent of the poet’s happiness. The activity of the two boys in the street every step they made brought happiness closer and closer until ‘it goes beyond, really’ - beyond the immediate gaze of the poet to another location where happiness would continue. The early morning darkness surrendering to the light of the day also gives continuity to happiness because another early morning would appear sometime ‘beyon d’ this instantaneous setting. Interestingly, he used the notion of tangible things to connote the intangible. Hence ‘early morning stuff’ was compared to deep ‘thought’ in the mind of the poet. Thus, the use of this metaphor allows the reader to view ‘thought’ as a normal part of early morning activity such as brushing one’s teeth or bathing. Thought takes on the added dimension of early morning ‘stuff’. The author then uses the comparison of silence with happiness. Thus, the metaphor is the equation of silence to happiness. The poet conveys, ‘they are so happy they aren’t saying anything.’ Clearly, the poet believes that true happiness signifies the unspoken word and the lack of noise or interference to disturb the position of happiness. Happiness now has a voice that refuses to

Strengths And Weaknesses Of Eliminative Materialism

Strengths And Weaknesses Of Eliminative Materialism Eliminative Materialism puts forward serious arguments that are worth into consideration and ultimately embracing. It is viable and holds very valid arguments that can shape the course of philosophy in order to slot it within the modern thought that is driven by empiricism. It has its weaknesses and strengths even though its effects have cut across the world within the platforms of both formal and informal philosophical debates. Of great influence is the view that the much celebrated folk psychology is a distasteful idea whose existence will ultimately be cut short in the wake of cognitive science (also dubbed as neuroscience). The hope that folk psychology will be done away with by neuroscience is not guaranteed considering that many people and philosophers still have a soft spot for the folk psychology. The argument to embrace eliminative materialism views is propelled by the realization that folk psychology invokes ideas from a weird and ghostly world that are based on extra-fiction creatures that no modern science can authentic. The inherent transformation of many of folk psychologys ideas into the epiphenomenalism puts it at a more precarious condition. Eliminative materialism appreciates the fact for philosophy to continue making any sense, it must take note that folk psychology merely leads us to admitting that our mental content is influence by factors out of the head or otherwise; this sidesteps the power of the human mind which has the power to coalesce all the two instances and more While eliminative materialism is valid and should be upheld, the notion that there are no beliefs, desires and that philosophical contributions should shun discussions to the opposite of this claim remains a matter of discourse. Discussion From as early as the 16th century when Descartes invited other thinker to query the complexities and conflicts of body and soul, the obscurity on the scope of body-soul conflict has remained elusive. The biggest challenge has remained what actually the body and the mind are. The mind that is attributed to be the source of human thoughts, regarded as the second public and the drive of many of the human actions, has been investigated by many scholars to understand what gives the human mind commands. From the16th century numerous view points have been served on the academic table of philosophy with a majority of them being less compelling or even too obfuscated to explain the obvious problem. In an attempt to unravel the mystery that makes the body and the mind complex, Paul Churchland and other proponents of the eliminative materialist approach have presented a number of arguments that are blatant shots at the folk psychology. According to philosophers who argue along the grains of eliminative materialism, the only way out in understanding the complex but practical nature of the body and mind will be embraced when we do away with the greatest stumbling block which is the folk psychologys concept of mental states. In his spirited fight to knock sense in the heads of folk psychologists, Churchland argues that it is impossible match physical states with their corresponding mental states and the nation propounded by folk psychology should be eliminated from the human ontology; a view that justifies the name eliminative materialism. This view becomes the materialistic approach towards the human mind which Churchland claims eliminates. The culture of individualism is also referred to as Capitalism. In philosophy, the notion that all facts concerned with the human way of thinking are dependent on physical process that the body is involved in. some families can be considered materialistic due to their metaphysical understanding. These theories can be best defined as those that almost resemble paradigmatic opinions. This is also referred to as the mechanical opinion. These opinions or theories are of different types. Most of them are covered in this article.          Many researches conducted come up with the opinion that use of concepts can reveal what state a persons mind is. Based on Nigel Warburtons comment, it is noted that philosophers can become more knowledgeable from neuroscience. This pushes them to revise some of the words mostly used by folks. This is unlike Pat Churchlands opinion that there is absolutely no need to interfere with words used by folks. It states that they should not be replaced with neurobiological words. This is true to the fact that use of neurobiological words would really shut many people out. This would work in league with their economy and the culture that they follow in their whole life.       It is still argued that most of the issues concerning human beings are mainly neurological cases. It can also be noted that a human being are built by the occupations that they hold in life. They are also built up of the objectives that they share and the kind of relationships they are involved in. many philosophers recognize Pat Churchlands opinion as an attempt to bring out the clear meaning of materialism. Her beliefs are quite different from all other ones associated with the issue. It is agreeable that the words used by folks really need to be revised. This is in further support of Churchlands opinion. This is however, objected by noting that neurological words are not necessarily the immediate options. This makes philosophers wonder if humans are really, what they think they are or they are creatures in human forms.  Ã‚   There are some problems and weaknesses associated with the eliminative materialism. Most notable is its approach to the body and mind that out rightly ignores the significance of material culture and its obvious effects on human beings daily encounters. This puts the credibility of the proponents of the eliminative materialism at an awkward position considering the fact some philosophers like Bruno Latour argues that it not possible for a reductionist scientist to be essentially reductive. It is argued that the thin line walked by Churchland and crew is one that does conform to critics view that eliminative materialism disregard for material culture makes positions it wrongly for amending the folk psychology and like any other dream becomes unreachable just like it is not possible to be alive without a body. Unlike the disregard that eliminative materialism holds against material culture, this notion is very impactful in discussing the body and the mind. In the notion of material culture, the term qualia defines anything that could not be any more familiar; it is the way we view things according to how we have been experiencing them. Philosophically, speaking, it is easier to understand terms accompanied by examples than the crude manner in which we would want to define them. As such our states of mind are far influenced by issues that our bodies have experienced in the past than mere talk of facts that our bodies have not yet experienced. When we view images like a cup of tea simmering our future references on cups maybe influenced by this qualia. Again when we experience sounds we like or dislike they become our auditory qualia. There can never be anything that is more vivid than an individuals qualia. An individuals qualia is made of different conscious and unconscious properties that constitute ones sole view of the world. Even if the rest of the world is an illusion defined by utmost obscurity, our qualia becomes the solace in understanding the world since what we know and have experienced can never change in our minds.

Free Essays - Bitter Reality in Landscape for a Good Woman :: Landscape for a Good Woman Essays

Bitter Reality in Landscape for a Good Woman "For my mother, the time of my childhood was the place where the fairly tales failed." (47) The loss of dreams for Edna has resulted in a loss of dreams and fantasy world for her children. The focus on the little mermaid is appropriate. Just as Edna makes the two girls into the tragic figure of the little mermaid by blaming their father for leaving/not leaving them, Edna continually makes her children into either the tragic figures or the villain by blaming them for her shattered dreams. In actuality, she is the pathetic tragic figure, unable to see how her children have helped her financially. She takes her disappointments and failed dreams and puts them onto the girls, as though it is their fault. Simply due to their existence, Edna often seems annoyed with the existence of her daughters. Kay's realization of this fact so early in life is the most distressing part of her story. Bearing the weight of this burden takes away the possibility of the children having dreams and fantasies of their own. Their awareness of this bitter reality makes it truly amazing that she titles this story Landscape for a Good Woman. Both middle and upper class mothers have certainly heard the message throughout their lives that their responsibility is in the caring for and nurturing of their children. This certainly leads to a multitude of tasks above and beyond clothing and feeding, which often result in a loss of freedom for the mother and a sense of enslavement. Breaking out of this pattern which has been expected of women and mothers in particular has been a goal for women for many decades. Being raised in a harsh environment has resulted in Edna naturally having an outlook on life that is quite different from the standard upper middle class belief of the mother being all sacrificing for her children. The emotional ties between mother and child seem to be on the back burner while more immediate needs are tended to. Edna's standards of what it means to be a good mother are entirely different from those of someone from a different class. She denies the upper-class role and defines motherhood in the only way sh e is capable of doing so, and is not damned by those around her for the way she raises her children.

Dalit literature Essay

Chaucer and the Elizabethan Age The Neo Classical Age The Romantic and the Victorian Ages Twentieth Century Theory and practice of Translation 4 4 4 Max. Marks Uni. CIA Exam. 25 75 25 75 25 75 6 6 30 4 3 19 25 25 125 75 75 375 100 100 500 Ins. Hrs/ Week 6 6 6 Credit Total 100 100 100 I Year II Semester MAIN Paper-5 MAIN Paper-6 MAIN Paper-7 MAIN Paper-8 COMPULSORY PAPER ELECTIVE Paper-2 English Language and Linguistics Indian Literature in English Shakespeare American Literature Human Rights New Literatures English 6 5 6 5 2 6 30 5 5 5 5 2 3 25 25 25 25 25 25 25 150 75 75 75 75 75 75 450 100 100 100 100 100. 100 600 II year III Semester MAIN MAIN MAIN MAIN Paper-9 Paper-10 Paper-11 Paper-12 6 6 6 6 5 5 5 5 25 25 25 25 75 75 75 75 100 100 100 100 ELECTIVE Paper-3 Commonwealth Literature Literary Theory and Criticism I English Language Teaching Literature, Analysis, Approaches and Applications Film Reviews and Presentation 6 30 3 23 25 125 75 375 100 500 MAIN MAIN MAIN MAIN ELECTIVE Paper-13 Paper-14 Paper-15 Paper-16 Paper-4 (or) Project 6 6 6 6 6 5 5 5 5 3 25 25 25 25 25 75 75 75 75 75 100 100 100 100 100 30 23 125 375 500 II Year IV Semester Literary Theory and Criticism II Soft Skills, Literature and Movies. World Classics in Translation Women’s Writing in English Anatomy of Literature Total 1 M. A. English : Syllabus (CBCS) Papers Credit Total Credits Marks Total marks MAIN 16 4-5 76 100 1600 ELECTIVE 4 3 12 100 400 COMPULSORY PAPER 1 2 2 100 100 21 – 90 – 2100 Subject Total 2 M. A. English : Syllabus (CBCS) THIRUVALLUVAR UNIVERSITY M. A. ENGLISH SYLLABUS UNDER CBCS (with effect from 2012-2013) SEMESTER I PAPER – 1 CHAUCER AND THE ELIZABETHAN AGE Objectives Students are : 1. exposed to early English literature with special reference to transition from middle English to the Elizabethan ethos. 2. introduced to the earliest English writers through representative texts 3. to gain a deeper knowledge of the writers and their works UNIT-I : POETRY 1. Chaucer : Prologue to the Canterbury Tales : The Knight, The Prioress, The Wife of Bath and the Doctor of Physic. 2. John Donne : 1) The Canonization 2) Valediction Forbidding Mourning 3) Go and Catch a Falling Star UNIT-II : POETRY 1. Edmund Spenser : Prothalamion 2. Wyatt and Surrey : As Sonneteers 3. Ballads 3 M. A. English : Syllabus (CBCS) UNIT-III : PROSE 1. Bacon : Of Truth, Of Adversity, Of Parents and Children, Of Ambition 2. The Gospel according to St. Mark (MacMillan Annotated Classics) 3. Thomas More : The Utopia UNIT-IV : DRAMA Webster :The Duchess of Malfi UNIT-V : DRAMA Ben Jonson : The Alchemist 4 M. A. English : Syllabus (CBCS) PAPER 2 THE NEO CLASSICAL AGE Objectives Students are : 1. exposed to the shift to the Classical tradition in literary and political terms 2. to appreciate the tremendous changes in literary forms 3. trained to analyze the trends in literary expression of the period UNIT-I : POETRY Milton (1608 – 1674) : Paradise Lost Book IX UNIT-II : POETRY 1. Andrew Marvell (1621 – 1678) : To His Coy Mistress 2. John Dryden (1631 – 1695) : Absalom and Achitophel 3. Pope (1688 – 1744) : The Essay On Man : Epistle II (II. 1 – 92) (â€Å"Know then thyself†¦. Our greatest evil or great good†) UNIT-III : PROSE 1. Addison and Steele : The Coverley Papers : Sir Roger at Church Sir Roger at the Assizes 2. Milton : Areopagitica 3. Swift : The Battle of the Books 5 M. A. English : Syllabus (CBCS) UNIT-IV : DRAMA 1. John Dryden : All for Love 2. Richard Sheridan : The Rivals UNIT-V : FICTION 1. Daniel Defoe (1660 – 1731) : Robinson Crusoe 2. Swift (1667 – 1745) : Gulliver’s Travels 6 M. A. English : Syllabus (CBCS) PAPER 3 THE ROMANTIC AND THE VICTORIAN AGES Objectives Students are : 1. to appreciate the influence of ever changing trends brought about by social and scientific developments 2. to analyze diverse literary devices of these periods 3. to comprehend and analyze the dialectic between Neo Classicism and Romanticism 4. to gain indepth understanding of major writers of the 19th century UNIT-I: POETRY 1. Wordsworth : Tintern Abbey 2. Coleridge : The Rime of the Ancient Mariner 3. Shelley : Ode to a Skylark 4. Keats : Ode on a Grecian Urn 5. Tennyson : Ulysses UNIT-II: POETRY 1. Browning : My Last Duchess 2. Blake : Night 3. D. G. Rossetti Infant Sorrow : Blessed Damozel 4. Arnold : The Scholar Gypsy Ref: Victorian poets, ed. V. S. Seturaman, Macmillan Annotated Classics 7 M. A. English : Syllabus (CBCS) UNIT-III: PROSE 1. Charles Lamb : From Essays of Elia: Dissertation on a Roast Pig : Poor Relations 2. Arnold : From Culture and Anarchy: Sweetness and Light 3. Thomas Carlyle : On Shakespeare (from Victorian Prose ed. V. S. Sethuraman) UNIT-IV: DRAMA Oscar Wilde : Lady Windermere’s Fan UNIT-V: FICTION 1. Jane Austen : Emma 2. Dickens : Pickwick Papers 3. Charlotte Bronte : Jane Eyre 4. Walter Scott: Ivanhoe 8 M. A. English : Syllabus (CBCS) PAPER 4 TWENTIETH CENTURY Objectives Students are : 1. trained to acquire a working understanding of the war years and their literary consequences 2. exposed to dominant literary traditions and authors of the 20th Century 3. to analytically appreciate various emerging literary trends and forms 4. introduced to futuristic thinking through a classic science fiction novel UNIT-I : POETRY 1. W. B . Yeats 2. T. S Eliot 3. Wilfred Owen : Easter 1916 : Sailing to Byzantium : The Love Song of J. Alfred Prufrock : Strange Meeting UNIT-II : POETRY 1. 2. 3. 4. Hopkins. Seamus Heaney Thom Gunn Stephen Spender : Wreck of the Deutschland : The Tollund Man : On the Move : I think continually of those who are truly great. UNIT-III: PROSE 1. Orwell 2. D. H. Lawrence 3. C. P. Snow : Politics and the English Language : Why the Novel Matters : Two Cultures UNIT-IV: DRAMA 1. Beckett 2. T. S. Eliot : Waiting For Godot : The Family Reunion 9 M. A. English : Syllabus (CBCS) UNIT-V: FICTION 1. Virginia Woolf : Mrs. Dalloway 2. D. H. Lawrence : Sons and Lovers 3. Arthur C. Clarke : Childhood’s End 10 M. A. English : Syllabus (CBCS) ELECTIVE PAPER 1 THEORY AND PRACTICE OF TRANSLATION Objectives Students are trained : 1. to gain a working knowledge of the origin and development of translation 2. in the various theories and techniques of translation 3. to be able to translate literary and non-literary texts from English into an Indian language and vice-versa UNIT-I : History of Translation Origin and development of translation in the West Origin and development of translation in the Indian context UNIT-II : Theories of Translation Catford – Nida – Newmark UNIT-III : Translation of Literary – Aesthetic Texts Problems and Techniques Translation of Religious Texts in India. Translation of Poetry Translation of Fiction Translation of Plays UNIT-IV : Translation of Scientific – Technical Texts Problems and Techniques Translation of Scientific Texts Translation of Social Sciences Texts Translation of Official Circulars, Agenda, Minutes Translation of Commercial, Financial documents and Legal texts 11 M. A. English : Syllabus (CBCS) UNIT-V : New trends Assessment of Translation Computer – aided Translation Reference Susan Bassnett – McGuire, Translation Studies J. C. Catford, A Linguistic Theory of Translation E. A. Nida, Towards a Science of Translation (1964) E. A. Nida and C. Taber, The Theory and Practice of Translation (1974) Peter Newmark, Approaches to Translation (1981) A. Duff, The Third Language (1961) Ayyappa Panicker, ed. Indian Literature (1995) 12 M. A. English : Syllabus (CBCS) II SEMESTER PAPER 5 ENGLISH LANGUAGE AND LINGUISTICS Objectives Students are exposed to : 1. the evolution of the English language at a deeper level, updating what has been learnt at the UG level 2. the intricacies of articulating English sounds, enabling them to speak better 3. levels of linguistic analyses, preparing them to become effective teachers UNIT-I : THE HISTORY OF ENGLISH LANGUAGE. Descent of English language; Old English Period; Middle English; Renaissance & After; Growth of Vocabulary; Change of Meaning; Evolution of Standard English. Recommended Reading: F. T Wood An Outline History of English Language UNIT-II : PHONOLOGY Cardinal Vowels, English Vowels, Diphthongs and Consonants, Transcription, Syllable UNIT-III : PHONOLOGY Received Pronunciation and the need for a model, Accent, Rhythm and Intonation, Assimilation, Elision, Liaison and Juncture. Recommended Reading T. Balasubramanian A Textbook of English Phonetics for Indian Students (Chapter 3-17) 13 M. A. English : Syllabus (CBCS) UNIT-IV : LEVELS OF LINGUISTIC ANALYSIS Morphology, Sentences and their parts, words, phrases and clauses, phrases, Semantics, Pragmatics & Discourse Analysis Recommended Reading Geroge Yule The Study of Language (Chapters 8-13) (Second Edition Cambridge University Press, 1996) Quirk & Greenbaum. A University Grammar of English UNIT-V : SOCIOLINGUISTICS Language varieties; language, society and culture. Recommended Reading George Yule The Study of Language (Chapter 20 &21) Second Ed. CUP, 1996) Verma and Krishnaswamy Modern Linguistics (Units 42 – 45). 14 M. A. English : Syllabus (CBCS) PAPER 6 INDIAN LITERATURE IN ENGLISH Objectives Students are : 1. introduced to a wider range of works in Indian Literature in English 2. exposed to a balanced textual study of established and contemporary writers 3. enabled to acquire a holistic perception of Indian Literature in English in preparation for a teaching or research career UNIT-I : POETRY 1. Aurobindo : Thought the Paraclete 2. Nissim Ezekiel : Poet, Lover, Bird Watcher 3. A. K. Ramanujan : Anxiety (from selected poems OUP, 1995,p. 29, pp. 124-25) 4. Arun Kolatkar : From Jeiury 1. The Bus 2. A Scratch 5. Rabindranath Tagore : Gitanjali UNIT-II : POETRY 1. Daruwalla : Hawk (from The Anthgology of Twelve. Modern Indian Poets ed. A. K. Mehotra, OUP (1992) 2. Sujatha Bhat : The Star (from Monkey Shadows, Penguin India, 1993 – pp 13-15) 3. Mamta Kalia : Tribute to Papa (from Nine Indian Women 15 M. A. English : Syllabus (CBCS) Poets ed. Eunice D’Souza, OUP, 1997, pp. 2021) UNIT-III : PROSE 1. Nehru : Discovery of India (Ch. 2 and 3) 2. B. R. Ambedkar : Extracts 4,5 and 6 (from Annihilation of Caste Ed. Mulk Raj Anand. Delhi: Arnold Publishers, 1990, pp. 47-54) UNIT-IV : DRAMA 1. Karnad : Nagamandala 2. Mahashweta Devi : Rudali (Calcutta: Seagull, 1999) UNIT-V : FICTION 1. R. K. Narayan : The English Teacher 2. Chetan Bhaghat : One Night @ the Call Centre 16 M. A. English : Syllabus (CBCS) PAPER 7 SHAKESPEARE Objectives Students are : 1. enabled to establish Shakespeare’s contribution to development of English literature and language. 2. to gain knowledge and understanding necessary to explain his dramatic skills 3. to identify and explain meaning-making and communicative strategies in the prescribed plays 4. oriented to a concrete understanding of his ‘universality’ which in this context means his ability to communicate to a far wider spectrum of people 5. prompted to recognise and appreciate his skills as a wordsmith 6. trained to identify passages (from the prescribed plays) that can be used as case studies to understand and practice soft and communicative skills. UNIT-I : As You Like It UNIT-II : Othello UNIT-III : Richard III UNIT-IV : The Winter’s Tale UNIT-V 1. The Elizabethan Theatre and Audience 2. Trends in Shakespeare Studies 17 M. A. English : Syllabus (CBCS) PAPER 8 AMERICAN LITERATURE Objectives Students are : 1. to explore the uniqueness of American literature at an advanced level 2. trained to analyze the American mind in its important facets 3. enabled to appreciate mutually beneficial relationship between India and the U.S. , through the literary medium 4. introduced to American Science Fiction through one of the most representative texts UNIT-I : POETRY 1. 2. 3. 4. Walt Whitman Emily Dickinson Robert Frost Wallace Stevens : Crossing Brooklyn Ferry : Success is counted sweetest : Home Burial : Anecdote of the Jar UNIT-II : POETRY 1. e. e. cummings 2. Amiri Baraka 3. Gwendolyn Brooks : Any one lived in a pretty how town : An Agony as Now : Kitchenette Building UNIT-III : PROSE 1. R. W. Emerson 2. H. D. Thoreau 3. Allan Bloom : Self – Reliance : Walden (Selected Chapters 1,2 and 17) : Nietzscheanization of the Left or Vice-Versa (from the Closing of the American Mind 1987) 18 M. A. English : Syllabus (CBCS) UNIT-IV : DRAMA 1. Eugene O’Neill 2. Arthur Miller : Hairy Ape : The Crucible UNIT-V : FICTION 1. Mark Twain 2. W. Faulkner 3. Isaac Asimov : Adventures of Huckleberry Finn : The Sound and the Fury : The Caves of Steel 19 M. A. English : Syllabus (CBCS) HUMAN RIGHTS COMPULSORY PAPER UNIT-I Definition of Human Rights – Nature, Content, Legitimacy and Priority Theories on Human Rights – Historical Development of Human Rights. UNIT-II International Human Rights – Prescription and Enforcement upto World War II Human Rights and the U . N . O. – Universal Declaration of Human Rights International Covenant on Civil and Political Rights – International Convenant on Economic, Social and Cultural Rights and Optional Protocol. UNIT-III Human Rights Declarations – U. N. Human Rights Declarations – U. N. Human Commissioner. UNIT-IV Amnesty International – Human Rights and Helsinki Process – Regional Developments – European Human Rights System – African Human Rights System – International Human Rights in Domestic courts. UNIT-V Contemporary Issues on Human Rights: Children’s Rights – Women’s Rights Dalit’s Rights – Bonded Labour and Wages – Refugees – Capital Punishment. Fundamental Rights in the Indian Constitution – Directive Principles of State Policy – Fundamental Duties – National Human Rights Commission. 20 M. A. English : Syllabus (CBCS) Books for Reference: 1. International Bill of Human Rights, Amnesty International Publication, 1988. 2. Human Rights, Questions and Answers, UNESCO, 1982 3. Mausice Cranston – What is Human Rights 4. Desai, A. R. – Violation of Democratic Rights in India 5. Pandey – Constitutional Law. 6. Timm. R. W. – Working for Justice and Human Rights. 7. Human Rights, A Selected Bibliography, USIS. 8. J. C. Johari. – Human Rights and New World Order. 9. G. S. Bajwa – Human Rights in India. 10. Amnesty International, Human Rights in India. 11. P. C. Sinha & – International Encyclopedia of Peace, Security K. Cheous (Ed) Social Justice and Human Rights (Vols 1-7). 12. Devasia, V. V. – Human Rights and Victimology. Magazines: 1. 2. 3. 4. The Lawyer, Bombay Human Rights Today, Columbia University International Instruments of Human Rights, UN Publication Human Rights Quarterly, John Hopkins University, U. S. A. 21 M. A. English : Syllabus (CBCS) ELECTIVE PAPER 3 NEW LITERATURES IN ENGLISH Objectives Students are introduced to contemporary and complex writers and their works spanning all the commonwealth countries. If selected for study, this paper will enable the student to acquire a highly comprehensive knowledge of commonwealth literature, enhancing their reception of the paper on commonwealth literature in the III semester, and also providing them with sufficient knowledge base for pursuing research or teaching. UNIT-I : POETRY 1. Australia – Judith Wright : At Cooloola 2. New Zealand – James Baxter : The Ikons 3. Allen Curnow : House and Land UNIT-II : POETRY 1. Canada – Al Purdy : Lament for the Dorsets (EskimosExtinct in the 14th Century AD) (from Norton Anthology of Modern Poetry) 2. Africa – Kofi Awoonor : Song of War : The Weaver Bird (from Penguin Anthology of Modern Poetry- Africa. Eds. Gerald Moore and Ulli Beier. ) 3. ace Nichols West Indies – Grace Nichols – Of course, when they ask for poems (from Six Women Poets. Ed. Judith Kinsman, OUP, 1992, pp. 41 -43) 22 M. A. English : Syllabus (CBCS) UNIT-III : PROSE 1. Africa – Achebe : Colonialist Criticism (from Post Colonial Studies Reader eds. Helen Tiffin, Chris Tiffin & Bill Ashcroft) 2. West Indies – V. S. Naipaul-India : A Wounded Civilization UNIT-IV : DRAMA. Australia – Louis Nowra : Radiance J. P. Clarke : Song of a goat UNIT-V : FICTION Africa-Koetzee : Disgrace Canada-Maragaret Laurence : The Stone Angel Australia-Peter Carey : Oscar and Lucinda 23 M. A. English : Syllabus (CBCS) III SEMESTER PAPER 9 COMMONWEALTH LITERATURE Objectives Students are : 1. exposed to the literatures of the Commonwealth 2. introduced to the postcolonial perceptions of a wide range of people whose second language is English 3. trained to develop comparative perspectives 4. Trained to discuss the question of identity and dominance of landscape in Commonwealth literature UNIT-I : POETRY. Australia – A. D. Hope : Australia New Zealand – Jessie Mackay : The Noosing of the sun-god Africa – Abioseh Nicol : The Continent that lies within us UNIT-II : POETRY Africa – David Rubadiri : A Negro labourer in Liverpool Dereck Walcott : Ruins of a Great House Canada – F. R. Scott : The Canadian Author’s Meet (from Anthology of Commonwealth Verse ed. Margaret O’Donnell & An Anthology of Commonwealth Poetry ed. C. D. Narasimhaiah) UNIT-III : PROSE Sri Lanka – Ananda : The Dance of Shiva Coomaraswami 24 M. A. English : Syllabus (CBCS) UNIT-IV : DRAMA Nigeria – Wole Soyinka : The Lion and the Jewel UNIT-V : FICTION. Canada – Margaret Atwood : Surfacing Australia – Patrick White : Voss 25 M. A. English : Syllabus (CBCS) PAPER 10 LITERARY THEORY AND CRITICISM I Objectives Students are : 1. introduced to one of the most enabling forms of literary study 2. exposed to the complexities of literary theory and criticism, which is most essential aspect of literary appreciation 3. trained to understand and analyze literary writings based on the ever evolving traditions of criticism 4. enabled to form a comparative perspective of the Eastern and Western critical traditions UNIT-I Introduction to Classical Literary Criticism UNIT-II. Ancient Tamil and Sanskrit Criticism UNIT-III Johnson : Preface to Shakespeare Wordsworth : Preface to the Lyrical Ballads UNIT-IV Arnold : Study of Poetry T. S. Eliot : Tradition and Individual Talent UNIT-V N. Frye : Archetypes of Literature 26 M. A. English : Syllabus (CBCS) PAPER 11 ENGLISH LANGUAGE TEACHING Objectives Students are : 1. expected to acquire the essentials of teaching English as a second / foreign language 2. to internalize the various methods of English language teaching, theory as well as practice 3. trained to appreciate the area specific feature of ELT, in the Indian context, to become able teachers. 4. Problems and Principles UNIT-I The role of English in India; English teaching in India today UNIT-II Theories of language learning: cognitive-theory; behaviouristic theory. First language acquisition and second language learning; Attitudes to error; Inter language UNIT-III Approaches and Methods: Grammar Translation; Audio-lingual; Communicative and Current Trends UNIT-IV Classroom Management and Teacher – Student Interaction Materials Production 27 M. A. English : Syllabus (CBCS) UNIT-V Reading, Writing, Testimony, Speaking, Study Skills, Literature, Remediation Recommended Reading Howall A. P. R. A History of English Language Teaching, OUP, 1984. Richards, J and Rodgers, S. Approaches and Methods in Language Teaching, Cambridge University Press, 2001. Ellis, R. Understanding Second Language Acquisition, London, OUP, 1985. Pit Corder, S. Introducing Applied Linguistics, Harmondsworth, Penguin, 1973. Edinburgh Course in Appied Linguistics Vols. 1,2,3,4. Yalden, 1. The Communicative Syllabus: Evolution Design & Implementations. Penguin, 1983. Oller J. W. Jr. Language Tests at School, London, Longman, 1979. David Nunan, Language Teaching Methodology, Prentice Hall, 1991. 28 M. A. English : Syllabus (CBCS) PAPER 12 LITERATURE, ANALYSIS, APPROACHES AND APPLICATIONS Objectives Students are : 1. introduced to the methodologies of analysis, an integral part of literary appreciation 2. exposed to the expected levels of performance required in them 3. directed to the ever widening career options opening to a PG in English, especially in the Knowledge Processing Industry for writers, editors, instructional designers and so on UNIT-I Practical Criticism UNIT-II Journalism and Mass Communication UNIT-III Report Writing and Book Review UNIT-IV Proofreading, Editing and Advertising UNIT-V : TECHNICAL WRITING Specs, Manuals, Business correspondence 29 M. A. English : Syllabus (CBCS) ELECTIVE PAPER 3 FILM REVIEWS AND PRESENTATION Objectives Students are : 1. exposed to the newly emerging field of film studies 2. introduced to the technicalities of making and appreciation of cinema 3. trained to become reviewers, opening up another career option UNIT-I History of Cinema in India UNIT-II Major Landmarks in Indian Cinema UNIT-III What is Film Reviewing? UNIT-IV Actual reviewing by showing film clips UNIT-V The script, storyline, acting, costumes, dialogue, visuals, music and dance, graphics and special effects 30 M. A. English : Syllabus (CBCS) IV SEMESTER PAPER 13 LITERARY THEORY AND CRITICISM II Objectives In addition to the objectives for Literary Theory and Criticism I Students are : 1. sensitized to the transition from Humanistic to Modern and Postmodern critical traditions 2. enabled to comprehend the dominance of theory in the Postmodern phase 3. introduced to recent contexts, concepts and ideologies UNIT-I Lionel Trilling: Sense of the Past Cleanth Brooks: The Language of Paradox UNIT-II Georg Lukacs: Ideology of Modernism UNIT-III Jacques Lacan : Of Structure as an Inmixing of an Otherness Prerequisite to any Subject Whatever UNIT-IV. Barthes: Death of the Author UNIT-V Simone de Beauvoir : Introduction to â€Å"The Second Sex† 31 M. A. English : Syllabus (CBCS) PAPER 14 SOFT SKILLS, LITERATURE AND MOVIES Objectives Students are : 1. trained to understand the aspects of soft skills 2. exposed to the actualities of the various skills grouped under the rubric ‘Soft Skills’ 3. motivated, through this paper, to empower themselves with the expected skills for suitable employment 4. oriented to recognize and locate the role of soft skills in real life situations UNIT-I : INTRAPERSONAL Self-management, self-esteem, self-awareness, self-regulation, self-critique,  Jane Eyre UNIT-II : EMPATHY Honesty, cultural diversity, Ability to take other’s point of view, integrating cognitive and affective skills, Nelli in â€Å"Wuthering Heights† UNIT-III : INTERPERSONAL Team work, persuasion, negotiation, conflict resolution, Reading social situations, learning to say no, active listening, Rosalind, Portia and Viola UNIT-IV : COMMUNICATION Body language, facial expression, humour, eye contact, tone of voice, etiquette, 1. Antony and Cleopatra (Movie) 2. To Sir with Love (Movie) 3. Dead Poets Society (Movie) UNIT-V : LEADERSHIP Critical, lateral, strategic thinking; delegation; taking responsibility; giving praise and appreciation; giving and receiving feedback; ability to motivate; problem solving, â€Å"Things Fall Apart† – Achebe. 32 M. A. English : Syllabus (CBCS) References Daniel Coleman. Working with Emotional Intelligence. Dale Carnegie. How to Develop Self Confidence and Influence People by Public Speaking. 1926. rpt. 1956. Pocket Books. 33 M. A. English : Syllabus (CBCS) PAPER 15 WORLD CLASSICS IN TRANSLATION Objectives: Enable the students to appreciate the writings for them literary values, cultural importance, philosophical and socio-political background to  facilitate the development of cross-cultural perspectives. UNIT-I : Poetry Homer : The Sliad Book III Virgil : The Aeveid Book IV (438-563) Thiruvalluvar : Thirukkural Book II UNIT-II : Dante : The Inferno (Canto III) Gibran : The Prophet UNIT-III : PROSE St. Augustine : The Confessions Book – I Confucius : Analects 1, 2 Harace : As Poetria UNIT-IV : DRAMA Anton Chekov : The Cherry Orchid Kalidasa : Sahuntala Aristophanes : The Clouds UNIT-V : FICTION Leo Tolstoy : Anna Karenina Books (1 & 2) Thomas Mann : Magic Mountain 34 M. A. English : Syllabus (CBCS) PAPER 16 WOMEN’S WRITING IN ENGLISH UNIT-I: POETRY Elizabeth Barret Browming. Ways. : How Do I Love Thee? Let me count the Sylvia Plath : Lady Lazarus Maya Angelou : Phenomenal Woman Kamala Das : Introduction Toru Dutt : Sita UNIT-II: PROSE Virginia Woolf : A Room of One’s Own Arundhathi Roy : The Algebra of Infinite Justice. UNIT-III: DRAMA Mahashweta Devi : Mother of 1084 Caryll Churchill : Top Girls UNIT-IV: FICTION Jhumpa Lahiri : The Namesake Margaret Atwood : The Handmaid’s Tale UNIT-V: GENERAL Mary Woolstone craft : The Vindication of the Rights of Women Elaine Showalter : Toward a Feminist Poetics 35 M. A. English : Syllabus (CBCS) ELECTIVE PAPER 4 ANATOMY OF LITERATURE Objectives. Students are : 1. enabled to acquaint themselves with the major generic divisions in English literature 2. trained in the universally – acknowledged conventions of literary research and documentation UNIT-I : THE ANATOMY OF PROSE The form of prose – vocabulary – grammar and idiom written and spoken prose – the paragraph – prose rhythm – individual and common style – common style and cheap style – simplicity and ornamentation – objective and subjective abstract and concrete – realism, romance and unreality – special inventions prose for its own sake – the historical approach – the science of rhetoric writing prose. UNIT-II : THE ANATOMY OF POETRY The importance of form – the physical form of poetry – metre – variation – rhyme – onomatopoeia – internal pattern – form in intonation – repetition – the main types of poetry – logical sequence – the use of associations – patterns of imagery – traditional verse forms – free verse – the choice of words – illustrations – cautions – twentieth – century techniques. UNIT-III : THE ANATOMY OF NOVEL The concept of fiction – verisimilitude – the point of view – plot – character character revealed – conversation – scene and background – dominant themes the experimental novel 36. M. A. English : Syllabus (CBCS) UNIT-IV : THE ANATOMY OF DRAMA Live literature – action – plots – conventional divisions – direct experience of characters – dialogue and conversation – verse and prose – types of drama drama and history – use of notes – interpretation UNIT-V : LITERARY RESEARCH Research and writing – the mechanics of writing – the format of the research paper – documentation: preparing the list of works cited – documentation: citing sources in the text – abbreviations Reference Marjorie Boulton, The Anatomy of Prose (1954). Marjorie Boulton, The Anatomy of Poetry (1953) Marjorie Boulton, The Anatomy of Novel Marjorie Boulton, The Anatomy of Drama (1960) Joseph Gibaldi, MLA Handbook for Writers of Research Papers, 6th Ed. 37 M. A. English : Syllabus (CBCS) PROJECT DISSERTATION Objective Project Work is a preparatory exercise for research writing. Students are introduced to the basics of research and trained to write academically following the framework given below: 1. Introduction 2. Statement of the problem 3. Review of Literature 4. Analysis 5. Summary, findings and suggestions.

Succubus Revealed Chapter 13

Roman was impossible to live with after that. He refused to tell me any more details, only that Seth needed to undergo hypnosis and that more would be revealed once that happened. â€Å"But don't you think I should know now?† I demanded, for what felt like the hundredth time the following day. â€Å"I don't want to influence either of you,† came the response. â€Å"Just in case I'm wrong.† â€Å"I thought you said you'd figured it out! You're saying now that there's a chance you might be wrong?† â€Å"There's always a chance,† he said pragmatically. â€Å"But I don't think I'm wrong.† And with that infuriating response, there was nothing I could do except wait and speculate. I couldn't figure out what exactly Roman planned on doing with hypnosis, but at least it seemed relatively safe. I wouldn't have put it past Roman to say, â€Å"Let's stage a trap for some demons and use Seth as bait.† There were worse things than being hypnotized into clucking like a chicken, I supposed. It took a number of days to get an answer. The delay came from finding a time when both Seth and Hugh were available. Despite his many formidable skills, hypnosis apparently wasn't in Roman's repertoire. It was, however, in Hugh's, which I found kind of surprising. When I asked him about it, he explained that he'd once been at a medical conference, during which participants were required to take a certain number of seminars. He'd chosen hypnosis because he thought it would be a blow-off class. â€Å"It was actually harder than it seemed,† he remarked. â€Å"I did some more follow-up on it after the conference. Dabbled here and there. Haven't put it to much use since then, aside from an ill-fated date last year.† â€Å"Are you going to be able to do what Roman needs you to today?† I nodded toward my living room, where Roman was pacing like a caged animal. We were all waiting on Seth to show up, and Roman kept obsessing over small details necessary to create â€Å"the perfect hypnotic environment.† He was constantly adjusting the lighting and moving the recliner. Sometimes he'd put it in the center of the room. Other times, he'd drag it to the side, where there were more shadows. We'd given up on trying to advise him. He was too irritable and wound up. Hugh frowned, watching Roman. â€Å"I don't know. What he asked me to do . . . well, it's pretty basic, as far as technique goes. It's what he wants me to do with it that's kind of wacky. I've read up on it a little this week, and honestly . . . I don't know if it's going to work.† I still didn't know what â€Å"it† was and had resigned myself to patience. Seth arrived shortly thereafter, mood bright and optimistic. Andrea's improvement after Carter's visit had been remarkable, and it was affecting everyone in the household. I crossed my fingers every day that Hell wouldn't send someone back to undo what Carter had done. Seth gave me a half hug and kissed me on the lips, a further sign of his good mood since he was usually so reserved in front of others. â€Å"You missed a good time,† he told me. He was wearing a Princess Bride shirt today. â€Å"I took Kendall and the twins Christmas shopping. They got Ian some used copies of The Metamorphosis and Candide.† â€Å"He's into those?† I asked. â€Å"I mean, they're great books, but I just never thought of them as his thing.† â€Å"Well, they aren't mainstream best sellers – like some people's sellout books – so he's into the elitist appeal. He likes to go to coffee shops – obscure ones that you've never been to, naturally – and pretend to read counterculture literature. He'll be glad to have the new material.† Seth's amusement faded as he took in the living room, with all its drawn shades and Roman carefully arranging the recliner (again). Noticing our attention, Roman paused and glanced between the three of us. â€Å"I wasn't sure what background noise would work best, so I loaded a few different things onto my iPod. I've got ocean waves, wind chimes, and white noise.† Hugh shrugged. â€Å"Makes no difference to me. I'm not the one being hypnotized.† â€Å"I'm still not sure I can be hypnotized,† said Seth. â€Å"But if it doesn't matter . . . hmm, are there seagulls with the ocean waves?† â€Å"Yes,† said Roman. â€Å"Then let's go white noise.† Roman obligingly started it up, filling the room with what sounded more like faulty radio reception than soothing neutral sounds. â€Å"Maybe you should keep it at a low volume,† I suggested delicately. â€Å"You know, you don't want it to be so soothing that Seth falls asleep.† Roman looked dubious, but at a nod from Seth, the volume decreased. I might not understand how hypnotizing Seth was going to play into Hell's greater plans, but so long as Roman believed it was necessary, Seth got to call the shots. Seth gave me a quick hand squeeze and a smile that was meant to be reassuring. He didn't like immortal affairs but had accepted this crazy venture for me. Following Roman's direction, Seth settled himself into the recliner and eased it back. Hugh pulled up a stool near Seth, but Roman and I sat on the periphery of the living room. Hypnosis required a minimum of distractions, which we clearly were. I'd even had to lock the cats up in my bedroom earlier, to make sure Aubrey and Godiva didn't decide to jump on Seth's lap mid-session. â€Å"Okay,† said Hugh, after clearing his throat. â€Å"Are you ready?† He took out a small notepad, filled with his illegible writing. It was the most low-tech thing I'd seen him use in a while. â€Å"Ready as I'll ever be,† said Seth. Hugh glanced at Roman and me briefly, perhaps in case we had a last-minute change of heart, and then returned to the notepad. â€Å"Okay, close your eyes and take a deep breath. . . .† I was familiar with some of the basics of hypnosis, and the exercises that Hugh began with were pretty standard. Although Seth had been joking, I too honestly wondered if he could be hypnotized. Part of his nature as a writer was to focus on all the details of the world, making it difficult to hone in on one thing sometimes. Of course, he could also show single-mindedness for his work, and that was the attribute that soon came out. After a few minutes of guided breathing, it became clear that Seth was definitely growing more and more relaxed. I almost thought he'd actually fallen asleep, until Hugh began asking him questions. Seth responded, eyes closed, voice perfectly steady. â€Å"I want you to go back,† said Hugh. â€Å"Back in your memories. Go past your thirties, into your twenties. From there, think about your college years. Then high school.† He allowed a pause. â€Å"Are you thinking about high school?† â€Å"Yes,† said Seth. â€Å"Okay. Go further back in time, back to middle school. Then elementary school. Can you remember a time before then? Before you started school?† There was a slight delay before Seth spoke. Then: â€Å"Yes.† â€Å"What is your earliest memory?† â€Å"In a boat, with my father and Terry. We're on a lake.† â€Å"What are they doing?† â€Å"Fishing.† â€Å"What are you doing?† â€Å"Watching. Sometimes I get to help hold a pole. But mostly I just watch.† I felt a knot form in my stomach. I didn't fully understand Roman's strategy here, but there was something terribly personal and vulnerable about what we were doing, listening to these memories. Seth rarely spoke of his father, who had passed away when Seth was in his early teens, and it seemed wrong to â€Å"make† him do it in this state. â€Å"Go back even further. Can you remember anything before that? Any earlier memories?† asked Hugh. He seemed uneasy, a sharp contrast to Seth's utter calmness. † No. â€Å" â€Å"Try,† said Hugh. â€Å"Try to go back further.† â€Å"I . . . I'm in a kitchen. The kitchen at our first house, in a high chair. My mom's feeding me, and Terry's walking through the door. He runs to her and hugs her. He's been gone all day, and I don't understand where he's been.† School, if I had to guess. I tried to put an age on this memory, using what I knew of the age difference between the brothers. How long did kids stay in high chairs? And how young would he have to be to not understand the concept of school? Three? Two? â€Å"That's great,† said Hugh. â€Å"That's really great. Now keep going even more. Go back to something even earlier.† I frowned, thinking they were kind of pushing it now. I was no expert in human memory, but I thought I'd once read about how two was the age when memories really began forming. Seth seemed to struggle with this as well, frowning despite his otherwise calm exterior. â€Å"Okay,† he said. â€Å"I've got one.† â€Å"Where are you?† said Hugh. â€Å"I don't know.† â€Å"What do you see?† â€Å"My mother's face.† â€Å"Anything else?† â€Å"No. That's all I remember of that.† â€Å"That's okay,† said Hugh. â€Å"Now find something else before that. Any memory. Any image or sensation.† â€Å"There's nothing,† said Seth. â€Å"Try,† said Hugh, not looking nearly as confident as he sounded. â€Å"It doesn't matter how vague it is. Anything you can remember. Anything at all.† â€Å"I . . . there's nothing,† said Seth, the frown deepening. â€Å"I can't remember anything before that.† â€Å"Try,† repeated Hugh. â€Å"Go further back.† This was getting ridiculous. I opened my mouth to protest, but Roman caught hold of my arm, silencing me. I glared at him, hoping I could convey all my frustrations at what they were doing to Seth in one look. Roman simply shook his head and mouthed Wait. â€Å"I remember . . . I remember faces. Faces looking at me. Everyone's so much bigger than me. But they're mostly shadows and light. I can't see . . . can't comprehend much detail.† Seth paused. â€Å"That's it. That's all there is.† â€Å"You're doing good,† said Hugh. â€Å"You're doing great. Just listen to the sound of my voice, and keep breathing. We need to go back even earlier. What do you remember before that? Before the faces?† â€Å"Nothing,† said Seth. â€Å"There's nothing there. Just blackness.† Roman shifted in his chair, going rigid. He leaned forward, eyes bright and excited. Hugh glanced over questioningly, and Roman gave an eager nod. Swallowing, Hugh turned back to Seth. â€Å"I need you . . . to go past the blackness. Go to the other side of it.† â€Å"I can't,† said Seth. â€Å"It's a wall. I can't cross it.† â€Å"You can,† said Hugh. â€Å"Listen to my voice. I'm telling you, you can. Push back in your memories, past the memories of this life, to the other side of the blackness. You can do it.† â€Å"I . . . I can't – † Seth cut himself off. For a moment, there was no other sound save the white noise on Roman's iPod, though it was a wonder I couldn't hear the pounding of my own heart. The frown that had been intensifying on Seth's face abruptly smoothed out. â€Å"I'm there.† Hugh shifted awkwardly, disbelief registering on his face. â€Å"You are? What are you doing? Where are you?† â€Å"I . . .† The frown returned, but it was different in nature. It was distress from the memory itself, not the effort. â€Å"I'm bleeding. In an alley.† â€Å"Are you . . . are you Seth Mortensen?† Hugh's voice was a whisper. † No. â€Å" â€Å"What's your name?† â€Å"Luc.† The frown smoothed again. â€Å"And now I'm dead.† â€Å"Go back to the alley,† said Hugh, regaining his courage. â€Å"Before you . . . before, um, Luc died. How did it happen? Why were you bleeding?† â€Å"I was stabbed,† said Seth. â€Å"I was trying to defend a woman. A woman I loved. She said we couldn't be together, but I know she didn't mean it. Even if she didn't, I still would've died for her. I had to protect her.† It was about that point that I stopped breathing. â€Å"Where are you?† Hugh reconsidered his question. â€Å"Do you know the year?† â€Å"It's 1942. I live in Paris.† Roman reached across me to a stray catalog on a chair. Producing a pen, he scrawled something on the catalog's cover and then handed it to Hugh. Hugh read it and then gently placed it on the floor. â€Å"Tell me about the woman,† he said to Seth. â€Å"What's her name?† â€Å"Her name is Suzette.† Someone let out a strangled gasp. Me. I stood up then, and Roman jerked me back down. A million protests sprang to my lips, and he actually had the audacity to clamp a hand over my mouth. He shook his head sharply and hissed in my ear, â€Å"Listen.† Listen? Listen? He had no idea what he was asking. He had no idea what he was hearing. For that matter, I wasn't sure either. All I knew was that there was no way this could be happening. Much like the night I'd gotten into bed with Ian, I had the surreal feeling that the only way any of this could be real was if I'd accidentally stumbled into someone else's life. â€Å"Tell me about Suzette,† said Hugh. â€Å"She has blond hair and blue eyes,† said Seth levelly. â€Å"She moves like music, but none of the music I make can compare to her. She's so beautiful . . . but so cruel. Not that I think she means to be. I think she believes she's helping.† â€Å"Go back now,† said Hugh. â€Å"Back to your childhood, Seth – I mean, Luc. Go back to your earliest memories as Luc. Are you there?† â€Å"Yes,† said Seth. â€Å"What do you see?† â€Å"My mother's funeral, though I don't understand it. She was sick.† â€Å"Okay. I need you to go back again, younger and younger, back until you hit more blackness. Can you do that? Can you find it again?† Again, the rest of us held our breath, waiting for Seth to respond. â€Å"Yes,† he said. Hugh exhaled. â€Å"Go to the other side of that blackness, back before Luc. You can cross it. You did it before.† â€Å"Yes. I'm there.† â€Å"What is your name now?† â€Å"My name is Etienne. I live in Paris . . . but it's a different Paris. An earlier Paris. There are no Germans here.† â€Å"What do you do for a living?† â€Å"I'm an artist. I paint.† â€Å"Is there a woman in your life? Girlfriend? Wife?† â€Å"There's a woman, but she's none of those. I pay to be with her. She's a dancer named Josephine.† I began to feel ill. The world was spinning, and I lowered my head, willing everything to settle back to its rightful order. I didn't need to hear Seth next describe Josephine. I could've done it down to the last curl. â€Å"Do you love her?† Hugh asked Seth. â€Å"Yes. But she doesn't love me back.† â€Å"What happens to her?† â€Å"I don't know. I ask her to marry me, but she says she won't. That she can't. She tells me to find someone else, but there is no one else. How can there be?† Hugh had no answer for that, but he had his rhythm now. He kept repeating the pattern, pushing Seth back further and further through impossible memories, always crossing that black wall, always asking Seth's name and location, where he was, and if there was a woman who'd broken his heart. â€Å"My name is Robert. I live in Philadelphia, the first of my family born in the New World. We run a newspaper, and I love a woman who works for us. Her name is Abigail, and I think she loves me too . . . but she disappears one night without a word.† â€Å"My name is Niccol. I'm an artist in Florence. It's 1497 . . . and there's this woman . . . this amazing woman. Her name is Bianca, but . . . she betrays me.† â€Å"My name is Andrew. I'm a priest in southern England. There's a woman named Cecily, but I can't allow myself to love her, not even when the plague takes me. . . .† On and on it went, and with each step Hugh helped Seth take back, part of my heart broke. All of this was impossible. Seth couldn't have lived all these lives and times he was describing – and not just because of the obvious problems of life and death as we knew them. Seth wasn't just describing his lives. He was describing mine. I had lived every one of these lives that Seth described. I had been Suzette, Josephine, Abigail, Bianca, Cecily . . . They were all identities I'd assumed, people I'd become when Hell had transferred me to new places over the centuries. I would reinvent myself, take on a new name, appearance, and vocation. For every one of my identities Seth mentioned, I had lived a dozen more. But the ones he talked about . . . the ones he claimed to know as well, they were the ones that stuck out to me. Because although I'd had countless lovers, in countless places, there were a handful who had struck some part of my soul, a handful whom I had truly loved, despite the impossibility of our situations. And Seth was touching upon every one of them, checking them off like items on a grocery list. Only, he wasn't just talking about these men I'd loved. He was talking about being them. Whereas I had created these lives, he was acting as though he'd been born into them, born as these lovers I'd had, only to die and be reborn again in some other place with me. . . . It was impossible. It was terrifying. And eventually, it stopped. â€Å"That's it,† said Seth at last. â€Å"I can't go back further.† â€Å"You know you can,† said Hugh. â€Å"You've done it before. Are you at the blackness again?† â€Å"Yes . . . but it's different than before. It's not like the others. It's more solid. Harder to cross. Impossible to cross.† â€Å"Not impossible,† said Hugh. â€Å"You've already proven that. Cross back to the next life.† â€Å"I can't.† The thing was, I was beginning to agree with Seth. I didn't think there was anything else he could go back to, not if he was paralleling my lives. I'd jumped ahead of him at one point and made some educated guesses on what he would say, and I'd been right each time. I knew how many great loves I'd had as a succubus, and there were none left. Before Seth, there had been eight. â€Å"Push through,† urged Hugh. â€Å"I can't,† said Seth. â€Å"They won't let me. I'm not supposed to remember.† â€Å"Remember what?† â€Å"That life. The first life.† â€Å"Why not?† â€Å"It's part of the bargain. My bargain. No, wait. Not mine. Hers, I think. I'm not supposed to remember her. But how can I not?† It was another of those rhetorical questions, and Hugh looked to Roman and me for help. The imp had been confident there for a while, once the lives began rolling off so easily, but this was something different. Seth wasn't making a lot of sense, not that this had all been particularly crystal clear so far. Roman made gestures that seemed to be both encouraging and impatient, with a general notion that Hugh should improvise. â€Å"Who's this bargain with?† asked Hugh. â€Å"I . . . I don't know. They're just there, waiting for me in the blackness. After the first life. I'm supposed to go on to the light, but I can't. There's something missing. I'm incomplete. My life has been incomplete . . . but I can't remember why. . . .† Seth furrowed his brow, straining with the effort of remembering. â€Å"I just know I can't move on. So they make a bargain.† â€Å"What's the bargain?† â€Å"I can't remember.† â€Å"Yes, you can,† said Hugh, surprisingly gentle. â€Å"You were just talking about it.† â€Å"I don't remember the details.† â€Å"You said it was about you being incomplete. Something was missing.† â€Å"No . . . someone. My soul mate.† Seth's breathing, which had been so steady throughout all of this, grew a little shaky. â€Å"I'm supposed to go on with her, into the light. I can feel it. I wasn't supposed to live that life alone. I wasn't supposed to go to the light afterward alone. But she's not there. She's not anywhere I can get to now. They say they'll give me a chance to find her, a chance to find her and remember. They say I can have ten lives to be with her again but that one is used up. Then I have to go with them forever.† â€Å"This life that you can't remember,† prompted Hugh. â€Å"You said it's your first life, right? The one that's on the other side of this, uh, extra thick wall of blackness? The life they say you've already used?† â€Å"Yes,† said Seth. â€Å"That's the first. The one I'm supposed to forget.† â€Å"You can remember it,† said Hugh. â€Å"You're already remembering parts of it, things you aren't supposed to. Go to the other side of the blackness, before the bargain, before your death. What do you remember?† â€Å"Nothing.† â€Å"Do you remember a woman? Think about the bargain. The soul mate. Can you remember her?† Seth's silence stretched into eternity. â€Å"I . . . yes. Kind of. I feel her absence, though I don't understand it at the time.† â€Å"Have you made it back yet?† asked Hugh. â€Å"To the first life?† â€Å"Yes.† â€Å"What is your name?† â€Å"Kyriakos.† â€Å"Do you know where you are? Where you live?† â€Å"I live south of Pafos.† The name meant nothing to Hugh, but it meant everything to me. I began to slowly shake my head, and Roman gripped hold of my arm again. I'm not sure what he was afraid I'd do. It seemed to be an all-purpose attempt to keep me from interrupting the nightmare unfolding before me, either with word or movement. He needn't have worried. The rest of me was frozen. â€Å"Do you know the year?† asked Hugh. â€Å"No,† said Seth. â€Å"What do you do?† Hugh asked. â€Å"What's your job?† â€Å"I'm a musician. Unofficially. Mostly I work for my father. He's a merchant.† â€Å"Is there a woman in your life?† † No. â€Å" â€Å"You just said there was. Your soul mate.† Seth considered. â€Å"Yes . . . but she's not there. She was, and then she wasn't.† â€Å"If she was, then you must be able to remember her. What's her name?† He shook his head. â€Å"I can't. I'm not supposed to remember her.† â€Å"But you can. You're already doing it. Tell me about her.† â€Å"I don't remember,† said Seth, the faintest touch of frustration in his voice. â€Å"I can't.† Hugh tried a new tactic. â€Å"How do you feel? How do you feel when you think of her?† â€Å"I feel . . . wonderful. Complete. Happier than I ever believed possible. And yet . . . at the same time, I feel despair. I feel horrible. I want to die.† â€Å"Why? Why do you feel both happiness and despair?† â€Å"I don't know,† said Seth. â€Å"I don't remember.† â€Å"You do. You can remember.† â€Å"Roman,† I breathed, finding my voice at last. â€Å"Make this stop.† He only shook his head, eyes riveted on Seth. Roman's entire body was filled with tension and eagerness, anxiously straining forward for the last pieces of info to fill out the theory he'd put together. â€Å"She . . . I loved her. She was my world. But she betrayed me. She betrayed me and tore my heart out.† â€Å"Her name,† said Hugh, catching some of Roman's excitement. â€Å"What was her name?† â€Å"I can't remember,† said Seth, shifting uncomfortably. â€Å"It's too terrible. They made me forget. I want to forget.† â€Å"But you didn't,† said Roman, suddenly standing up. â€Å"You didn't forget it. What is it? What is the woman's name?† Seth's eyes flew open, either because of his own inner turmoil or from Roman breaking the trance. Either way, the calm state of relaxation was gone. Raw emotions played over Seth's features: shock, sorrow, hate. And as he gazed around and reoriented himself to his surroundings, his eyes – and all of those dark, terrible feelings – focused on me. â€Å"Letha,† he gasped. â€Å"Her name is Letha.†

Parents essays

Parents essays Its eleven o clock and even though you are only five minutes away from home, you know that as soon as you walk through the door your parents will act as if you have come home 3 hours late. As you enter the front door you are greeted with the expected I can't believe you broke curfew again. It seems that you have once again found yourself incapable of making your parents happy. There are many things about most adults that bother me: How they assume they know how you feel, the way they pry into your private lives when they think you are lying, the way they think they are more capable of making decisions for you. Today most adults have forgotten what it is like to be a child. And as a result, have developed into a spitting image of how their parents were with them. I'm not sure if it is the times that have changed or if my parents do not remember what it is like to be a teenager. Teenagers are under more stress than any other age of people in the world, especially those who are seniors. I myself am a senior in high school, which by itself is a big responsibility. There are so many things that are stressful about your senior year like grades, test scores, and graduating that sometimes the little things just get put off for a while. I'm not sure why our parents get so bent out of shape when this happens. I mean come on, who can remember to clean and keep their room spotless when they are trying to decide what they want to do for the rest of their lives or where they are going to go to college. Jobs are another huge stress on me as a teenager. Teenagers are probably the most expensive things in the world. We need the latest clothes, cars, insurance, and of course food. Parents should not put the full responsibilities on their children to find a job so they can pay for all those things on their own. It is not possible for someone to perform their best in school or get their homework completed when they to work every nigh...

History of Internet Essays

History of Internet Essays History of Internet Essay History of Internet Essay The term Internet’ was coined on October 24. 1995. However the beginning of the cyberspace and related constructs are much older. The present twenty-four hours Internet is the revolutionized face of the nascent twenty-four hours communicating system and is the most successful illustrations of benefits of sustained investing and committedness to information substructure ( Leiner et al. . 2003 ) . The unprecedented integrating of coaction. airing embarked by a series of gradual alterations that the society has undergone with regard to the communicating and connectivity demands. As described by Kristula ( 1997 ) . it was in 1957 that the USA formed ARPA ( Advanced Research Projects Agency ) within the DoD ( Department of Defence ) to set up US lead in scientific discipline and engineering applicable to the military. Until 1960’s. the computing machines operated about entirely in batch manner. where plans were punched on tonss of cards and assembled into batches for the informations to be fed in the local computing machine centre. The demand for the clip sharing system had already set the phase for research and development work to do the clip sharing possible on the computing machine systems. In an article. Hauben ( 1995 ) . stated that the clip sharing system led the foundation for the Interactive Computing. where the user could pass on and react to the computer’s responses in a manner that batch processing did non let. Both Robert Taylor and Larry Roberts. future replacements of Licklider as manager of ARPA’s IPTO ( Information Processing Techniques Office ) . pinpoint Licklider as the conceiver of the vision which set ARPA’s precedences and ends and fundamentally drove ARPA to assist develop the construct and pattern of networking computing machines. Licklider has been described as the male parent of modern twenty-four hours web. holding laid the seeds of the Intergalactic web. the initial paradigm of the Internet today. The vision of the interconnectedness and interaction of diverse communities guided the creative activity of the original ARPANET. The APRANET pioneered of import discoveries in computing machine networking engineering and the ability to join forces and utilize spread resources ( Winston. 1998 ) . In 1962. Paul Baran. a RAND research worker introduced the construct of Packet Switching’ . while working towards the demand of the U. S. authorities to take bid and control of any sort of atomic onslaught. Packet shift was important to realisation of computing machine webs and described interrupting down of informations into ’message blocks’ known as packages / datagrams. which were labeled to bespeak the beginning and the finish. Baran’s strategy was aided by telephone exchange methodological analysis being used by information theory. The information was now sent in distinct bundles around a web to accomplish the same consequence – a more even flow of informations through the full web. The same construct besides developed by British computing machine innovator Donald Watt known as Davies’s Pilot Ace. Baran’s Distributive Adaptive Message Blockswitching became Watt Davies’s Packet Switching’ . The first host connected to the ARPANET was the SDS Sigma-7 on Sept. 2. 1969 at the UCLA ( University of California in Los Angeles ) site. It began go throughing spots to other sites at SRI ( SDS-940 at Stanford Research Institute ) . UCSB ( IBM 360/75 at University of California Santa Barbara ) . and Utah ( Dec PDP-10 at the University of Utah ) . This was the first physical web and was wired together via 50 Kbps circuits. ARPANET at this phase used NCP ( Network Control Protocol ) . By 1973. development began on TCP/IP ( Transmission Control Protocol / Internet Protocol ) and so in 1974. the term Internet’ was used in a paper on TCP/IP. The development of Ethernet. in 1976. supported high velocity motion of informations utilizing coaxal overseas telegrams and led the foundation for the LAN ( Local Area Network ) . Packet orbiter undertaking. SATNET. went unrecorded linking the United states with Europe. Around the same clip. UUCP ( Unix –to-Unix Co Py ) was being developed by AT A ; T Bell Labs. The demand to associate together those in Unix Community triggered the development of the Usenet in 1979. Using homemade car dial modems and the UUCP. the Unix shell and the discovery bid ( that were being distributed with the Unix OS ) . Bellovin. wrote some simple shell books to hold the computing machines automatically call each other up and hunt for alterations in the day of the month casts of the files. The Usenet was chiefly organized around News cyberspace and was called as the Poor Man’s ARPANET’ . since fall ining ARPANET needed political connexions was dearly-won excessively. Woodbury. a Usenet innovator from Duke University. described how News allowed all interested individuals to read the treatment. and to ( comparatively ) easy inject a remark and to do certain that all participants saw it. However. owing to the slow velocity. the cryptography linguistic communication was shortly changed to C’ . therefore going the first released version of Usenet in C programming popularly known as A News. By 1983. TCP/IP replaced NCP wholly and the DNS ( Domain Name System ) was created so that the packages could be directed to a sphere name where it would be translated by the waiter database into the corresponding IP figure. Links began to be created between the ARPANET and the Usenet as a consequence of which the figure of sites on the Usenet grew. New T1 lines were laid by NSF ( National Science Foundation ) . The Usenet took an unexpected detonation. from 2 articles per twenty-four hours posted on 3 sites in 1979. to 1800 articles per twenty-four hours posted at 11000 sites by 1988. By 1990. the T3 lines ( 45 Kbps capacity ) replaced the T1 lines and the NSFNET formed the new anchor replacing the ARPANET. The beginning of 1992 marked the constitution of a hired Internet Society and the development of the World Wide Web. The first graphical user interface. named Mosaic for X. ’ was developed on the World Wide Web. By 1994. the Commercialization of the Internet emerged in the signifier of the first ATM ( Asynchronous Transmission Mode ) was installed on the NSFNET. The free entree of the NSFNET was blocked and fee was imposed on spheres. This describes the series of events that shaped the history for the past two decennaries. of all time since Internet came into being. The Internet engineering is continuously altering to suit the demands of yet another coevals of underlying web engineering. Hoping that the procedure of development will pull off itself. we look frontward to a new paradigm of Internet Services.