Sonnet anlysis 116 Essay Example for Free

Sonnet anlysis 116 Essay Sonnet 116 is clearly one of the many poems that take part of Shakespeares Quarto1. From the name, we can therefore not deduce any important informations that could be useful in analyzing it, as it was simply given a number as a title. Yet through first impressions we can immediately notice that all rhyming and iambic pentameter specifications; quatrains, couplets and syllables, are followed and respected to perfection and simplicity. Reading through the beautiful lines of this poem, one immediately notices the ease of the words chosen to express the thoughts of the speaker. What the speaker is saying are his thoughts about love. What love is and what love is not. Reading and rereading, I have to be sincere and say that I agree with what Shakespeare wrote 500 years ago. He divides his thoughts within the quatrains and couplets of his sonnet. In the first quatrain he talks about what love is not; in the second, what love is; and in the third, he talks again about what love is not. The opening line of the first quatrain includes, Let me not to the marriage of true minds / admit impediments. here he introduces the fact that he believes that true love is perfect and unchangeable no matter the situation encountered. With the use of an enjambment, there being no form of pause between lines, the poet is capable of grabbing peoples attention and making them immediately aware of what the recurring theme actually is; love being solid despite everything. Another poetic technique used in this first quatrain is alliteration; being when there is a repetition of consonants in words near each other. This can be found in line 1 and 3, with the repetition of Ts. This could then be further developed and said to be a consonance if looking at the first and second quatrains because of the various repetitions of Ts at the end of several words. In love is not love we have the presence of euphony where we hear the repetition of the vowels o creating a phonetic technique. In the second quatrain, we then encounter a fairly easy metaphor to notice which compares the sea, to life. an ever-fixed mark that looks on tempests and is never shaken A person goes through life, just like a ship does through sea. With tempests the speaker refers to obstacles encountered on the way, but as bad weather comes and gos, so do difficulties. As in ever-fixed mark we have to do with a light house, which is fixed and remains in place; just like love. As light houses guide ships through the sea, love guides people through life; the speaker in fact proposes to find your way to navigate through the stars and you will encounter your will, It is the star to every wandering bark. In line 7 we can also find assonance, the repetition of a vowel; in this case the repetition of As which grab peoples attention. Imagery is also very frequent in this poem, worths unknown, although this height be taken. Like stars, love is something we can touch and feel; but the fact that one can use it does not mean that you can quantify it. The true value of love is unknown and cannot be calculated the same way height could be. We simply have to live it day by day and be ready to live new experiences. Love really does take an important role in peoples lives, and really does help them to navigate through the different stages of growth and development. What Shakespeare is trying to explain is that no matter what, we should always feel to have affection, and we should learn to overcome any difficulties as a tempest, always goes away sooner or later. In the third quatrain we go through a series of images and personifications that allow us to reflect much upon what is said to us. Loves not Times fool love is not compassionate about time, and even though beauty changes; love is not fooled and does not change. though rosy lips and cheeks, time is personified into a face and we get the impression that it can be trapped and conquered, as can be a beautiful face with rosy lips. bending sickles compass with a sickle being a menacing harvesting tool, we can deduce once again that physical beauty can vanish. Giving the imagery of a menacing tool like a sickle, we get a very close connection towards death. Love cannot absolutely be measured in brief hours and weeks, it is eternal. Going on, bears it out even to the edge of doom. To doom it refers to dooms day in which the world will end. The speaker declared that love will last until then end, no matter what. In the final couplet, the speaker gives us the idea of truth in his words. He says that if his statements are proved wrong, he would pronounce to not have written a word. He does also know that, it is impossible to have never loved, so this ensures you that what Shakespeare claims to be his view of love, is actually entirely true.

The Avant-garde Architecture O :: essays research papers

The Chinese-American architect Ieoh Ming Pei (I.M) is known as one of the greatest architects of the Twentieth Century. His long, brilliant career was highlighted by several internationally famous structures. While many of Pei’s buildings were generally accepted by the public, some of them precipitated fair amounts of controversy. The most notable of these controversial structures is his Glass Pyramid at the entrance of the Louvre in Paris. For these reasons, I.M. Pei seems to be an architect who exhibits interest in the avant-garde through both the creative design and aestheticism of his architecture. Pei was born in China in 1917 and immigrated to the United States in 1935. He originally attended the University of Pennsylvania but grew unconfident in his drawing skills so he dropped out and pursued engineering at MIT. After Pei decided to return to architecture, he earned degrees from both MIT and Harvard. In 1956, after he had taught at Harvard for three years, he established I.M. Pei & Partners, an architectural firm that has been known as Pei Cobb Freed & Partners since 1989. This firm is famous for its successful and rational solutions to a variety of design problems. They are responsible for many of the largest pubic and private construction projects in the second half of this century. Some of these projects include the East Building of the National Gallery of Art in Washington D.C., the John F. Kennedy Memorial Library in Boston, and the Rock and Roll Hall of Fame in Cleveland. When French President Francois Mitterand â€Å"personally selected Mr. Pei in 1983 to design the Grand Louvre to give air, space, and light to one of the world’s most congested museums,† (Markham, 1989) there were many critics. The press â€Å"lambasted the idea of shattering the harmony of the Louvre’s courtyard with a glass iceberg† (Markham, 1989). But Pei proceeded as planned, taking a major risk in creating a glass pyramid structure at the entrance. He did not focus on what the critics would say about his plans, but hoped that the world would see, upon completion, that his vision of a contemporary, functional entrance would not clash with the Baroque style of the Louvre itself. When the pyramid was completed in 1989, Pei’s expression of avant-garde art was not entirely accepted. Many critics praised the aspiration with which the architect designed it, but ridiculed many aspects of its functionality: â€Å"The practical problem is that the Pyramid, once you get inside, is noisy, hot, and disorienting† (Campbell, 1989).

Introduction to Cultural Anthropology †Summary Essay

How does Language affect the meanings we assign to our experience? The Ideas of Edward Sapir and Benjamin Lee Whorf demonstrate that the vocabulary of a language may direct perception to certain features of the environment, and the grammar of a language may encourage certain ways of looking at the world. The selection of metaphors also has an impact on the meanings we assign to experience. By taking language from one experience and applying it to another, we carry the meaning of one experience to the other. Robbins then explores the ways in which symbolic action reinforces a particular view of the world. Ritual, for example, symbolically depicts a certain view of reality in such a way that it convinces us of the truth of that reality. Examples include the Cannibal Dance of the Kwakwaka’wakw, which shows the values of Kwakwaka’wakw society and provides members with a way to control their lives, and the rituals of contemporary English magic and witchcraft, which convince persons of this society that mental forces can influence the material world. Walter Benjamin’s Surrealism essay explains how these competing political aims manifest themselves at the level of aesthetic form: â€Å"Here due weight must be given to the insight that in the Traite du style, Aragon’s last book, required a distinction between metaphor and image, a happy insight into questions of style that needs extending. Extension: nowhere do these two — metaphor and image — collide so drastically and so irreconcilably as in politics. For to organize pessimism means nothing other than to expel moral metaphor from politics and to discover in political action a sphere reserved one hundred percent for images. Only when in technology body and image so interpenetrate that all revolutionary tension becomes bodily collective innervation, and all the bodily innervations of the collective become revolutionary discharge, has reality transcended itself to the extent demanded by the Communist Manifesto. For the moment, only the Surrealists have understood its present commands. They exchange, to a man, the play of human features for the face of an alarm clock that in each minute rings for sixty seconds. † Benjamin’s analysis here provides the scattered fragments of a political-aesthetic diagnosis of surrealism which would differentiate this movement from conservative romantic traditions. While such traditions trade in â€Å"moral metaphor† and the â€Å"play of human features† — idealized human forms which are meant to serve as soothing allegories of the supposedly homogenous and unified social body — surrealists circulate what Benjamin elsewhere terms â€Å"dialectical images. † In his writings regarding the Cultural Industry, Adorno continues to emphasis the theories of the Frankfurt school and the concepts of Marx. The terms ‘mass deception’ and ‘social control’ seem to most accurately describe the ideas and theories that Adorno prescribe. He further suggests the notion that socially, we are conditioned to think rationally, reasonably and through a scientific approach, which when structured to appease the larger cultural industry, functions by disallowing the potential for human individuality, and re-emphasizing the myth that such individuality could even exist. According to the text we are conditioned to be obedient to the great social hierarchy, thus the opportunity for any social change is limited, is it not? The notion that culture is entertainment is also introduced, and that as individuals, we can only accept out work/roles knowing that pleasure will ultimately be rewarded. 2. Summarize what you consider to be the relationship between the assigned readings. How do the readings speak to each other? – All three authors I believe have a relationship with expressing metaphors in their texts. A thing regarded as representative or symbolic of something else, especially something abstract. Throughout each reading society, cultural, language, politics, thinking, and social change is present in all three readings and in all three these words are represented with symbolic meaning and/or have a figure of speech in which a word or phrase is applied to an object or action. Through these metaphors I believe is the way that these texts speak to one another. Each text you can find similar symbolic meaning and a word or phrase that is attached to an object or action. . Identify one or more passages that you feel are especially provocative, suggestive, dubious or illustrative of the author’s argument. – In the Richard Robbins text one passage especially was provocative to the author’s argument in symbolic action reinforces a particular view of the world and the reality we as human beings live in. â€Å"Ritual, for example, symbolically depicts a certain view of r eality in such a way that it convinces us of the truth of that reality†. In the Walter Benjamin Text one passage especially was provocative to the author’s argument in explaining how competing political aims manifest themselves at the level of aesthetic form. â€Å"Here due weight must be given to the insight that in the Traite du style, Aragon’s last book, required a distinction between metaphor and image, a happy insight into questions of style that needs extending. Extension: nowhere do these two — metaphor and image — collide so drastically and so irreconcilably as in politics. † In the Theodor Adorno text one passage especially was provocative to the author’s argument in the notion that socially, we are conditioned to think rationally, reasonably and through a scientific approach, which when structured to appease the larger cultural industry, functions by disallowing the potential for human individuality, and re-emphasizing the myth that such individuality could even exist. â€Å"The notion that culture is entertainment is also introduced, and that as individuals, we can only accept out work/roles knowing that pleasure will ultimately be rewarded. Thus, must not culture and society be forced to change, as it was also interpreted that pleasure without change becomes a sort of work, and then our understanding/defining of pleasure must be constantly changing in order for the mass society to maintain social obedience. 4. Briefly compare the texts you have read or some aspect of it/them, with a previous selection or selections read in this course. – I reread â€Å"A Berlin Chronicle† in Reflections and then read the whole of Berlin Childhood around 1900. I thought about how he had not been able to return, and how he had written Berlin Childhood around 1900 precisely as a way of dealing with the irrevocable loss of the world of his childhood and its security. Benjamin knew by 1932 that he would never be able to return to Berlin his home again. Benjamin immortalized the cities that had rejected him, writing about his memories of earlier and safer times. Benjamin is recalling a lost world. He selects a variety of places and spaces that contain or prompt memories of his childhood and the high bourgeois world that nourished his fantasies and predilections. By 1932 this world was gone, or at least inaccessible to Benjamin and other Jews like him. Reading this text I can compare it to Richard Robbins chapter 4 material when he writes â€Å"demonstrate that the vocabulary of a language may direct perception to certain features of the environment, and the grammar of a language may encourage certain ways of looking at the world. † Reading this helped me understand â€Å"A Berlin Chronicle† and how Walter Benjamin’s language and vocabulary were in direct result of the environment he was living in and how that encouraged his view on Berlin. Also, Comparing â€Å"A Berlin Chronicle† to Theodor Adorno’s The Culture Industry I found a passage that directly relates to Walter Benjamin and his time in Berlin. â€Å"He further suggests the notion that socially, we are conditioned to think rationally, reasonably and through a scientific approach, which when structured to appease the larger cultural industry, functions by disallowing the potential for human individuality, and re-emphasizing the myth that such individuality could even exist. According to the text we are conditioned to be obedient to the great social hierarchy, thus the opportunity for any social change is limited. † After reading this passage you can relate this to the larger cultural as the Nazis as they were the ones disallowing the potential for human individuality against the Jews, while reemphasizing the myth that such Jewish individuality could even exist. 5. Offer a brief critical assessment of the texts and its ideas: Do you find that it opens up new avenues of inquiry or reveals new knowledge? What question does it raise for you? How would you evaluate them overall? -Out of the three texts I found an interesting passage out of Walter Benjamin’s Surrealism text that opens up new avenues of inquiry and reveals new knowledge for the reader. â€Å"There is always, in such movements, a moment when the original tension of the secret society must either explode in a matter of fact, profane struggle for power and domination, or decay as a public demonstration and be transformed. Reading this passage and the author’s use of the word illumination throughout the essay, the reader could easily open a new avenue on a secret society named the Illuminati. The author even stats â€Å"And the most passionate investigation of the hashish trance will not teach us half as much about thinking, as the profane illumination of thinking about the hashish trance. The reader, the thinker, the loiterer, the flaneur, are types of illuminati just as much as the opium eater, the dreamer, and the ecstatic. And more profane. Not to mention that most terrible drug –ourselves- which we take in solitude. With so many references or should I say hidden references I can only ask if Walter Benjamin is referring to this secret society the Illuminati. Overall all three texts had their strong points but from day one when I began Walter Benjamin’s readings he has captured me in ways other authors haven’t. It could be that he writes essays while intoxicated or how it seems there is always secret meaning in his writings. If not secret then definitely meaning that could be explored even further and spend a whole class just decoding this topic.

Dating Violence On The Rise - 2030 Words

Dating Violence on the Rise Immediately upon hearing about another abusive case in the news, many people’s minds are triggered to automatically associate violence in relationships with adults. In reality, our society is often unaware that 1 in 3 teens experience dating violence on a daily basis. This is a total of 1.5 million students across the country, according to the National Dating Abuse Hotline and awareness group, Break the Cycle. Meaning, in an average American graduating class of three hundred, one hundred of those students will have experienced forms of physical, emotional, psychological, sexual, verbal, financial, technological or spiritual/cultural abuse. â€Å"Dating violence is controlling, abusive, and aggressive behavior in†¦show more content†¦Humiliation, jealousy, accusations, threats, possessiveness, overdependence and withdrawal of attention are other signs of this severity of violence (â€Å"The Facts about Teen Dating Violence†). â€Å" Of tweens (age 11-14) who have been in a dating relationship, 62% say they know peers who have been verbally abused by a dating partner† (Liz Claiborne, Inc/Teen Research Unlimited, 2007). Frequently, verbal and emotional abuse contains the use of technology. People abuse the use of the internet, computer, cell phones, email, etc. is all agencies of abuse. â€Å"Their battleground becomes the telephone and social media--where put-downs, name calling and jealousy manifest in angry phone calls and Facebook posts† (Duret). Some do not fully realize the effect words can have on a person. Words hurt. Next, sexual violence in teen relationships is the highest on the list. Dangers may include non-consented touching and kissing, forced sex, or pornography. As stated on the website loveisrespect.org, â€Å"girls and young women between the ages of 16 and 24 experiences the highest rate of intimate partner violence—almost triple the national average† (Dating Abuse S tatistics). These issues can lead to unplanned pregnancy, attempted suicide and serious emotional instability. Staying alert to these issues not only is important to one’s safety, but can potentially be helpful to a future acquaintance or relationship. In