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Analysis Of Edgar Allan Poe s The Death Of A Mother

Nicole Valdes Ms. Jurado English I November 20, 2015 Edgar Allan Poe Edgar Allen Poe, who is mostly the author of mysterious writings has a way of portraying one s sensibility in petrifying short stories and poems. Edgar Allen Poe was a very disturbing writer. This author wrote many short stories and poems based on heartbreaking experiences made in the life of Poe. Having gone through a lot, Poe managed to express his emotions through writing. And although Poe became well known after he passed, this author has impacted the views of society and life towards many. Happiness and pain are what caused Poe to become a huge success. Despite his experiences with poverty, loss and gain of love, and the death of a mother, Edgar Allen Poe has been an inspiration to many by his short stories and poems of terror and obscurity. After Poes parents passed away at the age of 3, the toddler was adopted by a wealthy couple in Virginia. At 13, Poe had thought of becoming a writer but never made that dream come true. In college, Poe attended the University of Virginia bu t was in debt. The writer began to gamble in order to pay the expenses. Later, with almost no money left, Poe burned his furniture being the only option to keep warm. Ashamed of being poor, Poe headed back home to see his soon to be wife. After arriving home, Poe was disturbed to know that Elmira Royster, the fiancà © of Poes had become engaged to another man while the author had been away. Running away from theShow MoreRelatedBrianna Ruiz-Vannerson. Leonard Miller. Enc1102. Feb. 231548 Words   |  7 PagesMiller ENC1102 Feb. 23 2017 The Compelling Mind of Edgar Allan Poe Through: â€Å"Lenore† and â€Å"The Raven† Throughout the life of esteemed author Edgar Allan Poe, there have been many time that this extraordinary man’s life has been turned upside down with grief. His first encounter with this wretched demon was when he was no older than three years of age. The mother who birthed him dies and his father abandons them before her death (â€Å"Edgar Allan Poe†). He then is separated from his brother and sisterRead MoreThe Tortured Poet : Edgar Allan Poe1312 Words   |  6 PagesPoet: Edgar Allan Poe â€Å"Beauty is the sole legitimate province of the poem† Poe, Edgar Allan. The Philosophy of Composition. 1846. The name Poe often brings to mind tales of horror and mystery, but this Poe was also a writer of sophisticated poems, capable of extreme poetic beauty within a dark genre of writing. Poe never lived the happiest of lives, but his writing is extraordinary, both for its execution, and for the sheer elegance of the words which he found to write upon the page. Death is amongRead MoreEdgar Allan Poe s Writing Style1303 Words   |  6 Pagesprovince of the poem† Poe, Edgar Allan. The Philosophy of Composition. 1846. 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Poe’s mental stability also comes into question whenRead MoreCommon Themes of Edgar Allan Poe3152 Words   |  13 PagesAn Analysis of the Common Themes Found in selected works of Edgar Allan Poe A Research Presented to The faculty of the English Department In Partial Fulfillment of the Requirements in English IV By March 2010 Acknowledgement The researcher would like to thank the following people who help and give guidance to make this project To the Project adviser and the home room adviser of the researchers, who gave his outmost patience and time to check the drafts and format of eachRead MoreCommon Themes of Edgar Allan Poe3166 Words   |  13 PagesAn Analysis of the Common Themes Found in selected works of Edgar Allan Poe A Research Presented to The faculty of the English Department In Partial Fulfillment of the Requirements in English IV By March 2010 Acknowledgement The researcher would like to thank the following people who help and give guidance to make this project To the Project adviser and the home room adviser of the researchers, who gave his outmost patience and time to check the drafts and format of each part of this veryRead MoreEdgar Allan Poe : A Gothic Romanticism Or Dark Romanticist1562 Words   |  7 Pages Edgar Allan Poe is often considered one of the most famous, influential writers of the 19th century, and even today he is still revered for his more famous works, which are still taught and studied in schools and universities around the United States. 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Addendum or epilogue Essay Example For Students

Addendum or epilogue Essay ADDENDUM OR EPILOGUE Having completed my autobiography or, at least, completed a fifth edition in a form that is satisfactory to me in the first two volumes and keeping in mind that I will in all likelihood make additions to it in the years ahead, I want to write a sort of addendum or epilogue in the pages which follow. I write in part because I want to contribute to the world and audiences read my work in the hope, among other reasons, of finding a new perspective. Therefore, one of my aims is to try and make my perspective newÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â€š ¬?stake out a territory that requires my voice. I feel I have done this in the territory of the Bahai Faith and autobiography. I may find that, inspite of the best intentions, inspite of my own perception of the quality of this work and the pleasure I take in reading it, my work may not engage the readers in the Bahai community as much as Id like to see happen. I think engagement entails defining a common enterprise that newcomers and community veterans can pursue as they try to develop their interpersonal relationships. I think I do this quite well. But as readers continue in their interacting trajectories in the community and as they continue to shape their identities in relation to one another, they may not find this book that useful. While engagement can be positive, a lack of mutuality in the course of engagement with this book can create relations of marginality, mine and others, that can reach deeply into peoples identities. Im really not sure how successful I have been in the enterprise of truly engaging my readers. Of course, time will tell, but I must admit to my suspicions which may be mainly a function of age. I like to see imagination, which is a process of expanding the self by transcending time and space and creating new images of the world and the self, as something which entails others locating their sense of engagement in a broader system and defining a personal trajectory that connects what they are doing to an extended personal identity of themselves. Id like to think this autobiography extends the meaning of artifacts, people and actions within the personal spheres of peoples lives, people who read this book. That is what Id like but, again, Im not so sure that I have succeeded in this respect. The sheer proliferation of the objects, diversions, and possibilities for, life in modern society has made modern society, as Walter Lippmann pointed out after WW1 in his book The Phantom Public, not visible to anybody, nor intelligible continuously and as a whole. Abundance has in some ways blunted not only the meaning of experience but also the pleasure to be found in abundance itself. In spite of these complexities and enigmas, the past, my past, has occurred. It has gone and can only be brought back again by this autobiographer or by historians and social scientists working in very different media: in books, articles, documentaries, inter alia. The actual events, of course, can not be brought back. The past has gone and history is what historians make of it and autobiographers when they go to work. In Re-thinking History, Keith Jenkins describes history as a discourse that is about, but categorically different from, the past. And so it is that my autobiography is categorically different from my past. As the distinguished historian E. H. Carr put it: facts of the past exist independently of the mind of the historian, but historical facts are only those data selected from the past that a historian finds relevant to his or her argument. The historian can never know the past as it really was, but only how it might have been, since our information about the past is partial and inevitably mediated. It seems to me this is true, a fortiori, of the autobiographer. Neither I nor the historian enjoys the scientists luxury of being able to conduct and replicate experiments about the past, my past, under controlled conditions. I can test one theory about my life against another theory, as can the historian about some aspect of history. This allows me, as autobiographer, and historians, to develop theories that are more viable. But we can never establish the truthfulness, the validity, of that theory. History and autobiography are both attempts to explain our experience of the present by constructing a viable account of the past, such that if it had taken place then the present we live in would be the case. History is not an attempt to account for the way things were, but to account for the way things are. When I say that my life has been full of joy and sorrow I eliminate this apparent contradiction or, indeed, any such contradiction, by analysing my life and dividing it into the joyous parts and sorrowful parts. This I have done by discussing these aspects, but I have not precisely quantified these two emotions. My life has been joyous in some respects and sorrowful in others. If, however, life is left whole and is not analysed in respect to these emotions, a myriad of contradictions is often left because that is the nature of the reality in which we live. While imagination can lead to a positive mode of belonging, it can also result in disconnectedness and greater ineffectiveness; it can be so removed from any lived form of life and activity, membership and meaning, that it detaches the identities of readers and leaves them in a state of uprootedness. Readers can lose touch with their sense of social efficacy by which their experience of the world can be interpreted as competence. While that is not my desire, my autobiography may in the end be just a slippery slope in the direction of discontent and disorientation. Good intentions, as they say, are often the road to greater problems. As a teacher of literature, of English and the social sciences, I know only too well that many students turn off some of the best writers. I, too, am not immune from this experience. In the end, of course, one writes and sends ones efforts out into the universe and takes what comes. Alignment is a term applied to writing and to autobiography. It entails negotiating perspectives, finding common ground, defining broad visions and aspirations, walking boundaries and reconciling diverging fields of interest. Alignment requires shareable frameworks and paradigms, boundary items and concepts that help to create fixed points around which to coordinate activities, an oeuvre, a life. It can also require the creation and adoption of broader discourses that help give a literary enterprise some life, some vitality and meaning and by which the microcosm of local actions can be interpreted as fitting within a broader framework. However, alignment can be a violation of a persons sense of self that crushes their identity. In some ways, at least for me, alignment is the penquot;s obedience to a line already traced in the mind, if not on the page. To fully participate in community life in the sense that is at the heart of this autobiography each Bahai must find ways to engage in the work, the enterprize in their won individual way. They will do some things that others do, that other community members do, but they must be able to imagine their own work as being an important part of a larger enterprise. And they must be comfortable that the larger enterprise and its smaller components, the many conventions of that community, are compatible with the identities they envision for themselves. Being a part of the community, then, is not simply a matter of learning new skills, new attitudes and new values, but also of fielding new calls for identity construction. This understanding of identity suggests that people enact and negotiate identities in the world over time. For identity is dynamic and it is something that is presented and re-presented, constructed and reconstructed in interaction. The individual experience of power derives from belonging, but it also derives from exercising control over what they belong to, what they participate in, what they read, indeed, an entire panoply and pageantry of activity. Each individual is heterogeneously made up of various competing discourses, conflicted and often contradictory scripts. Their consciousness is anything but unified. I emphasize this because in the great wealth of literature now available to the Bahai community both in-house literature and the burgeoning material now available in the marketplace, my book occupies a small place, possesses no particular authority and competes with a print and electronic media industry. In order to survive and do well in most of the print and electronic media a writer must develop the ability to put things simply and effectively, in a manner that everyone can understand. Such a writer has maybe a minute and a half to two minutes if ones talking TV to explain a complex subject or a series of short verbal expositions if its an interview; even a book, if it is to find a large readership in the mass circulation market, must be as simple as possible. If you think that cant be done, youre wrong. However, so many academics and intellectuals are steeped in academic jargon that they cant pull it off. I hope this book is not an example of the latter, of someone who could not pull it off. Im afraid simplicity and brevity are not marks of my literary style. So, perhaps, I fail here. I knew of a senior academic who was asked to appear on a local TV station. She showed up with six or seven books and they had little pieces of paper stuck in the books for purposes of quotation. The whole interview was over in less than two minutes; she never read any of her quotations and she was frustrated that she just couldnt make her points. She didnt understand that if youre going to play in the media ballpark, you have to play by their rules, not your own. I like to think that this book, this autobiography, has allowed me to have my six books and their quotations and that the role of this book does not include a two minute TV summary or an interview of ten minutes on an arts program. On the other hand, I could probably write a ten second autobiographical-ad grab, summarize what Im all about in one or two minutes and be interviewed for any appropriate length of time. Maybe it will ever happen before I die. There are many different kinds of self-referential writing. I have incorporated some of them in what is for me a surprisingly large work invoking Whitmanquot;s I am large, I contain multitudes, as an appropriate presiding spirit for the genre. Whatever largeness I claim to possess, it is the same largeness we all possess in relation to ourselves. We all must live in our own skins for all our days and the sense of our largenessor our smallness for that matteris a result of our bodily manifestation, our physical proximity to self. In the multitude of methods and genres of studies of Bahai history and experience, teachings and organization, autobiography is either tentatively acknowledged, invoked by negation or simply passed over in silence. It is one genre that is, for the most part, conspicuous by its absence from any bibliography. This has begun to change in the last decade or two. This piece of writing is part of that change. So often we commiserate over the lack of history writing or, as Momen puts it, how lamentably neglectful in gathering materials for the history of the Bahai Faith we have been. History writing and the transmission of the narrative of a group has often been a problem. It wasnquot;t until the 1850quot;s, writes Russell Shorto in his review of Nathaniel Philbricks Mayflower that William Bradfordquot;s narrative of the founding of Plymouth in 1620 was finally published. Only then, after 230 years, did the story of the first years of the history of the USA enter the historical record. While Momen may be right, there are many ways to look at the gathering of historical documents. Just how this autobiography will appear in the grand scheme of things only time, only history, will tell. This autobiography comes from the historical experience within four epochs in the first century of the Formative Age. While my work makes no attempt, no pretense, to being a history of the period, it does attempt to express the experience of one man. How relevant this will be for future generations I leave to those mysterious dispensations of Providence which I often refer to in this now lengthy book. The details of my experience in this new Faith and the details associated with its origins and development in the various Bahai communities I lived in or was associated with in a broad sense could be said, if one wanted to be critical, to represent quot;intentional history,quot; a form of social memory which establishes both the image of the past that the community wishes to transmit and its resulting corporate identity. And I suppose it is difficult to avoid this problem, this tendency, entirely. No matter how frustrating my experience has beenÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â€š ¬?and there is no question that I have suffered as so many have done because of the Bahaquot; communityI love this community and a bias toward it is unavoidable. I have gone a long way toward my goal of presenting this community as honestly and accurately as I can, or so it seems to me. The mechanics of constructing the past, my past, my real historical memories and contemporary, homoeostatic dynamics of the Bahai community are closely intertwined in the formation and ongoing formation of the metanarrative that is Bahai history. This is inevitable. For historys first historian, Herodotus, there were no official versions. What mattered to this Greek historian was the local nature of his information, in all its complexity. Some local, some polis idea of its past was a shared possession, rooted in cult and a complex ongoing tradition. For me, on the other hand, there is an official, a written history and it is this history which matters. What also matters, although in quite a different sense, is the local, complex, ongoing, nature of my information, the personal, the complex, the individual, the local, story. Much of my poetry in this autobiography has a similar emphasis to Homerquot;s and the poetry of many another poet in the sense that it is about: the poetry of the past. I use poetry to help me navigate the labyrinth of personal connections, -isms, and the historical nexuses which often seem too complicated for me to find my way through. I hope readers find here a lucidity that helps them cope with the complexity. To make one more comparison between the experience of the Bahais and the founding fathers of America in 1620 Id like to quote what Philbrick says about these founders, namely, that they began to see that they were traversing a mythic land, where a sense of community extended far into the distant past. It took time for them to appreciate the significance of the Indian religious tradition. Relations with the Indians were the axis, says Philbrick, for a history of the Pilgrims. In time the Pilgrim colony became caught up in massacre and sadness; one could reasonably conclude that this underscores the danger of believing that God guides onequot;s hand. I used to think the relationship with indigenous peoples was the critical axis of the Bahai community in our time. That was one of the main ideological reasons for going to live, first among the Inuit and then among the Aboriginals. But as time, as my life, has moved on, I am more of the view that a critical axis is the power of understanding. There are other axes, too, but this subject is too long for an exposition on the relevant themes here. For the Bahais, during the four epochs that was the temporal framework for my experience and that of my community, they too faced crises, as great or greater than those faced by the American Pilgrims. They were crises that threatened to arrest the communitys unfoldment from time to time and, as Shoghi Effendi once said threatened to blast all the hopes which its progress had engendered. Therequot;s something terribly feminine about novel writing, John Fowles once wrote. When you create characters, he went on, all processes are analogous to childbirth, including postnatal depression. When a book is reviewed, it is like the weaning of children. Youquot;re kicked about or even praisedand the book is separated from you. At a conscious level, this may be painful. But at an unconscious level, this leaves one freeto write another novel. What Fowles says here about novels has been partly true of my experience of writing this autobiography. The main difference is that this book is still connected to me by a literary umbilical chord. I will go on working on it for some time to come: until Im tired of it or I die. Fowles goes on to say something which I think is also true of writing autobiography, at leastpartlyfor me. He says: The novel is an impossible voyage. Itquot;s a mystery why you keep doing it. He asked, Why is an unhappy ending considered more artistic than a happy ending? and then answered himself, In some ways the unhappy ending pleases the novelist. He has set out on a voyage and announced, I have failed and must set out again. If you create a happy ending, there is a somewhat false sense of having solved lifequot;s problems. For me, the question of endings has not come in to this autobiography. Obviously, I am still alive and could be here for another 30 or 40 years. My story, my autobiography could be only half or two-thirds over. And happiness, for me, has no relationship with the glitter and tinsel of an affluent society or the superficial adjustments to the modern world envisioned by humanitarian movements or publicly proclaimed as the policy of enlightened statesmanship. H appiness is much more of a paradoxical thing, a conundrum, a galimaufery-to chose a name from a BahÃÆ'ƒÂ ¡quot;ÃÆ'ƒÂ ­ folk groupa mixture of unlike things. I have set out many times on this autobiographical journey. It is a mysterious journey, an impossible one in some ways. This journey could be divided into three aspects: the spatial, the temporal and the intellectual. I divide and mix the three for the sake of convenience. The three are textually interconnected. The temporal journey meshes with the experience of space to shape the protagonistquot;sÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â€š ¬?thats meintellectual development. Henri LeFebvre sees space as active, not a passive surface and has three components: perceived, conceived and lived space. Trying to keep the three points of the triad straight is not as important, at least for my argument, as is maintaining a sense of their interlocked relation. Lived, perceived, and conceived space folds into and spins across its several forms, working together to accomplish the production of spaces: place, space, landscape, and location as instreets, homes, rooms, fields, buildings, people, inter alia, and become embodied with stories, memories, and all sorts of meanings. Although the world is indeed increasingly well connected, we must hold this in balance with the observation that most people live intensely local lives. This has been true for me throughout these epochs, although in the realm of thought I have been travelling all my pioneering life. Cultural geography is concerned with those aspects of land and space, in both the micro and the macro sense, that shape peoplequot;s ideas about themselves, and give to their identities a characteristic expression. Landscape is really an all-embracing concept. It includes virtually everything around us and has manifest significance for everyone. This sub-section of geography, the cultural sphere, formulates the complex strategies of identification that function in the name of a people nd a nation. It is here that the recollection, the sense, of home and belonging are constructed and create an imagined and/or a real community. There results from this study of land and space a collectiveness that is addressed in different ways by different peoples, that is part of their identity and that structures belonging. I have mentioned this from time to time in this autobiography, but it has not occupied much of my attention. This is probably due to the many places I have lived rather than one which has helped to form my identity. This whole question of the sense of identity has been part and parcel of the western literary tradition going right back to Homer and the Old Testament writers. Early poetry of the eighth century BCE, Hesiod, Homer and the tradition they belonged to, has as a major theme the identity of Greek people, whether united in a military expedition as in the Iliad or as a geographical system in the Catalogue of Ships. My poetry and my autobiography is concerned, too, with the notion of identity, the identity of the Bahai community and my own identity both within that community and without. It is this aspect of my identity that I give more of my attention to in this work. The decision to pioneer internationally in 1971, to go abroad as we used to say, a decision I made with my first wife or, more honestly, because of my first wife, after graduating from college in 1967 and teaching for three years, represented an embrace of the challenges and pleasures of the unfamiliar. This reorientation was also a form of disorientation, for the new that floods in from all sides pulls old assumptions off their moorings. Just as a compelling theory may force students to fall back on what they know, only to find that the theory has changed the way in which they consider this knowledge, so the experience of living on a foreign continent makes one both look homeward and realize that home will never be the same. The lesson I have learned during my 35 years as an expatriate is perhaps best described as a semantic one: home, Canada, and North America ceased forever to be synonyms in my mind. Even if home still lies over there, certain signs of it greet the eyes of Canadians abroad no matter where we go. Anesthetics EssayOnly the occasional Bahai activity, family interchange, conversation with a friend, daily interaction with my wife and the inevitable trips to town to shop, to put up posters and to go the library and attend to the several domestic activities that are part of life for everyman took me into the social domain. I had come to see life more as an affair of solitude diversified by company than an affair of company diversified by solitude. For fifty years1954-2004 it had been the other way around. With early retirement the tables and the millennium had slowly been turning. As they turned I slowly approached the heartland of my story across the familiar slopes of my earthly life, its actions and thoughts. I tell it in a way which gives me an invigorating sense of briskness and phrase-relishing. As the epochs advanced I had an increasing and an insatiable spirit of activity. By the fifth epoch the spirit was channeled virtually in its entirety into a sedentary and literary life. In the process I defined my world. I hope readers enjoy my definition and the way I go about putting it together. Like Johnsons dictionary 250 years ago, it is an ambitious work. But whether it will influence generations as Johnsons work did, I can only hope. He wrote to escape the pain of life; I wrote to escape societys endless chat. An autobiography, like a novel, stands between us and the hardening concept of statistical man. There is no other medium, said William Golding when he received his Nobel Prize in Literature in 1983, in which we can live for so long and so intimately with a character. That is the service both an autobiography and a novel renders. Golding went on to say: It performs no less an act than the rescue and the preservation of the individuality and dignity of the single being, be it man, woman or child. No other art, I claim, can so thread in and out of a single mind and bodyand so live another life. It does ensure that at the very least a human being shall be seen to be more than just one billionth of one billion.. And if the potential reader is not interested in what I have preserved here he need not read my work, need not pick it up. He is free to stop at any juncture. I hope the fact that this work is not just a humdrum inventory of personal recollections should encourage the disinclined reader. But neither is this work a series of casually scanned or, like Flauberts novels, savagely chosen details in a frozen gel of chosenness. Pioneering Over Four Epochs is a portmanteau of personal history, the BahÃÆ'ƒÂ ¡quot;ÃÆ'ƒÂ ­ Faith and endless opinionizing; it is a pinata of literary references and a galimaufery of stuff that I try to beat into shape with the stick in/of my brainsometimes successfully, sometimes not. The Cause is going to need pioneers for many generations to come. As I have been writing this lengthy statement of my pioneering experience I have often felt that my story is but one of the first to make it onto paper from the generations beginning in 1937. Some narratives, some genres, like westerns and gangster stories, are dead or are dieing out. The political agenda changes with the seasons, although some problems seem to be perennial. My father used to say there is always trouble in the Middle East. When the news came on and he was in his latter years, he would leave the room muttering about the endless warfare in Israel. That was in 1960. Nearly fifty years later the story is the same. And the historian AJP Taylor said it was wisest never to have an opinion about the Middle East. The pioneer, in its many forms, has a long life ahead of it and a long life behind it. Since literature takes as its subject all human experience, and particularly the ordering, interpreting, and articulating of experience, it is no accident that the most varied literary projects find instruction in the great mass of literature and its history and that the results of these projects are relevant to thinking about literature. What is true for literature, is also true for the other arts, such as painting and film andÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â€š ¬?autobiography. The reader should also keep in mind as he reads this work that there is what autobiographers calls the interstitial selfÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â€š ¬?the self that emerges in lifes multitude of interstices, some in discourse, others in private. Sometimes this interstitial self emerges only for a moment to deal with and negotiate a conflict, a particular point in a relationship, indeed, many of lifes situations. Sometimes the person is unaware of some of his interstitial selves. He is drawn back into familiar territory where there is a more stable position, a more familiar self and his interstitial self disappears as fast as it came into being. At other times, this interstitial self is grasped as a way to escape the restrictive discourses that so often arise in social life. In addition to this interstitial self there is another conventional autobiographical term, the hybrid self. This is a self that can be seen as shifting among positions and discourses, sometimes combining them into a true hybrid. At other times I am very aware of the contradictions and contradictory situations in life and that I must maintain quite separate and independent discourses, languages, so to speak, of the self. Then there is the unfound self, a self that seems unfindable. It too me 19 years1984-2003 to finally find a voice that spoke to me of me. Beginnings are often difficult for novelists and autobiographers. People think of writing for years and may, in the end, never pick up their pen. I shall say no more on what can be a complex subject of selves. But it is an important aspect for readers to consider as they delve into this autobiography. Readers need to keep in mind G. K. Chestertons turn of phrase in his discussion of the future of Charles Dickens writings. Chesterton notes that there are a number of important factors which never prevent a man from being immortal. The chief of them, he adds, is the unquestionable fact that they write an enormous amount of bad work. This leads a man to being put below his place in his own time, but it does not affect his permanent place, to all appearance, at all. Shakespeare, for instance, and Wordsworth wrote not only an enormous amount of bad work, but an enormous amount of enormously bad work. Some of the feedback I have received in the three years since I finished the 3rd edition of this work would indicate that what I have written is just that, an enormously bad work. So, perhaps, my immortality is assured, at least if Chesterton is onto something here. Chesterton goes on to say in his discussion of the future of Dickens writings that it is the very exaggeration of his characters that will immortalize him. The realistic narrators of their time are all forgotten, but the exaggerators live on. Chesterton sites the example of Homer and his characters in the Iliad and Odyssey. I might add the example of the Bab and Bahaullahs writings which to a western ear and the moderate tones of the stiff upper-lip of the English literary tradition, often seem exaggerated. My own work, sadly, aiming as it does for realism, factual detail and accuracy of circumstance, will probably pass through the wings of time and be no more substance than the eye of a dead ant as the Bab, or was it Bahaullah, wrote. On the other hand, Chesterton did leave me with some hope for a place in posteritys literary home. Chesterton also felt that those writers with a poetic inclination had a greater future than those without. So, perhaps, in the end, my poetry will save a place for me in futures rooms amidst its lush or not-so-lush furnishings. Among these furnishings, perhaps on the walls, will be the carefully arranged portraits of my emotional credentials, my intellectual and psychological interests, indeed, a whole gallery of stuff. It is difficult to see what value all these gallery pieces will have but their association with a new Faith which claims to be the emerging religion on this planet will give them a significance I can scarcely appreciate at this early hour. A person is not simply determined and dominated by the pressures of any overarching discourse or ideology such as the secular pluralism in which we as citizens of western democracies are immersed. We are all, I believe, the agents of our own personal discernment capable of identifying and interpreting societys dominant discourse in order to insert himself into it or confront and resist it. The dominant cultural forces within our world do not take away our free willentirely. But just as Darwinism and the Civil War shattered the psyches of Americans living in the last 40 years of the nineteenth century and two great wars and the holocaust shattered those living in the first half of the twentieth century, we in the last half of that century and the early twenty-first have other shattering social and psychological experiences. There cannot be any doubt at all that my own literary corpus can not be appreciated apart from the influences of my age. In an attempt to sketch the course of my literary endeavours it would be futile to detach their succession from the experiences of my personal life, largely determined, as these were, by the revolutionary changes of my time, by other changes in the condition of both Canada and Australia where I have lived, developments in the religion I have been associated with and in the various intellectual shifts and alterations in its centres and capitals around the world. The probing of quot;Canadiannessquot; or Australianness turns out to be a puzzling and somewhat brain-racking exercise in my pioneer situation. But all is not puzzle and probes for the brain. Much of the contemplation is enriching and interesting for the psyche. The world I have grown up in, at least since Norman Vincent Peale wrote what was arguably the first self-help book, has grown accustomed to the standard victim-recovery cycle of modern self-help books. Part of pop-psychology one of the many substitutes for religion in my time, the self-help genre can not be found in the text of this book. Like Proustquot;s masterpiece, I like to think my work is edifying precisely because my struggle goes on and on and just changes its form as the years go on. Unlike Proust, I do get better from illnesses that dot my life. I may not get totally cured and the battle of life may change its form and content but I am never tempted to blame others for my problems. I do not welcome suffering, as Proust seems to do, as an opportunity for thinking up fresh ideas and for entering into a richer relationship with experience. But once it has come and gone I welcome the insights that come in its train. I like to think too that, if self-help sneaks around the intellectual corner, I offer it in the form of a manual, a philosophical guide for the intelligent person. If self-help there be here I hope it is a welcome departure from the usual bellyaching. quot;quot;Our best chance of contentment,quot;quot; Proust writes quot;quot;lies in taking up the wisdom offered to us in coded form through our coughs, allergies, social gaffes and emotional betrayals. If we can also avoid the ingratitude of those who blame the peas, the bores, the time and the weather, then some degree of contentment may be ours. quot;quot; Following the nine, the seven or the five steps may also help. For some, especially writers, language itself is the primary arena within which these shattering experiences are coped with and individual assertivenss and agency becomes manifest from behind the angst. For them talk is more important than action, indeed talk itself is action because words determine thoughts and actions. Language is the parent, and not the child, of thought. Men are the slaves of words. This may have been true of the philosopher Kant whom posterity caricatured as a man who was all thought and no life or a man who neither had a life nor a history. Ive come to the view that thought and action, two of the major facets of our lives, can not be separated. The practical and the mystic have become one in our day. My journey is not only the core and central thread of my life story; it is also the recurrent and most enduring principle of my life. Nowhere, throughout the narrative, will one encounter a complacently ensconced pioneer. I have been a migratory and volatile spiri t which has sprung out of the most established and rooted position in a conservative Canadian consciousness. I have often been beaten down by circumstances, depressed by body chemistry and situations, called by that curious combination of sorrow and a strange desolation of hope into a quietness, but complacency has not been a quality I have battled withÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â€š ¬?although I must say that complacency sounds restful after some of lifes other battles I have had to contend with. My resistance to the dominant mores of my time has been articulated, made public, and critiqued in several textual identities of which this autobiography is one. The personal agency of my discernment, my autonomy, declares itself it seems to me in this very writing. This writing becomes the site and symbol of my resistance to the dominant ideology of my time and its major cultural manifestations. This resistance takes place with the aid of the great power of retrospect and hindsight and so gives to much of the messiness, order and shape to this work. In the end, though, much is messiness, for not all of thought is ordered, tidy and logically sequential. If I give to my life artistic form and spiritual vision and design in retrospect; if I discover a more profound truth in the context of this vision than an unfertilized collection of facts could deliver, I understand that is part of a design-imposed, meaning-making, process that I give to my life. Perhaps a great deal of what has happened to me is fate, destiny, a certain predestination. Such was the view Henry James took of his life when he wrote his autobiography in the evening of his life. There is little doubt of the importance of fate from a Bahai perspective. I wish I could say in this context that my sentences had a quality of stunning exactitude, lyricism and comedy, an aphoristic concision but, alas, style is not a quality bestowed on me as it was on Flaubert. Perhaps this is because I have not been willing to work at it as obsessively as he. I wish I could also say, too, that I possessed the kind of grand and exuberant personality that the great twentieth century literary critic William Empson is reputed to have possessed. Such a personality would have been handy in so many of the social situations in life. So much of life has been social. That refined, sophisticated, and erudite scholar with his great reckless energy for life, with his willingness to throw his entire self into the interpretation and criticism of literature, William Empson had an energy and passion that informed his critical work and served to renew in the common reader a sense that there is some literature that can matter deeply to all and any of us. Alas, although I shared Empsons energy it did not result in any literary erudition in my case; although, like Empson, I threw myself into my academic life in varying degrees with some success over half a century, I never made it to the major leagues. My destiny was to be a minor poet in the minor leagues. But I enjoyed playing poetic-ball in a small town in the minors. If you love playing ball part of you does not care where. I was certainly not in the same league as Empson, arguably one of the three greatest literary critics in the last several hundred years; although we both had sexual proclivities, his desires seemed to result in greater notoriety than mine. I had certainly experienced shame, fear and guilt in relation to my sexual urges and activities, among other sources of shame. Fear of exposure was very real and, after my young adulthood, I was not able to share my concerns with anyone except my wife. These were battles I fought, for the most part, on my own. Being honest about my failures in the sexual domain seemed impossible outside my immediate marital relationship. There simply was not the context, the relationship for such a degree of intimacy or confessionalism. But these feelings did not keep me away from God as they do many. My sense of unworthiness seemed instrumental in drawing me closer to God, to appreciating His forgiveness, something I was assured of over and over again by Bahaullah. I had right desire, but possessed wayward appetites, a sort of contagion of the lower self, part of an inward war made of thin but tough veils, battles which I often lost, susceptibilities of conscience which were simply not strong enough. I was not willing, or so it seemed, to burn the bridges across which certain sins continually came. In a world like this, in the darkest hours before the dawn, I was confident I had much company, company that ran into the millionsÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â€š ¬?if not billions. Alcohol was never a problem for me as it was for Empson. Comparisons with others, of course, are sometimes useful but, as the clichÃÆ'ƒÂ © goes, comparisons are often odious. Autobiographyquot;s ultimate purpose, Henry James felt, was to fix the self for all time, to put forth the idea that the autobiographer matters and that his life is significant in the supposed order of things. I certainly like to think my life matters, that it has meaning in the ultimate scheme of things, that in writing this autobiography I am not merely imposing form on chaos, that all that I think is not merely an exercise in subjectivity, that my life is not so deeply private as to be beyond scientific scrutiny, that it derives its importance from factors beyond that which is unsystematic, even chaotic, uncommunicable and emotional in life. The scientific domain contains an important element of subjectivity and total objectivity is always impossible. One of the key elements of science is that it exists in, indeed generates, a community, a framework, of interpretation. Indeed, the scientist can only function within such a community. That is also true, at least in some ways, for this autobiographer. The community in question for me is the Bahai community. And, more generally, the human community. What makes my work scientific is that I am engaged in a conscious, explicit organization of knowledge and experience. I am not just engaged in making true statements. One can do this in any quiz or games like trivial pursuit. Proof, in scientific terms and in autobiography, means nothing more than the total process by which we render a statement more acceptable than its negation. An important caveat here is that the convictions I bring to this exercise, my feelings of certitude, indeed much that I might call tentative hypotheses for example, are part of a psychological state not part of my knowledge. Certitude can often be had with no knowledge at all and hypotheses are things anyone can make. Our emotions organize themselves around our convictions and become part of our way of life. This is ones faith, ones religion. And we all have a religion in this sense; there exists around this religion or faith a theoretical uncertainty and it exists for all of us. Such is some of the intellectual orientation, some of my foundation view, that I take to this autobiography. Nothing convinces an artist more of the arbitrariness of the means to which he resorts to attain a goal, to assert this autonomy, however permanent it may be, than the creative process itself, the process of composition. Verse really does, in Akhmatovaquot;s words, grow from rubbish among other things. To express this same idea more elegantly, one could say that verse grows out of slime the same way as a lotus flower. The roots of prose are no more honorable. But there in the roots can also be found faith and thought the lotus flowers embryo. Without faith and thought no society can long endure and without a common humanity and a practical basis for world order appalling catastrophe threatens to engulf humanity. As this autobiography has come to take form increasingly since I began writing it over twenty years ago, I have felt a measure of literary and psychological power and humility. Perhaps this is partly due to the fact that self-narrative is a tool used to gain self-determinacy. This work is also partly an illness narrative, partly a salvation narrative, partly a travel narrative, as autobiographers often call these sub-genres, and partly an act of becoming and re-becoming. Through self-narration I partly re-make myself, re-fashion and re-invent a new understanding of myself. With this story I try to resist the several disabling definitions that could label my life and so to write myself into/with a rhetorical normalcy. Narrative is used as a tool, a technology, that is intended to be a vehicle to freedom, self-definition, and self-expression. Unlike some writers, I have no obsession with being taken seriously. What consumes many words of many writers in an attempt to be taken seriously, consumes little of mine. I have not set this work before the public with the confidence, still less the complacency, of an established master.

Movie Glory Essays - African Americans In The Civil War, Films

Movie ?Glory? GLORY The movie ?Glory? tells the history and the story of the 54th Massachusetts Infantry. It became the first black regiment to fight for the North in the Civil War. The Regiment was made up of black soldiers ? some were Northern freemen, some were escaped slaves. The leader was General Robert Gould Shaw, the son of Boston abolitionists. The men of the 54th Regiment proved themselves worthy of the freedom for which they fighting, and the respect of their fellow white soldiers. ?Glory? is told mainly through the eyes of Shaw, played by Matthew Broderick. At the beginning of the movie, Shaw is fighting in a battle, and manages to survive, despite heavy Union losses. He is horrified with the violence of the war, and returns home to recover from his wounds. Shaw is recruited to lead the newly formed black regiment. Although he has grown up and still retained his abolitionist opinions, he still has doubts about the capability of black troops. The 54th Infantry was comprised of a very diverse group of men. An older gentleman, John Rawlins (played by Morgan Freeman), is the fatherly-type man of the group. He watches out for the others. Another man, Trip (Denzel Washington), is an escaped slave. Trip is a very vindictive young man ? he is disrespectful, even to his own comrades. Another character, Thomas, also referred to as ?Snowflake?, is a well-educated, free black man. At one point, Tripp calls Thomas a ?nigger?, in response to Thomas' quiet, respectful and educated demeanor. Meanwhile, Rawlins replied to him, ?don't forget where you came from, boy, because if you can call him a nigger, then you must be one too.? During the civil war, white soldiers were paid wages of thirteen dollars per hour. When it came time to pay the black soldiers, they received a wage of only ten dollars. The men realize this is because of their skin color, and wonder if they should quit the regiment and return home. They want to know why they should be paid less money for the same work. After all, the blacks ?march as far, bleed as much, and die as soon?, they argue. They decide to rip up their checks, in protest, but still stay to fight for the Union forces. In response to seeing his men's commitment to the cause, Shaw tears up his check, as does his second in command, Cabot Forbes (Cary Elwes). Another important time in the movie is when the men need new shoes. They have completely worn-out their old shoes, and their feet are in a ghastly, disastrous state. Shaw asks his commander-in-chief for a shipment of shoes, but is told repeatedly that rations are in effect for all war supplies, and that Shaw's regiment was not a priority. After continual delays, Shaw becomes enraged, and threatens to report the man to the war department, for his treatment of the troops, and his own personal conduct in war affairs. Following Shaw's impressive insistence, the commander finally orders the shipment of shoes. . Music

How to Observe the Lyrid Meteor Shower

How to Observe the Lyrid Meteor Shower Every April, the Lyrid meteor shower, one of many yearly meteor showers, sends a cloud of dust and tiny rocks the size of a grain of sand hurtling to Earth. Most of these meteors vaporize in the atmosphere before reaching our planet. Key Takeaways The Lyrid Meteor shower, so named because it appears to stream from the constellation Lyra, occurs every April 16 to 26th with the peak taking place on April 22 into April 23Observers may see between 10 to 20 meteors per hour in a normal year, but during the heavy peaks that occur every 60 or so years, dozens or even hundreds of meteors may be visibleComet 1861 G1/Thatcher is the source of dust particles that become Lyrid meteors When to See the Lyrids A wonderful thing about the Lyrids is that they arent just a one-night occurrence.  They begin around April 16 and last until April 26th. The peak of the shower occurs on April 22, and the best time for viewing is after midnight (technically early  morning on the 23rd). Observers can normally expect to see anywhere from 10 to 20 flashes of light per hour, all streaming from the area near the constellation Lyra. At that time of year, Lyra is best visible in the hours after midnight on the 22nd.   Tips for Observing the Lyrids The best advice for watching the Lyrids shower is true for almost any meteor swarm. Observers should try to watch from a dark-sky site. If thats not possible, then its best to at least get out of the glare of nearby lights. Chances of seeing the shower are also much better if theres not bright moonlight. On nights when the Moon is full and bright, the best choice is to go out around midnight and look for meteors before the Moon rises. To see the Lyrids, observers should keep an eye out for meteors that look as though they have originated from the constellation Lyra, the Harp. In reality, the meteors dont actually come from these stars; it merely looks that way because the Earth passes through the stream of dust and particles, which appears to be in the direction of the constellation.  Luckily for meteor watchers, Earth passes through many such streams throughout the year, which is why we see so many meteor showers. Looking at an incoming meteor descend through Earths atmosphere, as seen from the International Space Station. NASA What Causes the Lyrids?   The meteor shower particles that create the Lyrids are actually the debris and dust left behind from the Comet 1861 G1/Thatcher.  The comet orbits the Sun once every 415 years and sheds a great deal of material as it passes through our solar system. Its closest approach to the Sun brings it to about the same distance as Earth, but its most distant point is way out in the Kuiper Belt, 110 times the distance between Earth and the Sun. Along the way, the comets path experiences the gravitational pull of other planets such as Jupiter. That disturbs the dust stream, with the result that approximately every sixty years, Earth encounters a thicker-than-usual part of the comets stream. When that happens, observers might see as many as 90 or 100 meteors per hour. Occasionally a fireball streams through the sky during the shower, indicating a piece of cometary debris thats somewhat larger- perhaps the size of a rock or a ball.   Other well-known meteor showers caused by comets are the Leonids, caused by Comet 55P/Tempel-Tuttle, and Comet P1/Halley, which brings material to Earth in the form of the Orionids. Did You Know? Friction between the gases that make up our atmosphere and small particles (meteors) causes meteors to heat up and glow. Typically, the heat destroys them, but occasionally a larger piece survives and lands on the Earth, at which point the debris is called a meteorite.   The most significant outbursts of Lyrid meteors in recent times were recorded starting in 1803.  Thereafter, they occurred in 1862, 1922, and 1982.  If the trend continues, the next heavy outburst for Lyrid watchers will be in the year 2042.   A Lyrid meteor as seen by an allsky camera studying the sky in April 2013. MSFC Meteoroid Environment Office   The History of the Lyrids People have been seeing meteors from the Lyrid shower for well over two thousand years. The first known mention of them was made in the year 687 BCE, recorded by a Chinese observer. The largest known Lyrid shower sent an amazing 700 meteors per hour through Earths skies. That occurred in 1803 and it lasted for several hours as Earth plowed through a very thick path of dust from the comet.   Watching isnt the only way to experience meteor showers. Today, some amateur radio operators and astronomers track Lyrids and other meteors by capturing radio echoes from meteoroids as they flash through the sky. They tune by tracking a phenomenon known as forward radio scattering, which detects pings from the meteoroids as they strike our atmosphere. Sources â€Å"In Depth | Lyrids – Solar System Exploration: NASA Science.† NASA, NASA, 14 Feb. 2018, solarsystem.nasa.gov/asteroids-comets-and-meteors/meteors-and-meteorites/lyrids/in-depth/.NASA, NASA, science.nasa.gov/science-news/science-at-nasa/1999/ast27apr99_1.SpaceWeather.com News and Information about Meteor Showers, Solar Flares, Auroras, and near-Earth Asteroids, www.spaceweather.com/meteors/lyrids/lyrids.html.

Difference Between Network Administration and System Administration Essay

Difference Between Network Administration and System Administration - Essay Example An organization needs to distinguish between both the disciplines in order to run their business effectively. However, both these jobs are considered as same by the majority of business organizations. Normally, a large size firm hires both the network and system administrators while small size business organizations hire only the system administrators and give them the additional charge to manage the tasks which come under the job of network administration (Burgess, Principles of Network and System Administration, 2nd Edition, 2004, p. 1; Morgan, 2012). Before differentiating both these terms it is necessary to understand the functions of both the jobs. Basically, a system administrator performs their tasks while keeping in mind the interest of users, with the intention that they can make use of the system in order to carry out their tasks. On the other hand, a system administrator should not just make provision for one or two self-interested needs, but as well assist the organizatio n in attaining the organizational goals. At some point, it is expected that advancements in technology might cause to be system administration to some extent an easier job (one of totally resource administration) but, currently, system administration is not believed to be an administrative task; on the other hand it is a tremendously challenging engineer’s task. In fact, this job involves dealing with software, hardware, diagnosis, user support, repair and prevention. Thus, system administrators must have knowledge of a bit of everything, no matter skills are administrative, technical and socio-psychological (Burgess, Principles of Network and System Administration, 2nd Edition, 2004, p. 1). As discussed above, both the terms system administration and network administration exist independently and are utilized both commonly and disconnectedly by business organizations and by researchers. Basically, the system administration is the term used customarily by mainframe and Unix e ngineers to explain the management of computers no matter they are connected to a network or not. According to the viewpoint of this community, network administration refers to the administration of network infrastructure devices such as switches and routers. In addition, both the system and network administration are more and more demanding for the reason that the complexity of computer systems is increasing continually. It can be better understood with an example, a single PC at present, running Windows NT, and connected to a network, reached the level of complexity that mainframe computers had ten years ago. Thus, organizations are at the present required to think about systems not just computers (Burgess, 2004, p. 1). Moreover, the system administration does not only involve installing operating systems but it involves planning and designing a well-organized and resourceful community of computers with the intention that actual users can be able to get their jobs done. Some of th e responsibilities of system administrator involve: (Burgess, 2004, p. 4) Planning for a network which is logical and well-organized Deploying large numbers of computers which can be with no trouble upgraded afterward Selecting what services will be required Planning and deploying

Advice for claim for financial relief Essay Example | Topics and Well Written Essays - 1750 words

Advice for claim for financial relief - Essay Example In this context of transferring assets to other person, the shared property may include lands and buildings which can be considered as one of the most usual subjects of the order. However, in various cases it can also observed that the financial investments are further included within the transferring process1. Based on this context, the report intends to develop a financial claim which provides an equal distribution of properties including houses and investments of a married couple, Megan and Hugh. Therefore, the discussion of the report will focus towards developing the financial claim which will be incorporated necessary elements including law, property claiming act along with other major concerns. Case Overview According to the case, it can be observed that Megan and Hugh agreed to mutually separate from each other due to personal conflicts based on adultery issues. As noted by Megan, it can be observed that she wants divorce from Hugh on the grounds of adultery allegations, afte r discovering that Hugh has been engaged in an affair for a year with one of her friends. It has been since then that the duo had been conflicting upon sharing the property and other savings and investments including, land and houses and other assets. In this context, Megan wanted to be separated from Hugh and proceed to split the property with an equal distribution among both. In relation to sharing the properties, Hugh has however refused to share investments and pensions to Megan. Although Hugh has agreed to pay child maintenance charged allowing the children to stay with their mother, he has confirmed to be unwilling to pay the maintenance amount for Megan affirming that she should be working as she had already planned after the birth of their first child when resigning from her last job. Legal Concerns In the context of the policy constitute in the UK family law act, a person can make legal application to the Court for orders in order to mitigate issues concerning financial fac tors including division of property and assets, valuation of houses and buildings along with other investment, pension as well as maintenance related issues. From the perspective of the case of Megan and Hugh, the particular application can be identified to be associated with divorce proceedings which are generally considered as Ancillary Relief (AR) Proceedings2. In the context of divorce or property separation, assets owned by the spouses can be defined as the matrimonial assets which are separated in an effective way in order to signify a fair judgement for both the parties benefitting the duo equally. With this concern, the court can enforce an order if the spouses are observed to be unable to make any agreement for their AR Proceedings. The considerable factors that shall be undertaken by the court can be identified in terms of marriage duration, age of the spouses, financial resources of each individual along with their income levels and future probable obligations3. It is in this context that needs concerning the custody of any children is also referred as a considerable factor for the court to render judgement in the case of AR proceedings between the spouses4. Recommendations According to the legal guidelines of the UK family law, either wife or husband can legally apply for AR Proceedings which can be formed to commence divorce agreement among the duo. In general, a hearing process considering all types of claims and applications are to be followed by both the parties, at the same time by the court as well. With this regard, it becomes an important and preferable