Questions and Topics We Can Help You To Answer:
Paper Instructions:

the question of obscenity within Madame Bovary and how it relates to the obscenity in modern literature.

Questions and Topics We Can Help You To Answer:
Paper Instructions:

Despite their different settings and timeframes both "The Great Gatsby" and "July's people" are tales about materialism, betrayal and altered identities. Using specific examples explain how these themes are incorporated in the storyline for both books, and how they affect their characters.

Questions and Topics We Can Help You To Answer:
Paper Instructions:

Read the biographical information about Zitkala-Sa (Gertrude Simmons Bonnin) and The School Days of an Indian Girl.  Pls focus on the reading and answer all the answers...


1.Describe how the definition ‘fiction and poetry that focuses on the characters, dialect, customs, topography, and other features particular to a specific region" fits well with one of the readings assigned for each of the week's classes. 

2.Briefly discuss whether Local Color/Regionalism is still being written in present day American literature, and if there is a need for Local Color/Regionalism in American Literature today?

3. Share with the class any  Local Color/Regionalist literature you may have read that you felt either effectively described the place where you are from and the characteristics of you and others from that place or failed in its attempt to do so. (If you haven’t read any Local Color/Regionalism about where you are from, discuss if you have read Local Color/Regionalism about another region and if it was accurate.)

Questions and Topics We Can Help You To Answer:
Paper Instructions:

In developing your answers, you may use your book and notes, as well as the resources from our online class.  However, you should not use any outside sources.  In terms of length, your Midterm should be 2-3 pages in total.

I.    Select TWO essay questions from the following, using literary terms to clarify your analysis:  (40 pts.) 

1.    Explain the significance of Montresor's coat of arms in The Cask of Amontillado.

2.    How do the events of "Battle Royal" add to the thematic significance of the grandfather's advice?

3.    Identify and explain the use of symbols in one of Hawthorne’s short stories. 

4.    In Carver’s “Popular Mechanics” how do small actions take on larger significance in the story?

II. SELECT AND ANSWER ONE ESSAY QUESTION FROM EACH OF THE FOLLOWING  SECTIONS, USING YOUR BOOK AND NOTES TO DEVELOP YOUR POINTS:
A.    CRITICAL PERSPECTIVES (40 PTS.)

1.    Hawthorne describes his purpose as a writer as his own reading of "the truth of the human heart."  Using this as a guide, determine whether he meets this goal in his short stories that are included in our text.

2.    Faulkner centers his fiction on "the human heart in conflict with itself."  What is the nature of the conflict in "A Rose for Emily"?  Do we sympathize with her plight or see her merely as a symbol of the Southern past?

B.    MAKING CRITICAL CONNECTIONS IN FICTION (40 PTS.)

1.    Compare Melville's Bartleby's withdrawal from life with Hemingway's Krebs.

2.    Compare and contrast the conclusions in the two versions of “The Lady with the Pet Dog.”  

3.    Compare and contrast Carver's use of setting in "Popular Mechanics" with Updike's in "A & P."

Questions and Topics We Can Help You To Answer:
Paper Instructions:

Write an essay that draws on evidence from Antigone or Oedipus to explore precisely how and why it remains relevant to the world in which we live. Do Oedipus or Antigone, for example, depict or persons or conflicts still common in the 21st century and does the play articulate a theme that still applies?

Question 1

At the beginning of The Adventures of Huckleberry Finn, the narrator is the son of an impoverished drunk; he has recently been adopted by a wealthy elderly widow. Why is he having trouble adapting to her expectations, and those of other middle-class people in the town (including Huck's best friend, Tom)? Pick out and discuss a specific comment or remark of Huck's and one of another character's that illustrates their contrasting expectations or beliefs.


Question 2 

In Chapter 9 of The Adventures of Huckleberry Finn, Huck and Jim have begun their travels together. How do the descriptions of natural settings (the cave, the storm, the animals on the island) contrast with the descriptions of town life earlier in the novel, or the man-made features (like the cabin) in this chapter? 

Critical Analysis of Realism and Modernism

In American literature, various materials have been discussed. These materials date back centuries ago, especially during the civil wars. These works of literature are so many that we cannot discuss them under a single paper, it is with this concern that we have selected only two articles, the first being on the realism period, which was authored by Mark Twain, and the second on Modernism period, which was authored by Virginia Woolf. For this essay we will use these two pieces of literature to evaluate some of the subjective elements, examining various controversial points of view as presented by these authors.

Based on American literature, realism was a literary technique that was in practice between the mid-19^th centuries to early 20^th century. Primarily, this was a response to the romantics’ movement that was launched in the early 19^th century, with belief that men could in some way overcome evil, describing to be a type of God (Sawyer n.p). However, the realists came up with a different perspective that man was simply a man. An excellent example of those with these stands was Mark Twain. However, from this perspective, a lot of controversies emerged, especially during the rise of naturalists, who argued that people have no choice, and their lives are mounted by the external environment. According to realists, humans had some form of control, the central focus is on the middle class.

Additionally, the key features revealed man’s ability to choose and even beyond. Some of the choices include the choice of complex ethical issues, identification of the importance of character. Twain stands as one of the credited realists, for his excellent works, some of which include “The Adventures of Huckleberry Finn, The Adventures of Tom Sawyer, and The Man Who Corrupted Hadleyberg.” These three credited jobs had a central focus on people in the middle class with a basis on complexities associated with ethical choices (Harnsberger n.p). The entire story is based on a middle-class character, defined as a sack of gold, which acts as catalysts and what they went through to be what they are in the story. In particular, Twain a paragraph to explain what he feels about a sack and the rest of the time expounding on character, their characters, their insecurities not leaving their dialogues.

Moreover, Twain sets his novels, in a recognizable location, with vast details concerning his character and also including acute observations. The stories presented in the novels although complex they are interesting, and are characterized by flawed characters. These characters are often described in a plot that in most of the time, gives priority to emotional conflict as opposed to external events. They also contain social commentary, social realism, and offering critique to political or social issues (Sawyer n.p). Based on these stories we can conclude that Twain’s stories are realists in nature, depending on the flow and the elements presented above. Important in gaining adequate conviction is the fact that he uses vernacular language, and never getting high in his diction. Additionally, the fact that his stories are hinged on acute attention, which makes the stories very objective. Therefore, we understand why Twain is the most celebrated realist, and more importantly a practitioner of realism.

On the other hand, the modernism period was described by the literary and artistic movement that took off, at the beginning of the 20^th century. The reason for the selection of this movement and realism is because the two happened in relatively the same era. The movement was primarily in response to the increased urbanization and technology, a period that was described as the industrial revolution. Similar to realists, Virginia Woolf, a modernist writer of the time, had much interest in individuals’, internal experience, drawing various theories concerning unconsciousness in mining their characters, more specific on their inner lives (Gill n.p). On the contrary, a difference that existed between the two groups is that the modernists went the extra mile and showed interest in stylistic experimentation and fashioning of new literary forms. These extra efforts were to explore the breakdowns that exist in the traditional modes of communication as well as questioning the reality of nature. More importantly, the majority of modernist work was based on automation, as the 20^th century begun and aftermath the First World War.

Woolf, presents her stories and novels, with historical moments and in the art that targeted society. She describes that patterns of culture would be formless and eventually break, which happens upon her death. In her modernist perspective, she feels offended that she was not taken to the university as the brothers did, to the extent that she rebukes the father for failing to get formal education (Woolf n.p). She was greatly attacked by mental illness, following the death of her mother and later the father, which made her attempt suicide. Despite these experiences, she highlights her extreme excitement concerning the people of the middle race, just as Twain, wherein most of the occasion she talks valuably about them.

Particularly, most of all the articles that are deemed greatest and presented by Virginia Woof, revolve around the perception of human nature. In this perception, the concern was on the non-linear plots which were supported by experimental proses. Additionally, she greatly influenced the feminist critics and historians of her time and those of later times, with a significant effect on uncovering the unbiased history of Western World women (Woolf n.p). This makes her work feel relevant and fresh as it was then, even today. Some of the most outstanding novels include the night and day, whose central focus was on overcoming class as well as gender prejudices. Other works include “Mrs. Dalloway”, taking place one day after WWI, and “To The Lighthouse,” which was drawn on her own experiences while she was a child. These are just a few of the novels that she wrote, there are alloy more, which were fictional and humorous, with the writing skill sought by the readings she gains from journals.

Both Mark Twain and Virginia Woolf can be described as informative and impressive. Throughout their jobs, there is evidence of expertise in writing, art critic, from the readings these readings, we have the flow of ideas. This creates insights into the world and interconnectedness to the natural environment. These articles are fed up, with vast wisdom, high compassion, and writing beauty. Additionally, the authors systematically present the jobs, with ideas that connect well with each other. Across the centuries, getting better, thus winning awards. The connection between humans and their control is so essential, even amid the changes that are accrued to technological changes. This also concerns appreciating women in modern society, eliminating all forms of discrimination against gender and race, which Woolf tries to present in most of her novels.

Works Cited

Gill, G. Virginia Woolf and the Women Who Shaped Her World. Boston, MA [etc.: Houghton    Mifflin Harcourt, 2019. Print.

Harnsberger, Caroline. Mark Twain at Your Fingertips: A Book of Quotations. Dover       Publications, 2012. Internet resource.

Sawyer, Tom. Originals: The Adventures of Tom Sawyer. Place of publication not identified:      OM Books International, 2019. Print.

Woolf, Virginia, Associate P. E. M. Hussey, and Dr J. Marcus. Three Guineas. Boston:     Houghton Mifflin Harcourt Trade & Reference Publishers, 2006. Internet resource.Bottom of Form

The Theme of Sight vs. Blindness to Oedipus, Jocasta, and the Prophet

In Greek mythology, late 6^th century BCE, Oedipus reigns as the King of Thebes; this followed after the death of King Laius. Before he left Corinth, a prophecy was passed that he will kill his father and marry his mother. A prediction that is fulfilled after Oedipus becomes a grown man in his adopted home. After the truth of their relationship is revealed, Oedipus's wife and mother commit suicide; however, even after death this tragedy, Oedipus continues to rule till his death.

Although no one was quite sure of the originality of dramatic tragedy, it was greatly attributed to Ancient Greek celebrations, done in honor of Dionysius and goats (Goodhart 152). As a historical event in a unique way incorporating the culture and society in ancient Greece. Even during the reign of Sophocles, Greece had an outside history imprint, comprise of two walled city-states, with a strong military base where the citizens were part of the military at some point in their lives. This was one of the ancient regions to establish democratic societies. Overly, the play depicts a solid historical base ranging from political administration, culture, religion, and more so important these that reveal in the play. More importantly, Sophocles builds the story to present various themes revolving around the achievements and underlying plagues (Porter n.p). However, this paper will discuss the theme of sight against blindness as presented in the Greek Tragedy play. This is a story that remained relevant to the present date as it was even 2500 years ago. This is evident through the theme of sight vs. blindness between Oedipus, Jocasta, and the prophet Tiresias.

The play portrays many themes that help shape the play and reveal the happenings in the tragedy. Sophocles writes contradicting situations that symbolically show the ability to see both literary and physically. The sight instances are highly repetitive in the play, making it legible to become the play's central theme. Additionally, this theme is depicted significantly among the three significant characters, Oedipus, Jocasta, and Tiresias. Starting with King Oedipus, the theme of lack of sight stands out as the most significant in the tragedy, as the writer of the play presents. In an ordinary person’s language, blindness is the inability to see; however, in this context, Sophocles writes about blindness in two distinct perspectives: the inability to see physically and the incapacity not to see the trust for those with the physical eyes (Barlow 7). The physical blindness is well revealed as Teiresias, the prophet, despite being physically blind he sees and stands for truth. Ironically, King Oedipus can physically see he is portrayed as blind for truth from the start of the play and becomes physically blind. Similarly, Jocasta, the wife to Oedipus, just like the husband, can see using her eyes; even after being told the truth about her case, she deliberately decides to deny it.

Based on the play, we can state that both King Oedipus and his wife Jocasta are “blind” to the truth, while Teiresias, although blind, can see and tell the truth. Therefore, in this context, physical sight represents a person’s ability to accept the truth; on the other hand, blindness depicts the ability of an individual to fail or reject the same truth. This comes into reality as the King removes his own eyes after discovering the truth. Throughout the play, it is clear that both physical sight and truth cannot exist together, where truth is no sight and vice versa. In this play, King Oedipus is set as the biggest victim of blindness on matters concerning truth. The blindness is revealed in various instances where he is seen denying reality. The start of his life is with a doom prophesy from Teiresias that predicts that he will kill his father and marry his mother “An oracle foretold that the child was born to him by his queen Jocasta would slay his father and wed his mother (Barlow 8).” The father Laius and mother Jocasta are presented metaphorically blind as they do not accept the truth about their son. In order to evade reality, Oedipus is deported to the mountains, where he is expected to die and nullify the prophecy. While in the mountains, Oedipus is rescued by a shepherd, who takes him to Polybus and his wife Merope, who adopts him. Years pass, coming a time when Oedipus gets to reality and discovers the prophecy that directly concerns him. Since his childhood, he had lived with the adopted parents to the extent that he feels that they are his, which forces him to escape. His story takes a bad form as while on his way to escape, he encounters his biological father, Laius, whom he stabs to death and goes back to Thebes, where he becomes the King. After he is ordained as the King, he marries, later to discover that he had married his mother.

Although with less concern on the theme of free will and fate develops after fulfilling prophecy, Oedipus is seen ignorant of the facts. However, due to ignorance, Thebes is faced with a tragedy that forces Oedipus to consult the blind prophet, Teiresias. Upon consultation, he states that Theban woes are originating from a Kingdom’s polluter. Teiresias highlights that “… Thou, the accursed polluter of this land,” wherein this note he refers to the King (Kohon 260). As a clear depiction of blindness, King Oedipus stands out strongly and refuses the truth. Indeed the King finds it so tragic to withstand the tragedy, and he says, “Vile slanderer, thou blur test forth these taunts (Kohon 260),” more evidence for blindness concerning truth. After learning the truth, he stabs out his eyes towards the end of the play, becoming physically blind.

Based on the play, Oedipus's blindness is depicted in the following instances. First, he does not realize the truth about Polybus and Merope, who was not his birth parents, and that Lucius and Jocasta were. After discovering the truth of his tragedy, he opts to get physically blind, where he gets time for a recap and reflection on what he had done in his entire life. Due to blindness, Oedipus's actions cause him harm; this is metaphoric to the truth blindness which he had previously portrayed. Both forms of blindness cause pain. On the other hand, Jocasta decides to ignore the truth despite knowing it all. Jocasta knows the truth concerning Oedipus's prophecy; now that they had thrown him into the mountains, she believes that he had died (Bernstein 27). Therefore, we must accept that at first, Jocasta did not know that the man he married was her son. However, even after realizing that Oedipus was hers, she decides to ignore everything, which is a clear depiction of blindness.

Moreover, after Jocasta realizes that the prophecy about Oedipus has been fulfilled, she commits suicide. Although death is a symbol of permanent or eternal blindness, “Jocasta’s blindness eventually led to her disgrace (Barlow 9).” We all understand that death is a clear implication that she will never see again nor make decisions; the loss of life is a sign of admission to the truth. In addition, towards the end of the play, Oedipus is banished from the Kingdom; this is his final punishment, and upon leaving, he casts a spell on his two sons (Cormack n.p). Also, being blind, Teiresias limits him from changing his surroundings, but he can see the future and link it to the past. Therefore, due to this capacity, we can state that he is a visionary man. It is for this gift of vision, and he reveals Oedipus as the polluter of Thebes Kingdom. Further, he also knows that Oedipus is his father's killer and that Jocasta is his mother. According to Sophocles, the knowledge and acknowledgment of the truth are a greater extend of sight than physical sight.

Nevertheless, sighted Oedipus can see all physical objects, apart from truth, while those that are physically blind have a limitation on seeing physical things; indeed, they see nothing except apart from truth. However, after knowing the truth presented concerning Oedipus and Jocasta, they went ahead and ignored it, which has far-reaching consequences costing their lives. The theme of sight vs. blindness is outstanding throughout the play and revealed within the major characters. After the end of it all, truth is the final; when Jocasta realizes what is true, she can no longer ignore it, and unfortunately, death remains the only way out (Bernstein 30). Ignorance to truth makes the Kingdom decline, and the truth is sought from prophet Teiresias, who, despite being blind, explains what makes the Kingdom deteriorate. The theme of vision is used across the Greek Tragedy play to reveal Oedipus's fate, who is now completely aware of the truth of his life.

However, some critics posed, concerning the blindness of Oedipus, as much of what revolves around his life. Nevertheless, we cannot attribute him to acceptance of truth; he keeps denying the truth, regardless of his consent or not. As the play rolls on, we have incidences that Oedipus is hit by truth, which in most of the cases he ignores; hence we can categorize him as blind, Similarly to the wife who happens to be his mother. Finally, near the end of the story, both accept truths, and the consequences are so tragic that they are faced with death.

Generally, the theme of blindness and sight is revealed in various characters. The outstanding characters are Oedipus, Jocasta, and Prophet, who portray how physical blindness and blindness to truth delineates. Throughout the play, Oedipus is present as an individual who denies the truth; he does not see the truth about his parents. He wents ahead and marries his mother, and kills his father, now after opening his eyes and knowing the truth. He becomes physically blind by gouging his eyes. Similarly, Jocasta is presented as a woman who knows the truth, and his choice is to be blind concerning the issues revolving around her life. Now, after the truth concerning her life and relationship that led to her marriage with her son, she decides to hang herself. On the contrary, Teiresias is physically blind; however, he can see the truth, which is a paradox of blindness. Thus, from the entire story, we are aware of the facts concerning sight and blindness; for an individual to possess sight for the truth, they have to be physically blind.

Work Cited

"Before You Continue To Youtube." Youtube.Com, 2021, https://www.youtube.com/watch?v=JD4Pu--fBXg.

"Before You Continue To Youtube." Youtube.Com, 2021, https://www.youtube.com/watch?v=St46uNzP4iA.

Barlow, Emma. "I See,” Said the Blind Man;“I Know” Said Oedipus: An Analysis of Physical and Metaphysical Sight through Greek Tragedy and Philosophy." (2019).

Bernstein, Neil W. "Silius’ Punica and the Traditions of Greek and Roman Tragedy." Elements of Tragedy in Flavian Epic. De Gruyter, 2021. 25-42.

Cormack, Raphael Christian. "Oedipus on the Nile: translations and adaptations of Sophocles’ Oedipus Tyrannos in Egypt, 1900-1970." (2017).

Goodhart, Sandor. "Oedipus and Greek Tragedy." The Palgrave Handbook of Mimetic Theory and Religion. Palgrave Macmillan, New York, 2017. 151-157.

Kohon, Gregorio. "The Oedipus complex." Independent Psychoanalysis Today. Routledge, 2018. 253-270.

Porter, John R., and Suggested Background Reading. "Sophocles’ Oedipus the King and the Greek Enlightenment." (2020).

Change of Ideology Perspective Moving Forward

Review of literature material significantly impacts personal perspective or ideologies. These ideologies change depending on the nature of the content presented by the author or authors. In this context, we will present the ideologies presented by Paulo Freire in his article on the parody of the oppressed (Freire 269). In this text, he discusses colonizers and the colonized, the oppressors and the oppressed, pointing the power difference between the two. More importantly, highlighting the individualized change in perception concerning power and oppression, offering the exact definition of oppressors and the victims. From this excerpt, we get to understand the aspect of humanization and dehumanization.

Freire has profoundly thought that change my perspective concerning various life experiences. Primarily his ideas revolve around teaching, learning and pedagogy, and o political liberation and oppressions. The act of teaching and learning are collectively defined as education, which is commonly the process of acquiring knowledge in institutions. According to Freire, education is not merely a teacher teaching, but one who is himself taught in engaging in a dialogue with students (Freire 270). He points out that the passive nature of traditional education promotes repression, which is deemed as backward teaching to a bank. Therefore, there was a need for a pedagogy of liberation to encourage dialogue between teachers and students, thus avoiding the deposition of information.

Additionally, Freire has changed my perception concerning humanizing education. Initially, the term humanization was mean simply being human; however, humanizing education is presented as a pathway where men and women can consciously appreciate their existence in the world. People’s actions and thoughts are essential in the development of full capacities by considering their personalized needs and those of others. Primarily, the pedagogy of the oppressed is animated by authentic humanism, generously presenting itself as the man’s pedagogy (Freire 277). However, the beginning of pedagogy is with egoistic interests of the oppressors making the oppressed objects of humanitarianism. Adoption and maintaining of oppression is the primary tool that defines dehumanization.

Nevertheless, humanization and dehumanization are the exact opposite, just as they would be the first people’s vocation.  The problem with the vocation is that it is always negated, thwarted with injustice and exploitation, violence and oppression of the oppressors. The purpose of this affirmation is to work towards finding freedom and justice for the oppressed, recovering their lost humanity (Freire 278). The loss of humanity is shared among the peasants, who at times begin educational projects intending to generate themes in a lively manner. With time they confess not to know anything, and thus they need forwarding improvement without which they will be deemed not at all different from animals. Failure to admit to the differences then these oppressors would never be free; indeed, the animals will joy more freedom over people.

Knowledge passed concerning revolutionary leadership reveal that leadership needs to practice co-intentional education. Both teachers and students have to actively engage in co-intent on reality through creation and knowledge, which is attained joint reflection and action. We must appreciate that our role was permanent re-creators; however, the oppressed will struggle to obtain their liberation and become committed to involvement (Freire 278). However, the aspect of banking of education has been highly criticized; this critique concerns the education process becoming depositing act, with the students being the depositories and the teacher becoming the depositor. In this context, the teacher issues communiques and makes deposits that can be received, memorized, and repeated.

Moreover, from the excerpt, we learn the aspect of liberating education. According to the author, liberal education is comprised of cognition acts and no transfer of information.  A learning situation is far from being the end of the cognitive act, intermediating the actors. The teachers in this context are the cognitive actors and students, on the other hand. Understanding situations concerning cognitive action is essential in addressing problem-posing education, thus solving teacher-student contradictions (Freire 279). The concept of problem-posing education is an affirmation that both men and women are in the process of becoming; they are unfinished, uncompleted, and unfinished reality. These can be directly compared to incomplete animals; however, the difference is that people appreciate incompleteness. The incompleteness in humans and their transformational character of reality is essential in appreciating the role of continually offering education.

Based on the material above, forwarding movement and development needs to embrace humanization. Adopting humanization help in minimization of exploitation of others in the society, eliminating cruelty and injustice actions. Further appreciating the role of human doctrines and religion, which were vital during the Nile valley development as well as the ancient and Aryan models of development (Browder 4; Bernal 86). Additionally, the development is attributed to the biblical perspective of creation and salvation, which dictates how people should interact and stay free from oppression. The religious believers do well with the expectation of a reward of their truth, justice, and righteousness afterlife.

Work Cited

Bernal, Martin. Black Athena. Rutgers University Press, 2020.

Browder, Anthony T. Nile Valley contributions to civilization: Exploding the myths. Vol. 1. Institute of Karmic Guidance, 1992.

Freire, Paulo. Pedagogy of the oppressed. Bloomsbury publishing USA, 2018.

Similarities and Differences between Dr. Frankenstein and Frankenstein in Baghdad

Influences are unconscious imitations that result in the occurrence of new beliefs and trends in a literary work that is inspired by outside models. Analogies are similarities in ideas, mood, structure and or style in literary works that are otherwise unrelated. Sadawi’s Frankenstein in Baghdad borrows some of its ideas from Mary Shelley’s Frankenstein for example, the way the monster is made in Sadawi’s novel is almost similar to the process used in Mary Shelley’s novel. In both stories, the monstrous creatures are made up of collections of scavenged parts from different dead bodies that somehow are made to work together and unite to form a sentient being.

The differences that arise when comparing the two literary works include the divergence of genres. In Mary Shelly’s Frankenstein, the story fits more closely to the genre of science fiction while in Sadawi’s story the novel falls under dystopian fiction (Johnson, 2018). In Mary Shelly’s novel, Frankenstein is made by a brilliant scientist who wants to create perfect beings whose experiment ends in disaster. However, in Sadawi’s novel, Frankenstein in Baghdad is not a science experiment but instead, an ordinary man attempts to do the right thing in collecting the cadaver of war victims to give them a decent burial by stitching different parts together to obtain a complete body that can be buried. The result of this attempt is a Frankenstein monster.

There are similarities in the trends toward violence depicted by both authors. In Mary Shelly’s Dr Frankenstein the monster is at first unwittingly violent towards humans. He suffocates Dr Frankenstein’s younger brother who screams in response to the physical appearance of the monster. Similarly, in Sadawi’s Frankenstein in Baghdad, the monster engages in violence to perpetuate its existence by killing innocents to replace the rotting parts of the bodies belonging to the owners it has already avenged.

Motifs are relationships or patterns that appear in both novels where both monsters feel entitled to engage in violence fueled by a cause that they feel justified (Mahmood, 2021). For that reason, Sadawi borrows a concept from a western writer to express outrage at the violence that arose as a result of the conflict due to the American occupation of the Middle East. The pattern common in both novels is pervasive violence. In both stories, human lives are endangered and even terminated in painful ways. Thus the theme of violence is common to both novels which were inspired by events happening in the Middle Eastern and western worlds.

References

Johnson, J. A. (2018). Dr. Frankenstein, I Presume? Revising the Popular Image of Frankenstein. Literature and Medicine, 36(2), 287-311. doi:10.1353/lm.2018.0015

Mahmood, K. A. (2021). The Appropriation of Innocence: From Shelley’s Frankenstein to Ahmed Saadawi’s Frankenstein in Baghdad. doi:10.31235/osf.io/dw45y

Twelfth Night

Creative Task Article

The Twelfth Night by William Shakespeare is one of the most remarkable romantic comedy plays. The play encompasses all features of a romantic comedy; a wedding, mistaken identities, misunderstanding, and a happily ever after.  Just like all Shakespearian comedies, this one also ends with a wedding. Shakespeare has explored the concept of desire as a fickle that overrides forces strong enough to overturn the social order. The play is set in the kingdom of Illyria.  It revolves around the nobleman Orsino, Lady Olivia, Viola, who also plays Cesario, Sebastian, Antonio, and Malvolio. When Shakespeare was writing the play, there was no real place called Illyria.  In the Twelfth Night, Shakespeare has weaved together real and invented place to complete the play.

Viola is a tremendously likeable figure as she lacks no serious faults. Moreover, we can easily discount her decision to dress as a man since it sets the entire play in motion. As a character who seems like the purest of them, it was interesting and intriguing to get to know her better. As the characters' passion and love interests shift from one person to the other that of Olivia does not fickle, and as a result, she seems to be the only character that is genuinely passionate and in love. Viola has argued that her undying loves is the most remarkable aspect of herself, "how I love is what defines me, my loves for all those around me is pure and true and doesn't change, I think that is what makes me a good servant, sister, and lover nonetheless this love brings me great pain ." this is evidenced in her dramatic soliloquy in lines 14-41 of act 2 scene 2 where Shakespeare utilizes tone, diction, and personification to explain how her disguise brings about a conflict in the form of a love triangle. One might think a character like Viola has no problem since she can disguise herself successfully and nobody suspects her until she reveals herself to her brother; however, she begs to differ when she says, "I have a serious identity issue as a result of the disguise, I must be both myself and Cesario." Her mounting identity cumulates to the final scene in act 5, scene 1.  She is in a tight spot when she finds herself surrounded by people who have different ideas concerning who she is, while in the real sense, none of them is aware of who she is.
            Viola exists in a world where erotic desire can wreak havoc on the structures in society. Moreover, she is in a world where people move with speed and ease as one lovers' desires shift from one object of desire to another.  Desire hop from one person to another, and none of the characters pays any regard for social status, gender, and all other limits set by the civil society. 

Analytical essay

Twelfth Night is a romantic comedy; therefore, it is only fitting to explore the theme of love as a cause of suffering.  The plays offer a happy ending since all the lovers finally find love.  Love is a cause of great suffering in the play and is one of the most prominent themes.  The characters have a negative view of love. These characters view love as a curse placed upon them, and they cannot willingly escape. Olivia refuses to see anyone while mourning the loss of her brother, Cesario (viola) is in love with Duke Orsino, but she cannot confess her love due to her disguise. Olivia is in love with Cesario, who is not even a man.  There is also a love triangle between Olivia, Orsino, Viola. There is also Antonio's crush on Sebastian. Despite these characters finding love and wedded bliss, Shakespeare has used them to show how love can be two-sided and a great cause of pain.

The majority of the characters claim that they suffer from love, either from being in love or from unrequited love.  In many instances, Orsino has negatively described love. In one instance, he describes love as an appetite that he cannot satisfy (Act 2. Scene 5). Olivia, on the other hand, bluntly refers to love as a plague from which she suffers from.  Love becomes a source of violence in the play; in this regard, Orsino threatens to kill Cesario because he thinks his servant has forsaken him to become Olivia's lover. In the play, love is also viewed as an exclusionary factor, in the sense that at the end of the play, some characters achieve happiness and find love while others don't (Act 2. Scene 1). The character of Malvolio and Antonio do not find love at the end. Malvolio, who is deeply in love with Olivia, is forced to face the reality that he is a fool and Olivia would never love him back with the same intensity. Antonio cannot find happiness by loving Sebastian as the existing social structures do not gratify his sexual attraction to a fellow man. All these suffering and struggles brought a lot of pain to these characters and are an indication that love cannot conquer all obstacles.

            All in all, in Twelfth Night Shakespeare, has managed to show that love has two sides, one that brings pain and one that brings joy and happiness. The majority of the characters struggle with finding love; either it is too complicated or unrequited. Through this romantic comedy, Shakespeare has shown that love can cause a lot of pain.

References

Shakespeare, W., (1788).  Twelfth Night or What You Will.

Twelfth Night

Creative Task Article

The Twelfth Night by William Shakespeare is one of the most remarkable romantic comedy plays. Shakespeare has explored the concept of desire as a fickle that overrides forces strong enough to overturn the social order. The play is set in the kingdom of Illyria. It revolves around the nobleman Orsino, Lady Olivia, Viola, who also plays Cesario, Sebastian, Antonio, and Malvolio. In the Twelfth Night, Shakespeare has weaved together real and invented place to complete the play.

Viola is a tremendously likeable figure as she lacks no serious faults. Moreover, we can easily discount her decision to dress as a man since it sets the entire play in motion. As a character who seems like the purest of them, it was interesting and intriguing to get to know her better. As the characters' passion and love interests shift from one person to the other that of Olivia does not fickle, and as a result, she seems to be the only character that is genuinely passionate and in love. Viola argues that her undying loves is the most remarkable aspect of herself, “how I love is what defines me, my loves for all those around me is pure and true and doesn't change, I think that is what makes me a good servant, sister, and lover nonetheless this love brings me great pain” . This is evidenced in her dramatic soliloquy in lines 14-41 of act 2 scene 2 where Shakespeare utilizes tone, diction, and personification to explain how her disguise brings about a conflict in the form of a love triangle. One might think a character like Viola has no problem since she can disguise herself successfully and nobody suspects her until she reveals herself to her brother; however, she begs to differ when she says, “I have a serious identity issue as a result of the disguise, I must be both myself and Cesario”. Her mounting identity cumulates to the final scene in act 5, scene 1.  She is in a tight spot when she finds herself surrounded by people who have different ideas concerning who she is, while in the real sense, none of them is aware of who she is.
            Viola exists in a world where erotic desire can wreak havoc on the structures in society..  Desire hop from one person to another, and none of the characters pays any regard for social status, gender, and all other limits set by the civil society. 

Analytical Essay

Twelfth Night is a romantic comedy; therefore, it is only fitting to explore the theme of love as a cause of suffering. Love is a cause of great suffering in the play and is one of the most prominent themes. These characters view love as a curse placed upon them, and they cannot willingly escape. Olivia refuses to see anyone while mourning the loss of her brother, Cesario (viola) is in love with Duke Orsino, but she cannot confess her love due to her disguise. Olivia is in love with Cesario, who is not even a man. There is also a love triangle between Olivia, Orsino, Viola. There is also Antonio's crush on Sebastian. Despite these characters finding love and wedded bliss, Shakespeare has used them to show how love can be two-sided and a great cause of pain., moreover, Shakespeare has also used metaphors to show the bitterness caused by love.

The majority of the characters claim that they suffer from love, either from being in love or from unrequited love. In many instances, Orsino has negatively described love. In one instance, he describes love as an appetite that he cannot satisfy (Act 2. Scene 5). Olivia, on the other hand, bluntly refers to love as a plague from which she suffers from. Love becomes a source of violence in the play; in this regard, Orsino threatens to kill Cesario because he thinks his servant has forsaken him to become Olivia's lover. In the play, love is also viewed as an exclusionary factor, in the sense that at the end of the play, some characters achieve happiness and find love while others do not (Act 2. Scene 1). The character of Malvolio and Antonio do not find love at the end. Malvolio, who is deeply in love with Olivia, is forced to face the reality that he is a fool and Olivia would never love him back with the same intensity. Antonio cannot find happiness by loving Sebastian as the existing social structures do not gratify his sexual attraction to a fellow man.

Shakepeare has used metaphor to illustrate the burden that comes from love, “O, she that hath a heart of that fine frame to pay this debt of love but to a brother” (Act-I, Scene-I, Lines, 32-33). In this  metaphor, Orsino compares Olivia’s heart to a frame and the love she has for her dead brother a debt that she most bear. This metaphor serves to show the bitter burden of love. All these suffering and struggles brought a lot of pain to these characters and are an indication that love cannot conquer all obstacles.

            All in all, in Twelfth Night Shakespeare, has managed to show that love has two sides, one that brings pain and one that brings joy and happiness. The majority of the characters struggle with finding love because it is either too complicated or unrequited.  Lessons to be learned from this play include love can be complex and can bring as much suffering as joy. Moroever, it can be gathered that not all love stories can have a happy ending.

References

Shakespeare, W., (1788).  Twelfth Night or What You Will.