Unknown Facts About Research Essay Samples of Countries

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The Buy College Research Papers Online Diaries

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Art as Satan and Savior The Dual Roles for Women in The Faerie Queene - Literature Essay Samples

The work of art is a central image in The Faerie Queene, though it rarely appears as a neutral force. On the contrary: art often seems to act as a tool of the post-lapsarian world, dragging once-pure characters into earthly knowledge and moral descent. Specifically, in the house of Busirane, art acts initially as an aid to Eves original sin as well as, in more secular terms, the loss of sexual innocence in the mythological women Leda and Danae. The tapestries on Busiranes walls depict the means by which, through artistic transformation or ornamentation, women especially are deceived or invaded. However, while the power and invasiveness of Busiranes art is clearly emphasized, art seems far from wholly evil in the narrators view. As strong as the attempts of Busirane are to display, reenact, or remember female falls in the history of man, so strong (if less often stated) is the work of arts function as a redeeming force. Just as, in contemporary Christianity, the Old Testament fall is somehow reversed through the New Testament redemption of Christ, so too does The Faerie Queene suggest a narrative of fall and ascent. Spenser does not wish the work of art to disappear altogether; rather, he wishes to present a counterexample to both the mimetic and lapsarian views. Through the cases of Eve, Danae, and Leda, the work of art will be seen not only as an accomplice to lapsarian acts, but also as a saving, restorative force, allowing acts of violence to women to be rectified and the women themselves absolved.When the art in Busiranes house is first described, the reader can begin to realize the harm of which visual representation is capable. As Busiranes actual situation is one of holding Amoret captive, physically and perhaps sexually, and attempting to force her emotional love, it is tempting to read descriptive scenes as a mirror of this triptych of violence, lust, and desire. Not only does Busirane desire and hold Amoret physically, he wishes to penet rate her psyche, in order to turn her favor his way. This same type of impure desire arises in the first description of Busiranes tapestries, in which the following passage appears:[The tapestries were] woven with gold and silk so close and nearThat the rich metal lurked privily,As faining to be hid from envious eye.Yet here and there and everywhere unwaresIt showed itself, and shone unwillingly:Like a discoloured snake, whose hidden snaresThrough the green grass his long, bright-burnished back declares. (Bk. 3, c. 11, s. 28)This stanza has implications beyond a pure Platonism, which might suggest that all art is imitation: instead, it imaginatively connects art with the snake in the Biblical Garden of Eden. The tapestries metal is connected through a simile to the discoloured snake, an image which can be read on the visual level (the snakelike weave of the threads) as well as the metaphorical one (the tapestry bein g woven through with deceit.) Significantly, the rich metal does not seem to declare itself: instead, it lurk[s] privily,/ As faining to be hid and sh[ines] unwillingly. This phrasing suggests the increased power of art due to its hidden nature: rather than simply stating facts, as a report might, or declaring beliefs in a propagandistic way, the work of art uses more subtle techniques. Though a modern reader might laud the work of art for allowing a multiplicity of interpretations, here it seems that the ambiguous status of the art object leads more easily to lures and trickery than straightforward work. In fact, it is the hidden snares of the snake, the secret lures rather than any easily-visible purpose, which reveals the snakes position at all.Through this Biblical reference, the narrator directly implicates the work of art in connection with Eves eating of the apple and, more generally, to the resultant fall of man and loss of paradise. The work of art lurks in this post- lapsarian world, mirroring and perhaps even reconstructing the initial fall. The fact that the snake declares his back in the present sense suggests that his narrative is still (at least metaphorically) going on; that is, that the content of the tapestries is a dynamic one. In the tapestries, the metal is still as faining to be hid from envious eye the viewer, now present at the scene, presumably could perform the function of this eye, looking on in amazement and jealousy at the scene before him. This viewer may now, in fact, be enacting a modern version of the Biblical tale of lust and desire. Thus, not only is the work of art brought very much into the narrative of the present, but the viewer himself is implicated in Eves sins as well. Considering the work of art in the imitative Platonic sense, this tapestry is a mimicking of the original Biblical event; as such, it performs its mimetic function as a work of art as well as reenacting the lures of Eve. The tapestries hidden , unwilling shining suggests that it would rather work its evil unseen; because it is visible, however, it participates in the tradition as a work of art, beginning with the first representations of the fall. In this way, the tapestry brings itself to the viewers senses, allowing him to consider what relationship it has to the original event. Through visual representation, the fall is continued into the present narrative of the story, allowing the viewer to understand that he too is engaged in the lapsarian act.This ability of art to recall and reinstate a fall from Paradise is not unique to the Biblical tale of Eve; on the contrary, it stretches into the more secular realm of female sexuality. Just as the fall from the Garden of Eden occurred, so too can a fall from the realm of female virginity cause a loss of purity or holiness. Especially when this latter fall is not voluntary, its ability to be represented artistically is at once jarring and profound. The presentation, in a tapestry, of rape and voyeurism is made possible perhaps only through the tapestrys status as an art object, a thing which purportedly may be viewed at a distance from the actual event. If the narrative had been presented in a graphically straightforward way, even as a kind of criminal report, the gruesomeness of the acts may have been too much for a viewer to bear. However, because the act is couched in beautiful colors and a pleasing composition, the acts nature as invasion and fall may be more easily concealed.Even more relevant, though, is the idea that these acts of rape and voyeurism are themselves abetted through the artistry of deceit. Even a god must transform himself visually in order to be a successful rapist or voyeur. In the house of Busirane, some of the tapestries depict the classical god Jove in his function as a violent, invading force. Known as the reigning god, Jove also engaged in numerous earthly activities, including viewing Danae (s. 31) and raping L eda in the guise of a swan (s. 32).Significantly, these narratives participate equally with the Biblical one in the idea of a female characters fall. In this case, it is not the original fall from paradise, but a parallel, more modernized and secularized, version: that is, the fall from the purity of virginity to the knowledge of sexual life. This reference is significant not only because of the mores of the time, but also because of Elizabeths status as the Virgin Queen. Joves transformation into a golden shower and a snowy swan utilizes the snakes principles of secrecy and deceit; additionally, it allows for his ability to instigate the fall from virginal wholeness, literally in Leda and visually (Jove wishes to view Danae) in Danaes case. In the Danae passage (s. 31) the narrator emphasizes the additional possibilities open to the transformed Jove. Though Danae kept the iron door fast barred,/ And watched that none should enter nor issue, her efforts were all vain and bo otless, once Jove has been changed to a golden hue. Like the snake, Jove would not wish his real identity to be revealed; if it were, he would be recognized as the obviously masculine figure which Danae is struggling to keep out. He would have a clear physicality, which in the form of a golden hue is absent. Therefore, Danaes careful attempts to protect herself would have a better chance at success, and Jove would have to struggle against an at least somewhat stronger barrier.Significantly, the episodes of Danae and Leda detail the ways divine illusion and transformation can cause harm to innocents. These tales of Jove are tales of invasion, in which rape and voyeurism are aided by the invaders transformation into various visual forms. Such transformation helps to instigate the fall from purity for these women, who it seems had little choice in the matter at hand. The fact that these episodes are displayed in tapestries on Busiranes wall suggests that their content is somethin g he at least implicitly admires. While, in the divine, an actual transformation is possible, a parallel visual transformation may occur in art. To display these episodes alongside that of the snake implies a narrative or even thematic connection between them all in short, their parallel qualities of illusion and secrecy, even of artfulness, which give rise to clearly lapsarian acts.However, the idea that art can act as an aid to transformation is, in a very real sense, its saving grace. While art can enable a transformation from purity to baseness, it is equally capable of facilitating the reverse. Acts which occur through art, it seems, can only be done through the same art, allowing the narrative of fall and redemption to come full circle. The restorative power of art, in a very literal sense, can be seen in Busiranes forced release of Amoret. In this episode (c. 12, s. 31), Busirane has command over Amorets body and is attempting to gain control of her mind through spel ls. The description of the spells seems to resemble the writing of verse or, more generally, the written metaphor. Busirane figur[es] strange characters of his art and writes with living blood those characters, suggesting that the spell is transformative both as a written document (the characters) and as a mixture of the spoken and physcial (the with living blood.) In general, it seems that the spell is designed to influence the mind through the use of the physical body, mingling them in a single attempt to be falsely given love. However, when Britomart meets Busirane, who is presumably involved in evil deeds, and begins to slay him, she is stopped by Amoret herself. Amorets reaon for doing so is a pure act of self-preservation:So mightily she [Britomart] smote him that to ground He fell half dead: next stroke him should have slain,Had not the lad (which by him stood bound)Dernly unto her called to abstainFrom doing him to die; for else her painShould be remedil ess, sith none but heWhich wrought it could the same recure again.(Bk. 3, C. 12, s. 34)In what may be the supreme irony of spells, only the person who held Amoret captive would be capable of allowing her to be freed. If Busirane died, the cure would die with him Amorets pain/ Should be remediless, and though Busirane would presumably have had justice done to him through his own death, Amoret would be left forever uncured. None but the agent of an evil deed here, a deed committed with the help of verbal magic can reverse the deed and turn Amoret back to her original state.Because of this restorative power, Busirane is himself transformed, at least momentarily, into an agent of good. Though it was clearly by his hand that Amoret was first bound, he now is Amorets only hope for freedom. Busirane certainly does not commit this act of good willingly: he must be threatened by Britomart that he will else die, undoubtedly (s. 35). Still, the idea that Britomart must threaten or ba rgain with Busirane in order that he might cooperate is very different from that of killing him straight away. Amoret recognizes that not just any spell contains the power to restore her body; it is in fact the same spell that was used to assert power over her originally. Thus, the passage seems to make a case for the restorative power not just of art in general, but the power of negative works of art to answer positively for itself. The harm that a work of art, or a spell, causes can only be erased through its particular magic, and thus it pays to allow even evildoers to live, in order to keep the possibility of restoration alive.The nature of the restoration Amoret undergoes is indicative of Spensers broader restorative plan. Not only does the cruel steel which thrilled her dying heart drop away, the great brazen pillar on which she is placed crumbles and her riven bowls are closed up as it had not been bored. Amoret becomes an unbound/ And perfect whole, restored to a stat e of metaphorical, prelapsarian virginity as well as given freedom to move. The phallic image of the pillar and the boring image of her bowels cannot be denied as sexual; thus, the invasive sexality which Busirane had forced upon her is removed with the physical chains. The women in previous episodes, such as Leda and Danae, act initially as parallels with Amoret, having their privacy or sexuality invaded by forceful men; however, Amoret, through the power of the spell which first bound her, is restored to a state of (at least putative) virginity. The fall represented by the snake, and the secular falls of the two women, drop away in this image of a perfect whole2E Because the creator or user of the art was present, it seems, Amoret is able to leave her oppressive state. The women in the tapestries, whose Jove is not now on earth, are incapable of undergoing this change.

Using Wildlife Conservation Essay Topics For Your Student

Using Wildlife Conservation Essay Topics For Your StudentFor students taking a wildlife conservation and management course, you can help them develop their writing skills by providing them with several good wildlife conservation essay topics. This is an excellent way to expose them to writing in a variety of subjects. You can set aside some time each week for your students to research on their topic and learn how to properly communicate to their audience.You need to remember that conservation is a very important issue and something that has been going on for a long time. It is no surprise that your student may want to learn more about the subject matter and how it affects them personally. In addition, you should consider giving them the freedom to express themselves and allow them to explore all the information that they want to include in their presentation.As your student explores various topics, they will be exposed to a variety of different opinions and ideas that they have never heard before. You want to make sure that you are able to give them plenty of options to present to the class. Having these options available will make your students think about the topic differently and expand their knowledge base.When students use their writing skills, they are going to be able to open up their communication and allow them to connect with the reader on a deeper level. They are also going to come up with the information that they need to effectively communicate to their audience. Your students will be able to see that the things that they write will be valuable to them.This is a good time to discuss the number of ideas that are going to be included in your presentation. If your student has too many ideas, this may show up as a drawback. The goal is to present the information in a way that will encourage your student to continue learning about the topic.When your student is presenting to the class, you want to make sure that they are engaging with the topic and unde rstand all of the important issues involved. It is not helpful to your student to read through the material and get frustrated because they didn't understand everything that was presented. Your student needs to know exactly what they are supposed to be talking about so that they can keep the focus on their lesson and the topic of the essay.In addition, you also want to consider presenting this information in an environment that will allow them to maintain their CV. After all, these topics are not going to be placed on a resume and you want to make sure that your student doesn't lose their focus after the first presentation. This is why you will want to work with them to ensure that they are happy with the conclusion to their presentation.Remember that you need to help your student with some important questions before they start writing their essay. You want to ensure that they are not getting too much information too fast. It is important to find a balance between being informative and teaching your students as well.

How to Write Bridge Sentences - Proof It Doesnt Have to Be Difficult

How to Write Bridge Sentences - Proof It Doesn't Have to Be DifficultMany students want to know how to write bridge sentences. How do you figure this out? Just follow these few simple steps to perfect your essay.There are many ways to organize a good essay. If you were to use a computer, you could use programs that would allow you to put your essay together with the click of a button. You could also use your word processor or the command line interface in your web browser. I like to use a simple word processor as a writer and I'm not interested in using my word processor to type up essays. I like to use word processors to create lists for my school work.The first thing that I like to do when I start out on a project is to copy and paste as much of the essay I have done into the document and then move it around until everything flows together. I also move the points and examples around in the document to help me learn what the important parts of my essay are. Then, when I am done and my document is set up, I go back to the beginning and start again.The second thing that I will do before I start writing an essay is I will sit down with a pad of paper and a pen and begin writing my outline. I generally outline my topic at this point as well as all of the points and examples that I will be using. Once I have an outline, I know what I need to go back and look for throughout the entire essay.You should also go back and re-read your essay many times before you actually submit it to your instructor. Remember that some material will be different from class to class. If you are worried about spelling errors, you should be able to correct them in your own time. However, if you do find mistakes, you will need to get a spell checker on your word processor or in Microsoft Word. After you've corrected any errors you may have found, you'll need to go back and rewrite your essay to make sure that it flows smoothly. You'll also want to make sure that you have some practice essay s that you can use to help you know the best way to write your essay. I recommend that you go back to your original essays and go over each of them again. Take each one at a time and write out your conclusion.I also like to practice my bridge sentences every night before I go to bed. When I wake up in the morning, I can write out the main points that I'm going to cover in my essay. Once I've completed the points and examples for my essay, I can then go back to my practice essays. I will go over each example in my practice essay and then go back to the main points that I want to cover in my essay.If you find that your practice essay is very short, you can then edit and rewrite it. I usually will edit and rewrite my practice essays until I am happy with what I have written. In fact, sometimes the best practice is writing the test yourself before you submit it to your instructor.

College Admissions Rejection

College Admissions Rejection March 31, 2013 College admissions rejection isnt always easy. There was an article in The Wall Street Journal by Suzy Lee Weiss a couple of days ago entitled To (All) the Colleges That Rejected Me. We could see where this one was going from the title! Suzy Lee Weiss, it seems, is a high school senior who didnt have much luck in the highly selective college admissions process. In the article, bitter Ms. Weiss writes about all of the things she would have done differently had she known what it took to get into a top college. As examples, she would have started a fake charity, had a Tiger Mom, and spent time in Africa with a suffering child rather than spent time at summer camp. We chose not to publish Suzys available photo since we have a feeling shell regret her op-ed in The Wall Street Journal. One can imagine administrators at her high school arent too happy with the piece. But Suzy probably didnt consider that before writing it (photo credit: Henry C. Schmitt). Ms. Weiss, whether or not she intended this to be the case, comes across as quite the brat. But enough opinion. You should read her own words: Then there was summer camp. I shouldve done what I knew was best—go to Africa, scoop up some suffering child, take a few pictures, and write my essays about how spending that afternoon with Kinto changed my life. Because everyone knows that if you dont have anything difficult going on in your own life, you should just hop on a plane so youre able to talk about what other people have to deal with.  Or at least hop to an internship. Get a precocious-sounding title to put on your resume. Assistant Director of Mail Services. Chairwoman of Coffee Logistics. I could have been a gopher in the office of someone I was related to. Work experience! She comes across as quite the pampered teenager. Referring to this make-believe child in Africa as Kinto is rather obnoxious in the way that she puts it. Its no wonder she didnt get into the colleges she applied to because who is going to like someone who comes across this way? Likely nobody. This senior at Taylor Alderice High School in Pittsburgh has done herself a great disservice. Shes written an article in The Wall Street Journal that is going to follow her around until she gets married (if she changes her name). Not good. You hope the mistakes you make as a senior in high school dont follow you into your first job interview. But in this case, they just might!