Frankenstein Ch 1-10 Quote Analysis - 2912 Words

Dee Ting Ms. Bridges AP English IV – 2nd period 24 January 2013 Frankenstein Annotations: Chapters 1-10 Chapter 1 â€Å"I was their plaything and their idol, and something better- their child, the innocent and helpless creature bestowed on them by Heaven, whom to bring up to good, and whose future lot it was in their hands to direct to happiness or misery, according as they fulfilled their duties towards me. With this deep consciousness of what they owed towards the being to which they had given life.† This quote expresses Victor Frankenstein’s beliefs that it was up to this parents to make him happy and to succeed in life. The last line expresses a belief that any parent owed it to their child happiness and love by bringing them to life.†¦show more content†¦When we visited it the next morning, we found the tree shattered in a singular manner. It was not splintered by the shock, but entirely reduced to thin ribbons of wood. I never beheld anything so utterly destroyed.† The natural world is beautiful and also capable of destruction. â€Å"No human being could have passed a happier childhood than myself. My parents were possessed by the very spirit of kindness and indulgence. We felt that they were not the tyrants to rule our lot according to their caprice, but the agents and creators of all the many delights which we enjoyed. When I mingled with other families I distinctly discerned how peculiarly fortunate my lot was, and gratitude assisted the development of filial love.† Victor says his family is happy, and his parents as the bringers of many delights. Victor knows how great it is to have your creators care about you, but this knowledge does not convince him to do the same for the creature that he has brought to life. Chapter 3 â€Å"After having made a few preparatory experiments, he concluded with a panegyric upon modern chemistry, the terms of which I shall never forget: ‘The ancient teachers of this science,’ said he, ‘promised impossibilities and performed nothing. The modern masters promise very little; they know that metals cannot be transmuted and that the elixir of life is a chimera but these philosophers, whose hands seemShow MoreRelatedMetamorphoses Within Frankenstein14861 Words   |  60 PagesThe Critical Metamorphoses of Mary Shelley’s Frankenstein You must excuse a trif ling d eviation, From Mrs. Shelley’s marvellous narration — from th e musical Frankenstein; or, The Vamp ire’s Victim (1849) Like Coleridge’ s Ancient Mariner , who erupts into Mary Sh elley’s text as o ccasionally and inev itably as th e Monster into Victor Frankenstein’s lif e, Frankenstein; or, The Modern Prometh eus passes, like night, from land to land and w ith stang ely ad aptable powers of speech Read MoreMetz Film Language a Semiotics of the Cinema PDF100902 Words   |  316 PagesUnited States of America 09 08 07 6 7 8 9 10 Library of Congress Cataloging-in-Publication Data Metz, Christian. [Essais sur la signification au cinà ©ma. English] Film language: a semiotics of the cinema / Christian Metz: translated by Michael Taylor. p. cm. Translation of: Essais sur la signification au cinà ©ma, tome 1. Reprint. Originally published: New York: Oxford University Press, 1974. Includes bibliographical references. ISBN 0-226-52130-3 (pbk.) 1. Motion pictures—Semiotics. 2. Motion pictures—

Modernism In Two Poems By Marianne Moore Free Essays

Marianne Moore was one of the eminent poetesses of the Modern times. An integral contributor to the modern American literature, Moore’s poetry is considered as a linkage between nature and the human world. She alludes to scientific and historical knowledge and tries to evade literary allusions to prevent her from being casted as a stereo-type. We will write a custom essay sample on Modernism In Two Poems By Marianne Moore or any similar topic only for you Order Now Her poems are full of keen observations and generally hold up the images of birds, butterflies, animals, landscapes of England and New York. She is a â€Å"literalist of the imagination† who can â€Å"present for inspection†¦imaginary gardens with real toads in them.† In A Grave, Moore begins with a meditation on the impossibility of seeing the sea, when a â€Å"Man looking into the sea† takes â€Å"the view from those who have as much right to it as you have to it yourself.† Moore calls attention to two difficulties here: the problem of seeing â€Å"through† a man, including a man’s viewpoint, and the related problem of establishing herself as a centered speaker when she cannot stand â€Å"in the middle of this.† Moore’s depiction of the sea correspondingly emphasizes its opacity over its translucency and its surface activities over its symbolic meanings. While Moore may well have written this poem out of a personal crisis that involved thoughts of suicide, the speaker reminds herself that to seek relief in the sea is not to be mirrored in any improved way or to be freed of her. The speaker works her way out of her crisis by establishing and confronting the actuality or literality of the sea and of death, and her difference from them. The sea interestingly, in Moore’s poem is not a reflective object but a grave. Also, it is man’s careful acts, that is, his surface activities that save him and not his self- projections. Men â€Å"lowering nets† unconsciously â€Å"desecrate this grave,† â€Å"as if there were no such thing as death,† the speaker of this poem, conscious of the ultimate meaning of penetrating the depths of the sea, trains her vision to the surface: â€Å"The wrinkles progress among themselves in a phalanx— beautiful under networks of foam  the tortoise-shell scourges about the feet of the cliffs, in motion beneath them;† The end of the poem marks its intensity. Unlike the exposition, the last lines of the lyric compel us to view the surroundings and not just concentrate on the opacity of the sea surface. A forced consciousness of the meditation on the outer scene is emphasized by the poetess. The sound of birds and bell-buoys make â€Å"noises† which break the ambience of a visual representation of the situation. The poem resolves with its initial perspective of assuming something as what it is not and an intrigue picture of the ocean’s opacity in the concluding lines: â€Å"and the ocean, under the pulsation of lighthouse and noise of  bell buoys,  advances as usual, looking as if it were not that ocean in  which dropped things are bound to sink—  in which if they turn and twist, it is neither with volition nor  consciousness.† For Moore, in A Grave, meditation on the sea becomes meditation on the limits of human power and human language, and immersion, literal or figurative, threatens dissolution. â€Å"Death† is the central theme of the poem with an under cutting allusion to Moore’s own brother’s death. Many critics have tried to see the poem in the light of Moore’s feminist voice. In the poem, as many critics believe, Moore defines the male dominium and tries to break it with her strong and persuasive words. A grave is a place where dead things are put to rest, but Moore’s A Grave is a locus of vital and challenging re-vision. The poems of Marianne Moore have arguments, often difficult to follow but always worth the effort. Distrustful of overt emotion, her poems rely on understatement and reserve to create it, as in the simple What are Years? or the penetrating A Grave. What Are Years? is a stellar lyric which ends by paradoxically equating a bird’s joyful song with both mortality and eternity? Both the poems have a dominating â€Å"sea imagery†. The tone of morality in both the poems is unsurpassable. The genesis of these poems can be owed to the World War II. These two poems are typical of Moore’s. These are not meant for the pleasure of reflection. They refuse to be simpler than the world is and make more sense when read again and again until one understands the perspective for which they are written. Moore exploits imagery and visuals from the nature and embeds them in her poems. The linking of morality with a bird in What are Years? is quite similar to the theme of death and survival in A Grave. The poems deal with the strong imagery of the sea-how in one poem it is â€Å"continuing† and in the other, â€Å"the sea is a collector, quick to return a rapacious look.† The imagery of bird or flying is also present in both the poems. This imagery is evident to prove the aspiration of the speaker to be free and boundless. In both the poems, Moore indicates the sea’s power to erode and destroy; strongly alluded in A Grave and subtly done in What are Years. A deep penetration of this concept might find it’s parallel to the society and humanity- the dominium of man over everything and his struggle to free himself. This idea or concept might be traced to the World War aftermath. The vulnerability of the society and the deterioration was enough to evoke the modernist flame inside Moore to conceptualize the social, political and economical conditions into a poetic expression. Many American poets see Moore as one of the monuments of modernism, up there with Robert Frost and Wallace Stevens. Vision and viewpoint, an integral quality of modernist poets is present in the poems of Moore as well. She once wrote that poems were â€Å"imaginary gardens with real toads in them.† Her poems are conversational, yet elaborate and subtle in their syllabic versification, drawing upon extremely precise description and historical and scientific fact. A â€Å"poet’s poet,† she influenced such later poets as her young friend Elizabeth Bishop. A Grave â€Å"offered Bishop, as it offers us, an example of how a woman well-versed in the literary tradition, rather than capitulating to the convention of female silence, can wield that tradition and write her own eloquent verses.† To conclude, in the words of eminent literary critic, Jeredith Merrin, â€Å"Her ocean/grave represents death, humanity’s common enemy, and yet her sea as re-former of inherited poetic patterns acts too as Nature’s and Woman’s ally. The heavy sibilance throughout Moore’s poem (in all versions) reminds us of Satan, of the serpentine and treacherous ladies of Romantic poetry, of the actual foaming ocean that advances and retreats over the shingle of land, and of mortality which menaces and circumscribes our lives. But with her insistent sound-play–e.g., â€Å"you cannot stand in the middle of this†; â€Å"repression. . . is not the most obvious characteristic of the sea†; â€Å"their bones have not lasted†Ã¢â‚¬â€œMoore also hisses back at Man, and at the arrogant male poet in particular, who arrogates to himself dominion, who is always trying â€Å"to stand in the middle of a thing.† By choosing to conclude her poem with the word â€Å"consciousness,† Moore reserves that climactic position for the quality of attentiveness to self and to â€Å"other† which is her highest aesthetic and moral value, while giving her sea (as retributive force) the last word, the last hiss.† References Marianne Moore http://www.poets.org/poet.php/prmPID/96 On Marianne Moore’s Life and Career http://www.english.uiuc.edu/maps/poets/m_r/moore/life.htm Marianne (Craig) Moore (1887-1972) http://www.kirjasto.sci.fi/mmoor.htm THE POEMS OF MARIANNE MOORE  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  http://query.nytimes.com/gst/fullpage.html?res=9F0CE2DE1F3FF937A35752C0A9629C8B63 The Collected Essays and Criticism -By Clement Greenberg, John http://books.google.com/books?id=N5yfxzOr4j8Cpg=PA85lpg=PA85dq=%22what+are+years%22source=webots=8EvqzAyM3vsig=pchzURGxqaSTHBL3I-kmOagGf-g#PPA85,M1 How to cite Modernism In Two Poems By Marianne Moore, Essay examples

Diabetes Occurs When The Pancreas Either Cannot Or Has Trouble Making Essay Example For Students

Diabetes Occurs When The Pancreas Either Cannot Or Has Trouble Making Essay enough insulin to control the sugar a person receives from their food. (Bete, Co. 1972) Diabetes Mellitus is broken down into two groups: Juvenile (Type One), and Adult (Type Two) (McHenry, 1993). Type One diabetics are insulin dependant. People under forty years of age are more prone to this type. They have low serum insulin levels and it more often affects small blood vessels in eyes and kidneys. Type Two diabetics are non-insulin dependant. This type is prone to people over forty years of age. They have low, normal or high serum insulin levels. It most often affects large blood vessels and nerves (Long, 1993). Type One diabetes was one of the earliest diseases to be documented by historians. Once called honey urine and the Persian fire. The name diabetes was conceived by the Greek physician Arteus almost eighteen hundred years ago. The disease remained a mystery until 1700 when an English doctor demonstrated that a diabetics blood was abnormally high in sugar (Aaseng, 1995). Thus, bringing to the conclusion that diabetics are unable to use blood sugar as other persons bodies do (McHenry, 1993). With this fact, a young doctor named Fredrick Banting and a biochemist, Charles Best, were lead to the discovery of manufacturing insulin, the hormone for which is the key to blood sugar processing. Many diabetics lives have been saved because of this discovery (Aaseng, 1995). A person is at risk of this disorder if they have diabetic relatives, are over the age of forty years, are over-weight, and if they are of certain racial or ethnic groups. Women with gestational diabetes who give birth to a baby that weighs more than nine pounds are also at good risk of conducting this disease (Long, 1993). Higher numbers of diabetics occur more in Caucasian people than other races, and the highest incidents of Type One diabetes in the world are found in people residing in Scandinavian countries (Aaseng, 1995). Some signs and symptoms of this disorder are: an increased thirst and appetite, frequent urination, fatigue or anxiety, sickness of the stomach, loss of weight, skin infections, blurred vision, or numbness to feet and hands. Blood, urine, or supplementary tests can be done to determine whether a person is diabetic. Once diagnosed, the patient can be treated by making changes in their diet, exercising regularly, injecting themselves with insulin, or taking oral medications (Diabetes, 1997). Type Two may be treated by only maintaining a healthy diet and exercising regularly (Long, 1993). There is no known cure for type one diabetes, only treatments. Since Bantings and Bests discovery, insulin injections have been the primary treatment. A decade long study completed in 1993 by the National Institute of Health (NIH) found that more frequent shots may help infected people live longer and stay healthier (Aaseng, 1955). Presently, curing and prevention measures are being studied to treat Type One diabetes and hopefully science will produce better treatments and medicines to combat the disease (Long, 1993). Diabetes, no matter what kind or form, is a very serious disease. If it is overlooked it could lead to complications such as kidney disease, gangrene, blindness, and heart attacks. If a person suffers from any of the symptoms they should consult a physician or a dietician. In the end, life is not over after having been diagnosed with diabetes. Over the last century, the treatments have gotten stronger and in the future they will grow even better. Through simple measures one could live out their full life while being a diabetic patient. Works CitedMcHenry, Robert. Diabetes Mellitus. Encyclopedia Brittannica. 1993 ed. .u4fe5343fc55197a13768576124c68c04 , .u4fe5343fc55197a13768576124c68c04 .postImageUrl , .u4fe5343fc55197a13768576124c68c04 .centered-text-area { min-height: 80px; position: relative; } .u4fe5343fc55197a13768576124c68c04 , .u4fe5343fc55197a13768576124c68c04:hover , .u4fe5343fc55197a13768576124c68c04:visited , .u4fe5343fc55197a13768576124c68c04:active { border:0!important; } .u4fe5343fc55197a13768576124c68c04 .clearfix:after { content: ""; display: table; clear: both; } .u4fe5343fc55197a13768576124c68c04 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u4fe5343fc55197a13768576124c68c04:active , .u4fe5343fc55197a13768576124c68c04:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4fe5343fc55197a13768576124c68c04 .centered-text-area { width: 100%; position: relative ; } .u4fe5343fc55197a13768576124c68c04 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4fe5343fc55197a13768576124c68c04 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4fe5343fc55197a13768576124c68c04 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u4fe5343fc55197a13768576124c68c04:hover .ctaButton { background-color: #34495E!important; } .u4fe5343fc55197a13768576124c68c04 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4fe5343fc55197a13768576124c68c04 .u4fe5343fc55197a13768576124c68c04-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4fe5343fc55197a13768576124c68c04:after { content: ""; display: block; clear: both; } READ: Legal Protection For Minorities? EssayAaseng, Nathan. Autoimmune Diseases. New York, New York: Franklin Watt, Co. 1995. Long, Barbera, Wilma Phipps, Virginia Cassmeyer. Medical Surgical Nursing. St. Louis, Missouri: Mosby, 1993. Diabetes 1997. http:/www.diabetes.org/ada/c20b.csp. (16 December 1998)Diabetes, Channing L. Bete Co., Inc. 1972. Pamplet