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After her second husband's death, she claims responsibility and control of her own life, and through her shared love with her new husband, Teacake, she is able to overcome her status of oppression....
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Personally, I would prefer more discussions of these techniques using riddles, associations, contrasts, oneness, sense-switching, narrowing focus, metaphor and simile (yes! judicially and in moderation), sketch (Shiki's ), double entendre, close linkage, leap linkage, pure objectivism, and more, rather than the mysterious idea that if one has a true haiku moment the resulting ku will be an excellent haiku. This is pure rot. The experience is necessary and valid (and probably the best part of the haiku path), but writing is writing is skill and a craft to belearned.
What makes the haiku fascinating to us is that all above,and surely much more, can be contained by juxtaposing barebranch, a crow settling and autumn dusk. For me, the elementsthat securely tie the crow in place as metaphor for an autumnevening are: one, the verb "settling" (because wesay dusk settles -- but not lands or perches), a techniqueBasho so often employs one automatically checks his verb forthis two-sidedness when one appears in a poem and two, theimage of a bare branch which can accept naturally both thearrival of a bird image and autumn dusk.
How to Read Lacan | SLAVOJ ZIZEK
In the novel Their Eyes Were Watching God, Zora Neale Hurston reveals a woman’s identity through her struggles in life, her treatment by society, and her thoughts on life.
And why the Other with a capital O
I've thoroughly enjoyed judging the Charles B. DicksonHaiku Contest. I feel enriched from reading so many highquality haiku, which shows that organizations like the NorthCarolina Haiku Society and Haiku Society of America are ingreat demand to continue fostering the development ofaspiring haiku writers. Nonetheless, here are the selectionsfrom the contest, along with comments:
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Through this study and with the aid of an essay defining human nature written by Cardinal Jean Daniello, we can take a closer look at the behavior of the characters in Hurston's novels Their Eyes Were Watching God and Jonah's Gourd Vine....
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In contemporary art, we encounter often brutal attempts to âreturn to the real’, to remind the spectator (or reader) that he is perceiving a fiction, to awaken him from the sweet dream. This gesture has two main forms which, although opposed, amount to the same. In literature or cinema, there are (especially in postmodern texts) self-reflexive reminders that what we are watching is a mere fiction, like the actors on screen addressing directly us as spectators, thus ruining the illusion of the autonomous space of the narrative fiction, or the writer directly intervening into the narrative through ironic comments; in theatre, there are occasional brutal events which awaken us to the reality of the stage (like slaughtering a chicken on stage). Instead of conferring on these gestures a kind of Brechtian dignity, perceiving them as versions of extraneation, one should rather denounce them for what they are: the exact opposite of what they claim to be – escapes from the Real, desperate attempts to avoid the real of the illusion itself, the Real that emerges in the guise of an illusory spectacle.
cinema is not a thing; it's a way.
In John Sayles's Lone Star and Zora Neale Hurston's Their Eyes Were Watching God, bicultural characters negatively stereotype members of their own "inferior" or "less advantaged" background in order to identify themselves with their more powerful culture....