Paper on the film Amelie Essay Example | Topics and Well Written Essays - 750 words

Early Photography Essay Example for Free

Early Photography Essay Photography these days turns into an open type of leisure activity. The most recent innovation utilized for photography seems, by all accounts, to be moderate for each and every individual who needs to seek after an ability in taking photographs. Prior to the computerized age, photography is known to be an expensive and a hard undertaking to be a specialist with however because of the openness that cutting edge innovation offer, photography is appreciated by individuals originating from varying backgrounds. Catching a genuine still-life picture is the weighty marvel that photography introduced when it was made. The second photography sprung up; it opened a variety of chances with regards to media, for example, the TV. Photography got set up around mid 1800s. The battle for authenticity in any aesthetic undertaking prospered during the Renaissance time frame and the creation of photography was made out of that interest. Authenticity showed in each type of craftsmanship, for example, in model, drawings, and works of art where the genuine pictures have been the objective of each craftsman to accomplish. Despite the fact that photography has been set up as a part of workmanship and science, catching pictures was a subject of research during antiquated human advancements, for example, in the hour of the incomparable Greek thinkers. Basic gadgets were created in endeavoring to catch genuine pictures and as authenticity turned into an exceptional inspiration in expressions of the human experience and the investigation of science, the development of photography added to different orders of its capacity to catch genuine pictures. The development of photography gave an entirely different scene and simpler method of catching reality. Its fame expanded when refined gadgets were additionally made and visual expressions was taken into an alternate level. In any case, through the making of photography, the interests to expressions started to concentrate on taking genuine pictures dismissing different types of visual expressions which were all around rehearsed previously. Photography compromised painting and drawing since it brought the completion and identity of past reality alive in the present, a quality Benjamin calls the ‘spark of possibility. ’ The expansion of modern and mechanical methods for proliferation to social items had a conceivably transformatory sway on the customary type of workmanship. (Dant 115) This effect can be considered as the advantageous utilization of cameras in photography. In contrast to painting and drawing, creating doesn't occupy so much time, reasonable, and can be effortlessly recreated. Photography is in fact a forward leap in the field of expressions. It recorded the most significant occasions in history with only one press of the screen and duplicated and saved consistently. Innovation turned into an artist’s organization as far as executing their own ideas. Photography is an order of workmanship which has been improved by current innovation. Without its innovation, there would be no visual records of verifiable subtleties which can be appeared to the people in the future. The photographs produced by early photography filled in as a time machine to show what occurred before. The conservation of such occasions like the two significant World Wars became conceivable due to photography. Reclamation and generation got simpler and didn't require heaps of work, not at all like with painting and drawings. Photography is a workmanship. Much the same as painting and drawing, catching the pictures from reality can be controlled with use of gadgets. In photography, to have the option to accomplish various outcomes, regular light is the component wherein it tends to be controlled to have the option to concocted an improved or different impacts of a genuine picture. The innovative vision of the craftsman is the fundamental device for photography to consider as a workmanship in light of the fact that the camera is only a device and the settings are accommodated the photographer’s use. This vision is being acted in photography in physically situating of counterfeit and normal light and the item itself through the viewpoint. Crafted by current picture takers, for example, Cindy Sherman got known for their photographs where they decide the situation of lights and the articles. Photography is where there are hypotheses to follow yet for it be called a workmanship, it is exceptionally reliant on the execution of the picture taker. References Dant, T. (2003). Basic Social Theory. USA: Sage.

The Most Selfish and Greediest Country in the World Essays

The Most Selfish and Greediest Country in the World Essays The Most Selfish and Greediest Country in the World Essay The Most Selfish and Greediest Country in the World Essay I need that shirt! I need those shoes! I need that property! This is the American way, wine and request to get what we need, and the rundown is interminable. Americans, being a piece of the most extravagant country on the planet, are rarely fulfilled. It would bode well that being rich would mean requiring short of what others, however it just makes us greedier. Details, for example, ninety-three percent of high school young ladies saying that shopping is their preferred side interest show how enthusiastic and conditioned our general public has become (Source E). Our concept of the American Dream has abandoned the quest for joy to the quest for cash. Individuals ordinarily think about the poor continually asking, and how that makes them the most irritating individuals since they continually need more; however they just need more since they have practically nothing. Shouldn't something be said about the wealthy who top off every last bit of their home with futile style, photographs, canvases and figures, and still think, something is absent? (Source D). It is terrible enough that they spent their cash on objects that are not necessities, however significantly subsequent to doing as such there is no hint of fulfillment about them! Reasons like this are the reason the individuals who might not have as much may be genuinely more joyful than the rich society, since they spend their investment funds on necessities and still ability to appreciate the existence they have. The rich just think Oh, what do I not own yet? they are never content with what they have. Presently, some may raise the point, What about the guardians who invest energy with their children? be that as it may, they may not realize how uncommon this really is. Regarding the measurement on adolescent young ladies and shopping, the normal working ladies plays with her youngsters forty minutes every week and shops six hours (Source E). This implies a mother just extras around six minutes every day to construct models with her child or play dolls with her little girl; and they regularly whine about their penance? Regarding that, from a similar record, it is expressed that Americans base our whole lives off the possibility of only somewhat more. We really accept the explanation that you can purchase satisfaction (Source E). Yet, in truth, we can't discover satisfaction any longer; everything must be purchased for us to quit griping or feel that we are at last substance. This thought is the thing that our general public has moved to and is currently viewed as the American Dream. In any case, history has additionally indicated that we may have been like this somewhat longer than we initially suspected. How could we grow our country every one of those years prior? By driving out the locals from their legitimate terrains. We wanted land to the degree that we were happy to murder these Indians and kick them over toward the west to obtain it. At that point think about what, we did it once more, and again as we kept on extending our country. America even conflicted with its own passed approach of the Monroe Doctrine. We said that we would avoid Florida on the off chance that they will keep out of our region, yet this was while we were more vulnerable country than others. As we became more grounded and increasingly certain, normally the American way, we needed only somewhat more. So we conflicted with the bargain that we had thought of and were so industrious to see marked. This was done all since we, the United States of America, are greedier and unsatisfied than any other person on the planet. In this way, regardless of what we have as Americans, particularly the wealthier individuals among us, we will want constantly more. It has arrived at where we need these articles, occupations or land simply because we don't have it thus another person can't get it. This nation and its kin will never be fulfilled as long as there is a whole other world to seek after and it very well may be bought with cash.

Stubby Squid Facts

Thickset Squid Facts The thickset squid, or Rossia pacifica, is a types of bobtail squid local to the Pacific Rim. It is known for its enormous, complex (googly) eyes and ruddy earthy colored to purple shading, which turns completely opalescent greenish dim when upset. Its little size and striking appearance have driven researchers to contrast it with a stuffed toy. While they are called squids, truth be told, they are nearer to cuttlefish. Quick Facts: Stubby Squid Logical Name: Rossia pacifica, Rossia pacifica diagensisCommon Names: Stubby squid, Pacific weave followed squid, North Pacific bobtail squidBasic Animal Group: Invertebrate  Size: Body length around 2 inches (guys) to 4 inches (females)Weight: Less than 7 ouncesLifespan: year and a half to 2 yearsDiet: CarnivoreHabitat: Polar and deepwater environments along the Pacific RimPopulation: Unknown Conservation Status: Data insufficient Descriptionâ Squat squids are cephalopods, individuals from the Sepiolidae family, the subfamily Rossinae, and the class Rossia. Rossia pacifica is partitioned into two subspecies: Rossia pacifica and Rossia pacifica diegensis. Diegensis is discovered distinctly in the eastern Pacific coast off Santa Catalina Island. It is littler and progressively fragile, has bigger blades, and lives at more noteworthy profundities (almost 4,000 feet) than the remainder of the R. pacifica species. Thickset squids resemble a blend of octopus and squid-however they are really nor, being all the more firmly identified with cuttlefish.â Squat squids have a smooth, delicate body (mantle) that is short and round with a different head set apart by two huge complex eyes. Emanating out from the body are eight suckered arms and two long arms which withdraw and stretch out varying to get a handle on supper or one another. The arms end in clubs which additionally have suckers. The mantle (body) of the females match 4.5 inches, about twice that of the male (around 2 inches). Every one of the arms has two to four columns of suckers which vary marginally in size. The male has one arm with a hectocotylized sucker at the dorsal end to permit him to treat the female. Thickset squids have two ear-molded blades and a slim, sensitive interior shell (pen). They produce a lot of bodily fluid and are now and then discovered wearing a Jello coat of bodily fluid to shield themselves from dirtied waters. <img information srcset=https://www.thoughtco.com/thmb/RsdDeecwPCqvkhypIvXQJmA9U74=/300x0/filters:no_upscale():max_bytes(150000):strip_icc()/Stubby_squid_in_hand-83cea4ba02934834afcb57b07b8f55aa.jpg 300w, https://www.thoughtco.com/thmb/nneAi-pMl8xRx3Nqby4PcS2GKNc=/964x0/filters:no_upscale():max_bytes(150000):strip_icc()/Stubby_squid_in_hand-83cea4ba02934834afcb57b07b8f55aa.jpg 964w, https://www.thoughtco.com/thmb/lg_IxiAcsgiANgZQVFPrlxmGfh4=/1628x0/filters:no_upscale():max_bytes(150000):strip_icc()/Stubby_squid_in_hand-83cea4ba02934834afcb57b07b8f55aa.jpg 1628w, https://www.thoughtco.com/thmb/vEFg3iU0u8SZlYCZlms-4ElB6H4=/2959x0/filters:no_upscale():max_bytes(150000):strip_icc()/Stubby_squid_in_hand-83cea4ba02934834afcb57b07b8f55aa.jpg 2959w information src=https://www.thoughtco.com/thmb/1VfxMs_o6gmmBdxG00DaJflXcGQ=/2959x1966/filters:no_upscale():max_bytes(150000):strip_icc()/Stubby_squid_in_hand-83cea4ba02934834afcb57b07b8f55aa.jpg src=//:0 alt=Stubby Squid (Rossia pacificia) class=lazyload information click-tracked=true information img-lightbox=true information expand=300 id=mntl-sc-square image_1-0-10 information following container=true /> A man holds a squat squid which starts to emit a mucous as a cautious conduct. West Seattle, Washington. Stuart Westmorland/Getty Images Plus Living space and Range Rossia pacifica is local toward the northern edge of the Pacific Ocean from Japan to southern California, including the polar spans of the Bering Strait. They spend the winters on sandy slants in tolerably shallow water, and the summers in more profound water where they breed.â They incline toward sandy to mud-sand bottoms and are found in beach front waters, where they go through the vast majority of the day resting at profundities of 50â€1,200 feet (once in a while 1,600 feet) beneath the surface. At the point when they chase around evening time they can be discovered swimming at or close to the coastlines. Liking to live in shrimp beds close to their fundamental prey, they delve themselves into the sand during the day with the goal that lone their eyes are obvious. At the point when upset they turn an opalescent greenish-dim shading and spurt out a mass of dark ink-octopus and squid ink is generally earthy colored that has the state of a squid body.â <img information srcset=https://www.thoughtco.com/thmb/BijFMxd9e4hQATzPaYzrD14CAvI=/300x0/filters:no_upscale():max_bytes(150000):strip_icc()/Stubby_squid_swimming-a84cbef192624d76a2740032c0a052d9.jpg 300w, https://www.thoughtco.com/thmb/vCJWJt2IiSh8fKJi7qXtDfbLndQ=/975x0/filters:no_upscale():max_bytes(150000):strip_icc()/Stubby_squid_swimming-a84cbef192624d76a2740032c0a052d9.jpg 975w, https://www.thoughtco.com/thmb/aC19MHaT4Nixfp_2dqH6PznCD2g=/1650x0/filters:no_upscale():max_bytes(150000):strip_icc()/Stubby_squid_swimming-a84cbef192624d76a2740032c0a052d9.jpg 1650w, https://www.thoughtco.com/thmb/DbhdkmCDlIahsUXM3s3Fj1rBZZ0=/3000x0/filters:no_upscale():max_bytes(150000):strip_icc()/Stubby_squid_swimming-a84cbef192624d76a2740032c0a052d9.jpg 3000w information src=https://www.thoughtco.com/thmb/Qm4w2YfmiP8EYKLOdGn0OROt2iU=/3000x2000/filters:no_upscale():max_bytes(150000):strip_icc()/Stubby_squid_swimming-a84cbef192624d76a2740032c0a052d9.jpg src=//:0 alt=Stubby squid swimming class=lazyload information click-tracked=true information img-lightbox=true information expand=300 id=mntl-sc-square image_1-0-18 information following container=true /> Upset thickset squid swimming. Scott Stevenson/Getty Images Proliferation and Offspringâ Producing happens in profound water during the pre-fall and fall. Male squat squids impregnate females by getting a handle on them with their appendages and embeddings the hectocotylus-furnished arm into the females mantle pit where he stores the spermatophores. In the wake of achieving treatment, the male dies.â The female lays between 120â€150 eggs in clusters of around 50 eggs (each under two-tenths of an inch); the groups isolated by around three weeks. Each egg is implanted in a huge smooth white and sturdy case estimating between 0.3â€0.5 inches. The mother joins the containers separately or in little gatherings to kelp, shellfish shells, wipe masses or different items in the base. At that point she dies.â After 4â€9 months, the youthful incubate out of the cases as smaller than expected grown-ups and before long start to benefit from little shellfish. The life expectancy of a squat squid is between year and a half to two years. Protection Statusâ Studies on the thickset squid are troublesome, since the animal consumes quite a bit of its time on earth in profound water, particularly contrasted with its shallow-water Atlantic Ocean cousin Sepioloa atlantica. The International Union for Conservation of Nature (IUCN) records the thickset squid as information deficient.â The squat squid seems to endure very well in dirtied urban narrows, even those with profoundly contaminated base dregs, for example, the inward harbors of Seattle and Tacoma, Washington. It is regularly trawled in huge amounts off the Sanriku-Hokkaido shorelines of Japan and other subarctic Pacific areas, yet its meat is viewed as mediocre tasting to different cephalopods thus has low financial value.â Sources Anderson, Roland C. , Stubby squid. The Cephalopod Page. Rossia pacificaDyer, Anna, Helmstetler, Hans, and Dave Cowles. (Berry, 1911). Spineless creatures of the Salish Sea. Walla University, 2005Rossia pacificaGoogly-looked at Stubby Squid. Nautilus Live. YouTube video (2:27). Jereb, P., and C.F.E. Roper, eds. Rossia pacifica Berry, 1911. Cephalopods of the World: An Annotated and Illustrated Catalog of Cephalopod Species Known to Date. Vol. 1: Chambered Nautiluses and Sepioids. Rome: Food and Agriculture Organization of the United Nations, 2005. 185â€186.Laptikhovsky, V. V., et al. Regenerative Strategies in Female Polar and Deep-Sea Bobtail Squid Genera Rossia and Neorossia (Cephalopoda: Sepiolidae). Polar Biology 31.12 (2008): 1499-507. Print.Montes, Alejandra. Rossia pacifica. Creature Diversity Web. College of Michigan, 2014. Rossia pacifica Berry, 1911. Reference book of Life. National Museum of Natural History, Smithsonian Institution.

9 Examples For the AP Lit Essay

9 Examples For the AP Lit EssayThe AP Lit essay is generally the standard test for college admissions in the United States. These tests are generally written in English and focus on literary excellence, writing skills, critical thinking, and writing in a variety of formats. The AP writing exam can be lengthy and confusing, so taking just one sample can make the process of writing a good essay extremely easy. Below are 9 samples for the AP Lit essay.This is an excerpt from a story about a writer struggling to get published after the death of his mother. In this essay, the writer explains how he has learned to accept his past and put it in the past to write about his future and what he hopes to become in the future. It is very useful information for anyone looking to get into writing for publication.This first essay samples allows the reader to see some writing in the context of a graphic novel. The words 'selective amnesia' is used to describe how the writer is trying to fit what happ ened in his past into his present while still remaining true to his personal beliefs. This essay was inspired by an essay, a student wrote about his time at bible college. The graphic novel examples make the essay more unique and gives the reader an idea of what is expected in a college essay.This essay was written for a different type of essay and takes place during World War II. The main theme is hope, specifically how the Americans in particular as a country can't allow hatred to cloud their minds. The author's focus on the life of President George Washington is very interesting, and if the student wishes to write a bit different, this could be a good example to consider.This is an excerpt from a middle school student's essay. The description of a famous author and how they interact with one another is well done and explains why many people consider Faulkner to be one of the best. The author says they were influenced by Langston Hughes, Ralph Ellison, and Margaret Drabble while i n high school. This is a nice glimpse into a great writer's writing style and quality.This is an American poem about a young girl who has experienced a difficult loss. The poem helps bring hope and encouragement to the family because the author seems to realize how difficult the situation is. A very nice and uplifting essay that will be well received.This is a sample of a poem by the author of a book on fiction writing, named, Dianne Gum. This poem really doesn't fit into any kind of category, but is an extremely uplifting piece. The author states that she writes poetry because she wants to help people, or 'all the people,' but cannot afford to help anyone when she can. This also fits into the AP Lit theme of hope and creativity.This paragraph essay looks at the difference between good and bad copywriting. The author of the sample feels that copywriting can lead to readers becoming bored with the content and it has been said that the writers of books and stories will always write so mething new. It is important to update content often and the author of the essay believes that writing is not something that should be left to the past. She provides examples of stories and books that offer new and innovative ideas on what copywriting is all about.

Bishop and Moore An Exploration of Magic Realism - Literature Essay Samples

In The Golden Bough, Sir James George Frazer argues that contemporary science, while evolving from magical and religious attempts to understand and control the natural world, eclipses these frameworks[1]. To Frazer â€Å"magic† in the 20th century â€Å"is a spurious system of natural law as well as a fallacious guide of conduct; it is a false science as well as an abortive art.†[2] Frazer had a significant impact on early modernism, particularly T.S. Eliot who claimed his work â€Å"has influenced our generation profoundly†[3]. The poetry of Marianne Moore and Elizabeth Bishop, in its precision and careful description of the natural world, has been characterized as reflective of a supposed modernist obsession with scientific ways of understanding the world. Paradoxically, both poets achieve a â€Å"mysterious†, otherworldly effect through their commitment to precision, in Moore’s writing this manifests itself mainly in an excessive use of defamilia rization, whereas Bishop’s also explores the dreamscape, linked with an existential anxiety. While some critics have looked into Torodov’s ‘fantastic’ literature and its relation to Moore, and others have examined the surrealist influences of Bishop, none have considered the possibility that their works exhibit qualities that are indicative of ‘magic/al realism’. While the term is often associated with the explicitly fantastical works of Latin American authors such as Garcia Marquez, in its initial iteration â€Å"magic realism† described â€Å"a way to uncover the mystery hidden in ordinary objects and everyday reality†[4] – a mode that is not confined to a specific time or place. In liberalizing and expanding the definition, critics such as William Spindler have produced a â€Å"typology† for the genre. Using Spindler’s typology, crucially I will argue that in their precision and hyper-realism, Moore and Bi shop repeatedly elicit this â€Å"magic† effect; rather than being â€Å"false science†, this â€Å"magic† actually derives from a hyper-realistic, almost scientific analysis of the world. In an interview for the Paris Review, Moore claimed studying science had a profound impact on her art: â€Å"I found the biology courses †¦ exhilarating. I thought, in fact, of studying medicine. Precision, economy of statement, logic employed to ends that are disinterested, drawing and identifying, liberate—at least have some bearing on—the imagination†[5]. It is impossible not to identify within Moore’s works this exhilaration for the scientific, even the inspirations of her poems are treated as if they were academic sources and unlike modernists such as Eliot and Joyce – these sources are enclosed within quotation marks and typically referenced in her notes. For example, the poem ‘Silence’ is almost entirely structured around the quote of the narrator’s father my father used to say† and perhaps appropriately the narrator’s voice is itself marginalized and silenced. Likewise, the poet tries to silence attempts to read her own biography into the poem, as these words cannot be that of Moore’s own father who died when she was aged 6 months. Indeed, in her notes it is attributed to the father of â€Å"Miss A.M. Homans, Professor Emeritus of Hygiene, Wellesley College†. In a distortion of the provenance of this citation, the penultimate line â€Å"make my house your inn†, delivered as if it were also by Mr Homan, is attributed to the philosopher Edmund Burke. Despite this fusion of identities, critics such as John Charles Hawley argue â€Å"these irregularities are not troubling† as â€Å"clearly Moore’s intention is to create two composite archetypal figures: father and daughter †¦. [the] father figure is built up explicitly out of Mr Homan s and Edmund Burke†[6]. While the latter argument may be true, I would dispute that the effect of this is â€Å"not troubling†. Moore creates a sense of verisimilitude in her use of quotations: there is no reason not to trust the narrator when she says, â€Å"my father used to say†. Additionally, the poet uses a logical approach to her argument, an argument which can be summed up through combination of the first and last lines – â€Å"my father used to say† â€Å"inns are not residences† –the main body acts as a series of logical justifications for this view; â€Å"superior men never make long visits†; â€Å"they sometimes enjoy solitude†. So, when the father, via examination of Moore’s notes, is revealed to be â€Å"an archetype†, the precise, scientific â€Å"indexicality†[7] actually has the effect of dislocating the character from a particular time or place. Natalia Cecire sees this dislocation as symptomatic of Moore’s precision as a whole, arguing that she â€Å"reproduces the overwhelming quality that the techniques of precision are meant to manage, revealing a poetics whose very commitment to knowledge as such lends it a darkly unknowable dimension.†[8] In her devotion to scientific accuracy, paradoxically Moore opens up the possibility of the mysterious through her poetry. Indeed, at times this â€Å"relentless accuracy†[9] of Moore’s work has a defamiliarizing effect, particularly in poems which deal with animals and the natural world. For example, ‘To a Snail’ includes the line â€Å"the curious phenomenon of your occipital horn†; the familiar eyes of a snail are rendered unfamiliar through neuroscientific lexis such as â€Å"occipital† and the unusual use of â€Å"horn†. Like in ‘Silence’, precision and the value of what is left unspoken is emphasized: â€Å"contractility is a virtue // as m odesty is a virtue†. A didactic pattern emerges in Moore’s poetry; the emphasis on â€Å"virtue† repeated twice in two successive lines in ‘To a Snail’ is derived from a close examination of the natural world, which is on the one hand presented as the container of moral teaching and on the other defamiliarized through her precision. The observed virtues act as objective properties within the snail itself – the modesty exhibited in the ability to contract at will is an example of â€Å"the principle that is hid // in the absence of feet†. The same virtues admired within the typically unromantic animal are exhibited throughout Moore’s poetry. Indeed, she would spend years crafting a single poem, and the final product was achieved through an extensive process of erasure; for example, the appropriately named ‘Poetry’ was whittled down from 38 lines to 4. Inspired by Pound’s assertion that â€Å"we live in an ag e of science†, and his suggestion that contemporary literature should take a scientific approach to its depiction of the world, Moore’s poetry is indicative of the clear, precise style of Imagism. But while close description of the snail – and the natural world within her poetry as a whole – may reveal Moore’s general and editorial values, it is by no means purely an allegory for these values, as critic Schulze argues â€Å"Moore’s animals remain animals†[10]. The snail acts as an almost literalized metaphor, the suggestion being that through scientific analysis of the natural world itself – while producing a mysterious, defamiliarizing effect – one can discover objective, applicable moral instructions. Moore, as Bishop’s mentor had a considerable impact on her poetry, as such the younger poet also favors a style that is precise and scientific, indeed in a letter to Moore she writes â€Å"you and I see what others carelessly overlook†[11]. However, while she does suggest that morality can be observed within the natural world, she appears less convinced than Moore about the human capacity to interact with these values. In ‘Sandpiper’ for example the value of precision is seen within the movement of the ocean: Watching, rather, the spaces of sand between them, where (no detail too small) the Atlantic drains rapidly backwards and downwards The juxtaposition of the enormous with the minuscule within the natural world, shown here through the spaces between grains of sand alongside the Atlantic Ocean which – despite its size â€Å"drains† into every pore. Bishop through observing the ocean evokes the necessity of precision a value that is emphasi zed as an aside to the reader in parenthesis â€Å"(no detail too small)†. In the final stanza the reader is alienated from the narrative human voice, which inhabits a smug tone in observing the bird searching between the grains of sand â€Å"Poor bird he is obsessed!†. Yet despite the inability of the speaker to understand the motivations of the Sandpiper, the validity of the bird’s search exists regardless: the â€Å"millions of grains† of sand are mixed with the luxurious, almost decadent â€Å"quartz grains, rose and amethyst†. As Bishop claimed â€Å"there are morals aplenty in animal life†, and crucially, â€Å"they have to be studied out by devotedly and minutely observing the animal†; like Moore she holds that morality exists in the animal kingdom, however the ability to appreciate this comes down to being able to observe â€Å"devotedly and minutely†. The potential failure to excavate these values from the natural wor ld is an anxiety that reoccurs throughout Bishop’s poetry, as critic Bonnie Costello suggests â€Å"Moore continually attached value to fact, where Bishop attaches yearning, fear, uncertainty†[12]. In ‘The Armadillo’ â€Å"illegal fire balloons† appear to be â€Å"rising toward a saint† from a human perspective, and yet wreak havoc comparable to hellfire to the animal kingdom â€Å"it splattered like an egg of fire†; â€Å"the ancient owls’ nest must have burned†. Furthermore, the anxiety towards a search for value in the external world descends into crisis in ‘In the Waiting Room’’. Here Bishop’s precision is defamiliarizing, however unlike Moore this is the result of an existential angst: the narrator’s description of â€Å"shadowy grey knees† is a reaction to a perceived lack of values (â€Å"why should I be my aunt, // or me or anyone†) resulting from a precise analysis of the world around him/her which occurs after closely observing a National Geographic magazine. This anxiety manifests itself in a dream-like sequence whereby the narrator feels that the waiting room is sliding â€Å"beneath a big black wave†; veridical perception is called into question and the scientific precision is dismantled, even though this crisis is arguably a consequence of the precision itself. Before examining the magic realist elements of Bishop and Moore, I will first turn to critical responses to the supposed discrepancy between their scientific precision and the mysterious, arguably magical quality of their poems. Firstly, Jeanne Heuving argues that much of Moore’s poetry is indicative of a 20th century version of Torodov’s fantastic, defined as â€Å"that hesitation experienced by a person [the reader] who knows only the laws of nature, confronting an apparently supernatural event†[13][14]. Explicit use of the supernatural does occur occ asionally in Moore’s poetry. For example, in the early piece â€Å"Diligence Is to Magic as Progress Is to Flight’ she blurs the distinction between language and thing: â€Å"Speed is not in her mind inseparable from carpets†. This inseparability is indicative of Torodov’s fantastic; the reader is unable to distinguish between the description of the thoughts of the narrator and the supernatural entity of the â€Å"magic carpet†. Nevertheless, the mysterious â€Å"darkly unknowable dimension† of Moore’s poetry cannot be restricted to the few poems where she incorporates the supernatural, and Torodov’s fantastic – which requires at least the suggestion of the supernatural – fails to encompass a poem such as ‘To a Snail†. In contrast, critics have attempted to approach Bishop from a surrealist angle, understandable for a poet who once stated â€Å"Dreams †¦ catch a peripheral vision of whatever it is one can never really see full-face but that seems enormously important†; many of her poems read like verbal reconstructions of dreams. For example, ‘The Weed’ begins with the impossible, the act of envisaging the sensation of being dead, as Bishop states â€Å"I dreamed that dead, and meditating, // I lay upon a grave, or bed†. Throughout the poem the vivid imagery of â€Å"the rooted heart† is constantly related to the psychology of the narrator, whose very thoughts – much like the narrator of Moore’s ‘Diligence Is to Magic as Progress Is to Flight’ become physical: â€Å"It lifted its head all dripping wet // (with my own thoughts)†. Max Ernst once described how flicking through a catalog was enough to induce a sensory overload in its saturation of images and pictures, likewise ‘The Weed’ flicks from one location to the next all the while maintaining the photographic precision characteristic of sur realism. Despite her precision, Bishop presents a landscape foreign to the objects depicted, one where â€Å"her poems contain much of the magic, uncanniness and displacement associated with the works of the surrealists†. Nevertheless, Bishop’s â€Å"magic† cannot be confined entirely to the realms of human psychology, as critic Richard Mullen points out â€Å"Her landscapes may well possess qualities of dreamscapes, but simultaneously they are marked by an unusually rich appreciation of the natural world†[15]. We cannot forget that unlike the surrealists who argued â€Å"there were no objects only subjects† and possessed little interest in the external world outside the interior, psychological life of humans, Bishop’s work is dominated by the presence of the external natural world. Crucially, what Mullen sees as the limitations in reading Bishop as a surrealist poet, perhaps work as a strength for a magic realist analysis of her and Moore’s poetry. Coined in the 1920s by German artist Franz Roh, the initial movement derived from a fascination with the psychoanalytic concepts of the unconscious. However, unlike the surrealists, magic realism was not interested in depicting the interior mind of humans, rather ‘magic’ lay within the external world itself and could be revealed through precise analysis. In the words of Roh, â€Å"mystery does not descend to the represented world, but rather hides within the world itself†[16]. In addition, unlike the fantastic, magic realism in its looser definition is not confined to a play between the supernatural and uncanny, rather through close enough analysis of reality the marvelous and uncanny reveal themselves in the external world. For example, in Bishop’s ‘The Fish’ the leakin g of oil – a typically unromantic image – becomes an object of beauty as the refraction of light transforms it into â€Å"rainbow, rainbow, rainbow†. The scene is both vivid and hyper-realistic, emphasized through emphatic repetition. Likewise, the presentation of animals as literalized metaphors is indicative of Roh’s conception of magic realism, Moore’s snail cannot be confined to an allegory for the editorial process morality is self-evident within the animal kingdom and can be revealed through precision. In his analysis of the genre, William Spindler developed a typology of â€Å"metaphysical, anthropological and ontological† magic realism, with the initial category corresponding to Roh’s conception[17]. I would argue that the initial category best corresponds to the work of Bishop and Moore, and here the magic â€Å"is taken in the sense of conjuring, producing surprising effects by the arrangement of natural objects by means o f tricks, devices or optical illusion†. In Bishop’s ‘Filling Station’ the arrangement of cans â€Å"ESSO-SO-SO-SO† is both intensely realistic but also produces an effect comparable to synaesthesia, as the sibilance of â€Å"so† gives the inanimate cans an auditory and visual presence, emphasised by â€Å"softly say† in the line preceding. Indeed, â€Å"in literature, Metaphysical Magic Realism is found in texts that induce a sense of unreality in the reader by the technique of Verfremdung, by which a familiar scene is described as if it were something new and unknown, but without dealing explicitly with the supernatural†[18] – in ‘Filling Station’ the commonplace petrol station eventually becomes a reminder that â€Å"somebody loves us all†. Furthermore, Spindler argues that â€Å"the result is often an uncanny atmosphere and the creation †¦ [of a] impersonal presence†[19] – this imp ersonal presence is idiosyncratic of Moore’s poetry, as observed in ‘Silence’ where the majority of the poem is made entirely of quotations. It is undeniable that in their scientific precision, ironically a sense of magic is evoked comparable to that described by Roh. Ultimately then, while the poetry of both Bishop and Moore can be characterized as adhering to a scientific approach to literature in its precision, their devotion to this practice uncovers an underlying mysteriousness in their works. In Moore this is a result of a sense of dislocation given by her playfulness with scientific and logical modes of thinking such as through use of poetic citation, and in Bishop an anxiety towards a failure to uncover values within the external world manifests itself in dreamlike imagery. To explain this mysteriousness some critics have appeals to fantastic or surrealist influences. In contrast, I would argue that magic realism – in its early conception – corresponds to Bishop and Moore’s mode of writing, illustrative of a modern magical thought where rather than being opposed to scientific approaches to the world, the ‘magic’ is uncovered through the precision of such approaches. Endnotes and Reference List: [1] Frazer, James George. The Golden Bough Palgrave Macmillan, London, 1990.[2] Ibid[3] Dwivedi, Amar Nath. TS Eliot: A Critical Study. Atlantic Publishers Dist, 2003.[4] Bowers, Maggie Ann. Magic (al) realism. Routledge, 2013. [5] Hall, Donald. The Art of Poetry IV: Marianne Moore. Paris Review 7 (1961): 41-66. [6] Hawley, John Charles, ed. Reform and counterreform: dialectics of the Word in Western Christianity since Luther. No. 34. Walter de Gruyter, 1994. [7] Cecire, Natalia. Marianne Moores Precision. Arizona Quarterly: A Journal of American Literature, Culture, and Theory 67, no. 4 (2011): 83-110. [8] Ibid [9] Ibid [10] Schulze, Robin G. The Web of Friendship: Marianne Moore and Wallace Stevens. University of Michigan Press, 1995. [11] Ibid [12] Costello, Bonnie. Marianne Moore and Elizabeth Bishop: Friendship and Influence. Twentieth Century Literature 30, no. 2/3 (1984): 130-149. [13] Heuving, Jeanne. Omissions Are Not Accidents: Gender in the Art of Marianne Moore. Wayne St ate University Press, 1992. [14] Todorov, Tzvetan. The fantastic: A structural approach to a literary genre. Cornell University Press, 1975. [15] Mullen, Richard. Elizabeth Bishops Surrealist Inheritance. American Literature 54, no. 1 (1982): 63-80 [16] Roh, Franz. Magic realism: post-expressionism. Magical Realism: Theory, History, Community (1995): 15-31. [17] Spindler, William. Magic realism: a typology. In Forum for modern language studies, vol. 29, no. 1, pp. 75-85. Oxford University Press, 1993. [18] Ibid [19] Ibid

Kernel Sentence Definition and Examples

In transformational grammar, a kernel sentence is a  simple declarative construction with only one verb. A kernel sentence is always active and affirmative. Also known as a basic sentence or a kernel. The concept of the kernel sentence was introduced in 1957 by linguist Z.S. Harris and featured in the early work of linguist Noam Chomsky. Examples and Observations According to writer Shefali Moitra, A kernel sentence does not contain any optional expression and is simple in the sense that it is unmarked in mood, therefore, it is indicative. It is also unmarked in voice, therefore, it is active rather than passive. And, finally, it is unmarked in polarity, therefore, it is a positive rather than a negative sentence. An example of a kernel sentence is The man opened the door, and an example of a non-kernel sentence is The man did not open the door.M.P. Sinha, PhD, scholar and writer, offers more examples: Even a sentence with an adjective, gerund, or infinitive is not a kernel sentence.(i) This is a black cow is made of two kernel sentences.This is a cow and The cow is black.(ii) I saw them crossing the river is made of I saw them and They were crossing the river.(iii) I want to go is made of I want and I go. Chomsky on Kernel Sentences According to American linguist, Noam Chomsky, [E]very sentence of the language will either belong to the kernel or will be derived from the strings underlying one or more kernel sentences by a sequence of one or more transformations. . . . [I]n order to understand a sentence it is necessary to know the kernel sentences from which it originates (more precisely, the terminal strings underlying these kernel sentences) and the phrase structure of each of these elementary components, as well as the transformational history of development of the given sentence from those kernel sentences. The general problem of analyzing the process understanding is thus reduced, in a sense, to the problem of explaining how kernel sentences are understood, these being considered the basic content elements from which the usual, more complex sentences of real life are formed by transformational development. Transformations British linguist P. H. Matthews says, A kernel clause which is both a sentence and a simple sentence, like His engine has stopped or The police have impounded his car, is a kernel sentence. Within this model, the construction of any other sentence, or any other sentence that consists of clauses, will be reduced to that of kernel sentences wherever possible. Thus the following: The police have impounded the car which he left outside the stadium. is a kernel clause, with transforms Have the police impounded the car which he left outside the stadium? and so on. It is not a kernel sentence, as it is not simple. But the relative clause, which he left outside the stadium, is a transform of the kernel sentences He left a car outside the stadium, He left the car outside the stadium, He left a bicycle outside the stadium, and so on. When this modifying clause is set aside, the remainder of the main clause, The police have impounded the car, is itself a kernel sentence. Sources Chomsky, Noam. Syntactic Structures, 1957; rev. ed, Walter de Gruyter, 2002. Matthews, P. H. Syntax. Cambridge University Press, 1981. Moitra, Shefali. Generative Grammar and Logical Form. Logic Identity and Consistency. Edited by Pranab Kumar Sen. Allied Publishers, 1998. Sinha, M.P., PhD, Modern Linguistics. Atlantic Publishers, 2005.