What Impression of Inman is created in chapter 1 of Cold Mountain? Essa

What Impression of Inman is created in chapter 1 of Cold Mountain? Throughout Chapter one Frazier establishes Inman’ s character in sufficient detail for the reader to feel involved in his life and get an insight into the way he thinks. This gives the reader a feeling of superiority as to their knowledge of Inman and his feelings. Inman is based on Frazier’s great uncle. This gives them a better impression of him and a greater feeling of pity for him and his situation. He appears to be very sensitive to his surroundings as the environment of the hospital seems to affect his feelings in a very negative way. An example of this is where he thinks about how he obtained his wound. This shows his strength of character both physically and mentally. This is because he is strongly affected by the battles he has experienced and is horrified and haunted by it. His description of the train journey to the hospital is very sensual. This shows how he is extremely observant and has a great memory for detail. It also shows how vivid the horrors are that he has faced throughout his ...

Literary Analysis of Bartleby the Scrivener Essay

Bartleby the Scrivener could be described as a story about getting rid of its title character, about the narrator’s attempt to get rid of Bartleby, and Bartleby’s tenacious capacity to be always there. It is the story of an unnamed lawyer and his employee, Bartleby, a copyist of law documents. Confronted not only with Bartleby’s refusal to do work (first to â€Å"read† copies against the original, then to copy altogether), but also with the contagious nature of the particular words of his refusal (Bartleby’s peculiar â€Å"I would prefer not to†), the narrator concludes that, before Bartleby â€Å"turns the tongues† any further of those with whom he comes into contact, he â€Å"must get rid of† Bartleby. At the same time Bartleby feels â€Å"mobbed in his privacy† (27) when the other office workers crowd him behind his screen, they in turn are invaded by his idiosyncrasy – his private idiom â€Å"prefer. † Bartleby’s presence breaks down the clear distinctions between public and private, professional and domestic, between â€Å"privacy† and â€Å"the mob. † By pinpointing Bartleby as the â€Å"cause† of infectious language (language â€Å"turned† bad), the narrator wants to stop the course of a process (the â€Å"turning of tongues†) already in progress. But getting rid of Bartleby is as tricky as getting rid of a chronic condition; the narrator emphasizes a phrase which appears textually in italics: â€Å"he was always there† (20). Bartleby is, as the narrator calls him, a â€Å"nuisance† (40), an â€Å"intolerable incubus. † As a character in the story with a body, he moves very little, but the few words he speaks break out at unexpected moments in the office. Every attempt the narrator makes to control the passive Bartleby and his infectious language fails hilariously (Schehr 97). The narrator experiences a curious tension between the impossible imperative (on the level of the story) to get rid of the subject, and the impossibility (on the level of the narration) to write his complete biography (Bartleby’s â€Å"history†). Thus, Bartleby is also a fable about writing history or biography. In attempting to write what he thinks of as Bartleby’s biography, the narrator merely misnames his writing project, or he emphasizes it from the wrong point of view. In search of Bartleby’s origins, the narrator does not simply narrate (as he thinks) the history of Bartleby the Scrivener; he relates rather the story of his own anxiety vis-a-vis Bartleby. In particular, he relates his anxiety over the scrivener’s silence – and modes of breaking that silence; for we could say that, rather than speaking very little or in particular ways, Bartleby has particular ways of occasionally breaking silence. It is this violence in speech, this unexpected eruption, which the narrator fears. The narrator, whose acquaintances describe him as an â€Å"eminently safe man,† who likes nothing better than the â€Å"cool tranquility of a snug retreat† (4), is thrown decidedly off kilter when faced with what he terms Bartleby’s â€Å"passive resistance† (17). Bartleby’s weapon is his total indifference to truth, whereas the narrator seeks a second opinion on truth from the other office mates. Bartleby could be seen as the one solid block around which the narrator writes his own story about truth rather than the truth about the Bartleby story. Bartleby’s passive resistance actually generates the story — confronted with it, the narrator creates theories (his doctrine of assumptions, for instance), carries on debates with himself, and seeks the counsel of others — all with the opaque Bartleby as the core. In reconstructing Bartleby’s story, the narrator follows an implicit logic which he never directly states. It is the logic of cause and effect. (He is not deliberately hiding this logic, but because he takes its validity for granted, he never comments on it critically. ) Believing in the possibility of finding a specific, locatable, and nameable cause to Bartleby’s condition (as he is able to do with the other office workers, Nippers and Turkey, whose moods vary according to their diets and the time of day), the narrator thinks that by eradicating the cause of the problem, he can alter the effects, the effects of Bartleby’s speaking condition in the office space. McCall follows the same logic as the narrator in seeking causes of Bartleby’s behavior. He mentions remark that when the narrator asks Bartleby to run an errand for him at the post office, â€Å"that is probably the last place, if the rumor is correct, that Bartleby would ever want to go. † (McCall 129). The narrator never considers that his line of reasoning might be faulty — that Bartleby’s condition may not be linked to a specific, locatable, nameable cause. We as readers may be placed in the same position as the narrator in that we never know either the origin of Bartleby’s condition; we witness primarily its effects, or symptoms, in the story. These symptoms reside not only in Bartleby as individual character, but in the very way the narrator tells the story about that character. Rather than speaking about the cause of Bartleby’s condition, one could more aptly speak about the ways in which its effects are spread to other characters within the text. When the narrator impatiently summons Bartleby to join and help the others in the scenario of group reading, Bartleby responds, â€Å"I would prefer not to† (14). Hearing this response the narrator turns â€Å"into a pillar of salt† (14). (Faced with Bartleby’s responses and sheer presence, the narrator oftentimes evokes images of his losing, then waking to, consciousness. ) When he recovers his senses, he tries to reason with Bartleby, who in the meantime has retreated behind his screen. The narrator says: â€Å"These are your own copies we are about to examine. It is labor saving to you, because one examination will answer for your four papers. It is common usage. Every copyist is bound to help examine his copy. Is it not so? Will you not speak? Answer! † (15) The narrator is exasperated when Bartleby does not respond immediately to the logic behind his work ethic. â€Å"These are your own copies we are about to examine. It is labor saving to you. † Examining or reading copy is a money saving activity, from which every member of the office profits (four documents for the price of one reading! ). â€Å"Every copyist is bound to help examine his copy. † To the contract the lawyer emphatically demands from his employee, a bond based on an exchange of reading, Bartleby replies three times, gently, â€Å"in a flutelike tone,† â€Å"I (would) prefer not to† (15). By refusing to read copy, Bartleby refuses to consent to the economy of the office. It is perhaps only to another type of reading, one not based on a system of exchange and profit, which Bartleby consents. Although the narrator says he has never seen Bartleby reading — â€Å"not even a newspaper† (24) — he does often notice him staring outside the window of the office onto a brick wall. Staring at the dead brick wall (in what the narrator calls Bartleby’s â€Å"dead-wall reveries†) may be Bartleby’s only form of reading, taking the place of the economy-based reading demanded of him in the process of verifying copies. About halfway through the story, the lawyer/narrator visits his office on a Sunday morning and, discovering a blanket, soap and towel, a few crumbs of ginger nuts and a morsel of cheese, deduces that the scrivener never leaves the office. Realizing the full impact of Bartleby’s condition, he states, What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. (25) The narrator clearly locates the disorder in Bartleby. Seeing himself in the role of diagnostician and healer, he himself is faced with the â€Å"hopelessness of remedying excessive and organic ill† (24). The narrator’s concern about an individual medical cure should more aptly be a concern about an obsessively private rhetorical debate or a dangerously idiomatic group contagion (Perry 409). Despite his assumption that Bartleby is incurable, or perhaps precisely because he can effect no cure, the narrator beleaguers himself throughout the story with questions or commands to do something about Bartleby (McCall 9). If the private man’s disorder can be passed on to another (one) person, what happens when the condition is let loose out of close quarantine into the public space of the office? Bartleby walks a precarious tightrope between comedy and tragedy (Inge 25). The tragic dimension often resides in the narrator’s turning inward on himself (a sort of tragic compression), then putting himself on trial, an interior moment of accusation which eventually results in the collapse of the narrative in a single sigh or exclamation (â€Å"Ah, Bartleby! Ah, humanity! † 46). The comic effects are often related to the authoritarian attempt (and failure) to contain the spread of idiom as contagion (Perry 412). If Bartleby has been a figure for tragedy in the lone meditation of the narrator, he becomes a figure for comedy in his contact with his office mates Nippers and Turkey. The more the narrator tries to regulate the contact between the three, the more hilarious — and significantly out of control — is Bartleby’s influence. The effort to contain or control tends actually to promote the epidemic proportions of the narrative. It is the narrator himself who uses a vocabulary of contagion in relation to Bartleby. He says he has had â€Å"more than ordinary contact† (3) with other scriveners he has known. Bartleby exceeds this already extraordinary contact – he has been touched by â€Å"handling† dead letters (Schehr 99). Some critics reproduce the narrator’s language of contagion in talking about Bartleby. McCall, in his study on The Silence of Bartleby, describes â€Å"our† response, the collective readers’ response, to reading the tale: As we go through the story, we watch with a certain delight how Bartleby is â€Å"catching. † We root for the spread of the bug. (145) In a somewhat less delighted vein, Borges says, â€Å"Bartleby’s frank nihilism contaminates his companions and even the stolid man who tells Bartleby’s story. † (Borges 8) In the office scenes where the employees and boss come inevitably together, the â€Å"bug† word is Bartleby’s â€Å"prefer. † Nippers uses it mockingly against the narrator as a transitive action verb when he overhears Bartleby’s words of refusal to the narrator’s plea â€Å"to be a little reasonable. † Bartleby echoes, â€Å"At present I would prefer not to be a little reasonable† (26). If Nippers is suffering from his own peculiar and chronic condition of indigestion, he takes on the symptoms of Bartleby’s condition when he exclaims to the narrator, Prefer not, eh?†¦ – I’d prefer him, if I were you sir, I’d prefer him; I’d give him preferences, the stubborn mule! What is it, sir, pray, that he prefers not to do now? (26) Whereas later in the story the narrator totally loses his critical skill to â€Å"catch† himself in his speech, in this exchange he is still able to articulate the effect Bartleby’s â€Å"word† is having on him. He notes anxiously, Somehow, of late, I had got into the way of involuntarily using the word ‘prefer’ upon all sorts of not exactly suitable occasions. (27) It is this qualifier â€Å"not exactly† which is of particular interest. Bartleby’s use of words is â€Å"not exactly† wrong. â€Å"Prefer† is so insidious because it is only slightly askew, dislocated, idiosyncratic. As McCall accurately notes about the power of Bartleby’s â€Å"I prefer not to,† â€Å"one must hear, in the little silence that follows it, how the line delivers two contradictory meanings, obstinacy and politeness. â€Å"(152) The line calls just enough attention to itself so as to attract others to its â€Å"profoundly mixed message† (â€Å"its perfect yes and no†) in an imitative way (McCall 152). â€Å"Prefer† is as inobtrusive, as contagious, and as revolutionary as a sneeze. The narrator lets it out of his mouth involuntarily. When Turkey enters the scene and uses the bug word without realizing it (without Nippers’ italicized parody or the narrator’s critical comments), the narrator says to him, in a â€Å"slightly excited† tone, â€Å"So you have got the word, too† (27). In this pivotal sentence, the verb â€Å"get† implies â€Å"to receive† (as in â€Å"to receive a word or message†), but more strikingly for our discussion here, it implies the verb â€Å"to catch† – one â€Å"catches† the word as one would â€Å"catch† a cold. The narrator attempts to monitor the contagion by naming the bug and pointing it out to the others. But the word mocks everyone’s will to control it â€Å"prefer† pops up six times in the next half a page — four times unconsciously in the speech of one of the employees, and twice consciously (modified by â€Å"word†) in the narration of the lawyer. Bartleby could be described as a story of the intimacy – or anxiety – a lawyer feels for the law-copyist he employs. The narrator arranges a screen in the corner of his office behind which Bartleby may work. Pleased with the arrangement of placing Bartleby behind the screen in near proximity to his own desk, the narrator states, â€Å"Thus, in a manner, privacy and society were conjoined† (12). The narrator idealizes the possibility of a perfect harmony between privacy and community in the work environment, but it is precisely the conflict between these two spatial â€Å"conditions† which generates the story, defining not only Bartleby’s â€Å"idiocy,† but the narrator’s as well. The narrator most characteristically encounters Bartleby â€Å"emerging from his retreat† (13) or â€Å"retiring into his hermitage† (26). The screen isolates Bartleby from the view of the narrator, but not from his voice. Works Cited Borges, Jorge Luis. â€Å"Prologue to Herman Melville’s ‘Bartleby† in Herman Melville’s Billy Budd, â€Å"Benito Cereno,† â€Å"Bartleby the Scrivener,† and Other Tales, ed. Harold Bloom. New York: Chelsea House Publishers, 1987 Inge, Thomas M. , ed. Bartleby the Inscrutable. Hamden, CT: Archon Books, 1979. McCall, Dan. The Silence of Bartleby. Ithaca: Cornell University Press, 1989. Melville, Herman. â€Å"Billy Budd† and Other Stories. New York: Penguin Books, 1986. Perry, Dennis R. â€Å"‘Ah, Humanity’: Compulsion Neuroses in Melville’s Bartleby. † Studies in Short Fiction 23. 4 (fall 1987): 407-415. Schehr, Lawrence R. â€Å"Dead Letters: Theories of Writing in Bartleby the Scrivener† Enclitic vii. l (spring 1983): 96-103.

Law of Xenia

Law of Xenia Xenia, the Greek term for the Laws of Hospitality, The custom in classical Greece and other ancient cultures that, if a traveler comes to a strange town, he can ask for food, shelter, and gifts to help him on his journey. In Greek tradition, the host was considered responsible for his guest's comfort and safety, and a breach of those laws of hospitality was thought to anger Zeus, God of the gods.In the Odyssey there are a few instances in which the law of Xenia is broken, quite a few of those belong in book nine of the Odyssey, in which Odysseus and his men are lured into a Cyclops’ cave in which the owner, Polypheus, is angered and doesn’t care about the law of Xenia. One example in which Polyphemus breaks Xenia is, when he fails in offering Odysseus a drink or some food instead he rudely frightens them and ask them impolitely who they are and what they were doing in his cave.Polyphemus violates the law again when he eats some of Odysseus men, Xenia prohib its the host to make their guest unhappy, much less eat them. Although sometimes hosts disliked their guests and even disliked Xenia, they only followed it in fear of Zeus, Polyphemus son of Poseidon, believed that his father would protect him of Zeus and his wrath, so he broke the law once more by keeping Odysseus and his men inside his cave. He then even proclaimed that he wasn’t afraid of Zeus punishment for breaking Xenia relying on his father, Poseidon.When Odysseus asks for his gift for being the guest at the Cyclops’ house the Cyclops reacts in anger, a common rule of Xenia is to present their guest with a precious gift but in this case he laughs and eats a few more men. At last, Odysseus manages to escape captivity by stabbing the large eye of Polyphemus. The Cyclops infuriated brings a curse upon him; for Odysseus to never reach his land, for the last time violating Xenia by casting a spell on his guests.

The Frontier essays

The Frontier essays During the 1850's,pioneers in the Great Plains reported that the land was good for ranching and farming, despite low rainfalls. Soon after the Civil war, ex-soldiers headed for the West looking for a living in mining, farming, or ranching. The development of the transcontinental railroad, in 1869, aided in a faster transportation of people and supplies. The one week long trip lured in many more aspiring settlers. With more white settlers coming to the West, problems started to arise over land disputes with the Indians. As the Indian's land was taken the government began to concentrate them into reservations. Some Indians still opposed this, and more fights broke out with each gold discovery in the West. In one instance, Chief Black Kettle had an armistice with the government, yet unknowingly Colonel Chivington and his 1,000 troops attacked 450 sleeping Indians. The event was called the Sand Creek massacre. Several more important Indians and their tribes went against the government, s uch as Little crow and Red cloud of the Sioux. The last battle of the Indian Wars was at Wounded Knee, South Dakota. The white soldiers with their railroads, six shot revolvers, and more professionalism, inevitably defeated the old-fashioned and ill-equipped Indians. The Indians were placed on reserves, and became very dependent of the government to provide their basic necessities. With the very scarce buffalo, little game to hunt, and poor soil the Indians needed the government funding to stay alive. The Bureau of Indian Affairs came to order and was in charge of caring for the Indians. The corrupted bureau was exposed by people like Helen Hunt Jackson and Sarah Wirnemucca, who spoke out against the abuse done to the Indians. Eventually the thought of assimilating the Indians into the white culture was pronounced. In 1887 Congress passed the Dawes act, which abolished tribes to gather and sold of reservation land to Indian families. The money was then used...

Treat Self-Publishing as a Business †Interviewing Elise Kova

Treat Self-Publishing as a Business – Interviewing Elise Kova "Treat Self-Publishing as a Business" – Interviewing Elise Kova We often hear that "the golden age of self-publishing is gone", so we like to use our blog to remind authors that, no, that's not true. There are many more indie success stories than the ones you repeatedly hear about out there, and Elise Kova's is one of them. She started writing in 2013, as a hobby, on Fictionpress. She now has 5 books out in her Air Awakens Series and the first one has over 500 reviews on Goodreads. In this interview, she shares  more about her writing process, why she self-published, and some advice for newer authors.Hi Elise! It’s such a pleasure to have you join us for the Reedsy blog. I want to start off by talking a bit about how you came to write the Air Awakens series. YA fiction has captured the heart of the public in the last few years  Ã¢â‚¬â€œÃ‚  what is it about the YA fantasy genre that really appeals to you as an author?I love talking about books, so thank you for reaching out to me for this interview!I honestly didn't set out thinking tha t I was going to be a "YA Author". I've always loved writing, but I stopped doing it avidly for about four or so years during college and my MBA. When I sat down to write Air Awakens I didn't do so with the intention of being published, I just wanted to enjoy writing a story that I would want to read myself.When I began looking into publication later I toiled over if Air Awakens was "Adult" or "Young Adult" and the young adult age bracket fit better. I think there is something timeless about the "coming of age" story that we see in so much young adult fiction and many, myself included, are drawn to that. So I'm not surprised Air Awakens developed in that direction.Young adult readers can, and hopefully do, sympathize with and recognize the struggles of the protagonists. Whereas older readers remember going through those times themselves. Even more than that, I think people are constantly evolving and the questions of "Who am I?" and "What do I want?" may be more apparent during the transition into adulthood, but never really go away no matter how old we get.One of the things the series is most commonly praised for is its worldbuilding. The Solaris Empire, the Bond, the elemental magic – all of it is so well-developed! Was this a world you thought up quickly when you started actually writing Air Awakens, or had it been living and growing in your mind before that?I'm awful at planning, it's actually something I'm working on doing more in the future: pre-drafting. So much of the Air Awakens world was built as I went. As a result, there were a lot of things that didn't make sense when all was said and done; directions I thought I may take but never explored, or elements that didn't add anything.The series has gone through extensive rewrites before publication and at that point I really sat down and investigated the world and its mechanics. I cut a lot and refined the rest. 50 Book Marketing Ideas Every Author Needs to Know Read post Most indie authors struggle with getting their books discovered. What is the most important thing that you have done in terms of marketing that you think is responsible for your success?Oh, questions like this are so difficult to answer, as it's all speculation. But I think, for me, I've tried really hard to be both genuine and available to my readers. I'm constantly on my social media outlets and I'm not really shy on them when it comes to saying what I think, what I'm geeking out about, or what I'm up to. The bookish community on Twitter, Instagram, blogs, etc, is full of such amazing people that I've been so so lucky to meet.Follow Elise Kova and Reedsy on Twitter:  @EliseKova  and @ReedsyHQWhy did  you choose to self-publish? What would be  your advice for newer  authors looking to become the next "indie success story"? Do share your thoughts, or ask Elise any question, in the comments below!

History of planning and urban design in 20th century Essay

History of planning and urban design in 20th century - Essay Example Why I chose architecture and planning? I cannot give a simple answer for that. Maybe it was because since childhood I have liked painting and construction and have yearned to create things on my own. It seems that architecture and planning can satisfy my imagination in terms of space, creativity, and colour.After my five years of study in the Department of Architecture and Planning and three years’ work experience, I asked myself this same question. The result is that Part of the above factors as well I realized that architecture and planning have an intrinsic appeal for me and that they are not only an art, but also more importantly a kind of technology. I studied architecture and town planning together as I have never thought of them as separate jobs. They are merely two sides of a same coin, the difference being mostly in the scale of the work. As part of my university degree I completed courses in different aspects of architecture and planning such as history of architectu re and urban development, urban transportation planning, urban and landscape infrastructure and services, city planning process. I found these subjects very interesting.   After my graduation I worked as a planning engineer with the Ministry of Transport. The work experience I gained during that period helped to strength my specialization, improve my research skills, integrate my knowledge, and build my leadership skills. As part of my professional development I took additional training courses in various areas such as transportation planning, traffic engineering and scientific research.... The garden city concept combined the town and the country in order to provide the working class an alternative to working on farms or 'crowded, unhealthy cities'. Garden cities were intended to be planned, self-contained, communities surrounded by "greenbelts" (parks), containing proportionate areas of residences, industry, and agriculture (2). Letchworth was the first garden city, in the UK in 1903, followed by Welwyn in 1919. These were small in size, providing for a few thousand residents. In Australia, the suburb of Colonel Light Gardens in Adelaide, South Australia, was designed according to garden city principles. So too was the town of Sunshine, which is now a suburb of Melbourne in Victoria. New towns throughout the world were modeled after these garden cities. This theory was an attempt to improve the appearance of cities and streets by means of architectural and spatial effects. (3)   In 1920 the ideas of modernity began to appear by designer Le Corbusier brought more mod ern ideas and new methods of building and introduced the skyscraper. The main idea was to combine residential home designs with the feel of the city. This was also a way to use modern technologies to eliminate congestion and chaos that was experienced by small cities. This was achieved by and changing the streets to highways and constructing towers set within the gardens. Theories suggest that the center of a great city should consist mainly of skyscrapers – exclusively for commercial use – and these groups of skyscrapers should be set within large, rectangular park-like green spaces. A huge transportation hub sits in the center and includes depots for buses and trains, as well as the highway intersections. This plan segregated pedestrian circulation paths from the roadways and

REFUGEE LAW AND PROTECTED PERSON in Canada Essay

REFUGEE LAW AND PROTECTED PERSON in Canada - Essay Example Firstly, the Immigration and Refugee Board of Canada together with Citizenship and Immigration Canada (CIC) provides for protection when a person cannot live permanently without fear of persecution (Canadians, 2010). In assessing gravity of Serbians in Croatia, we find that the client meet this constitutional provision. In assessing magnitude of torture and persecution in Croatia, it will be prudent to examine Croatia and â€Å"Ethnic Cleansing† (http://www.cgs.c.u-tokyo.ac.jp/download/cgs01_07_shimizu). In this article, it details how hundreds of thousands of Serbian became victim of genocide. As early as 1941, 750,000 defenseless Serbs were killed in cold blood (Daiute & Turniski, 2005). UNHCR report blames political rivalry during these early phases of anti-Serbian campaigns (http://www.refworld.org/country,,,,HRV,,553f617f4,0.html). In the recent past, the Croatian captured media attention when Whistle blower Chris Hedges came out to highlight plight of Serbians in 1998. The International Criminal Court (ICC) implicated Defense Minister Gojko Susak for the senseless killings of Serbians (http://45lines.com/levar/scare/scare.html). More recently, the cry to end tribulations of the Serbian population continues to grow. Many young and old are living in fear. Roman Catholic Church, the majority rising against Orthodox mainly the Serbians is evident (http://archbishop-cranmer.blogspot.com/2011/04/at-last-true-horror-of-persecution-of.html). The report further is supported by the ICC decision that found guilty Anto Gotovina and Mlade Markac of commanding operations to kill the Serbian