Freedoms Cycle and Flight Joyces Iliad free essay sample

As Joyces work of Ulysses was an obvious representation (bluntly stated by himself) of the Odyssey, we can look at A Portrait of the Artist as a Young Man (published in 1916) as a predecessor of this novel, the Iliad. If the Ulysses (Odyssey) of a man is where his mind is matured and begging for peace-of-mind, A Portrait (Iliad) takes on the immaturity of a youths rebellious beginnings, begging for excitement; Joyces Freedom Cycle. This cycle progresses from oppression, to rebellion, and lastly the outcome of freedom, whatever it may be. Oppression Stephen fears would be set forth by the Jesuit lifestyle and church, Irish customs of society and politics, and his own language. Rebellion is executed in participating with a prostitute, the outright rejection of political figures, even at a family Christmas dinner, with the skepticism of Jesus and the molding and transformation of the words he hears and reads (which can also be shown in Joyces style. We will write a custom essay sample on Freedoms Cycle and Flight: Joyces Iliad or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page ) The rebellion that Stephen arranges is for the freedom of his own thought, to back away from anyone and anything that set a limit and instead set it for himself or live in the eternity of his own, which can be seen in Joyces last novel Finnegans Wake. In its whole A Portrait is a Knstlerroman that takes on a philosophical standpoint. For a beginning Joyce knows that we are born with freedom, and to express that, he puts more than surface detail into Stephen Dedalus name: -What is your name? Stephen had answered: Stephen Dedalus. Then Nasty Roche had said: -What kind of name is that? (6) It is true that Stephens name is obscure and out of place in society. In fact, his first name proves that. Stephen, in the Bible, is the first Christian martyr (Startup 10). As a result of his thoughts, Stephen, the martyr, is dragged out of the city in which he preached and stoned to death. Joyce knows the upcoming roar his literature will provoke, and the martyr artist is the only way to approach the situation. Stephen Dedalus will die for his beliefs rather than give them away to conventional thought. Dedalus, Stephens last name, is a take off of Daedalus, an artist and inventor in the Greek mythos (Bloom 5). Daedalus cunning (which Joyce later uses as a way to gain immortality in his writing) took him out of the Labyrinth with his crafted wings (Jhan). Joyce refers to the tyrannous society as Minotaur, the overall ignorance of it as the Labyrinth, and the artistry of freedom as his wings. Overall, Stephen will die and live to the fullest carpe die m for his art. Joyce takes freedom of expression to another level to go along with his plot. He uses much stream-of-consciousness writing, the first writer to employ it as often as he did. The beginning of the book starts Stephen as a child hearing a bedtime story. The wording used is not what is actually being said but what Stephen perceives and understands. It flows smoothly, as taking in a new world calmly. As Stephen reaches boyhood, the novel becomes shifty. The style is, as it was, a reflection of Stephens mind. Now that Stephen is older, he has the fear and knowledge of life instead of the flowing mindset of his nursery scene. Both Stephens racing thoughts and free associations, jarred with Joyces sudden scene changes, produce the effect, even unwillingly, of an adolescent mindset, recreating the juvenile battles of Troy in the Iliad. Joyce writes A Portrait like an impressionistic painting. The reader sees everything in an obscurity; good, bad, horridness, freedom, immunity, oppression (Beebe 56). All of Joyces passages have nothing but this, especially in his over-emphasis of Stephens reaction to the hell sermon, which, in its abstruseness, is Stephens seeing of the subjugations in societys order. After Joyce jostles forty pages of a priest-spoken Hades directed towards the young men of the Jesuits, he later employs that it was all a suppression; an anti-climatic, jotted down piece of pure mental garbage. To enforce this inferno-factor on the young students, the priest uses excessive five-senses torment repetition which will hopefully turn the individuals thoughts into an abstract and mechanical thought (Levenson 39). Keep in mind that all of the fire thrown at Stephen turns out to be folly and is of no use except to mature himself from such thoughts. Earlier in the novel, Stephen also has to confront his rectors. After having been punished by Father Dolan for not being able to write without the glasses he broke, Stephen built up bravery to talk to the head priest. The head priest laughs and puts it off dismissively. This is a step back from Impressionism on Joyces part (aside from the chilling effect of the priest) to tell of the apathy of the Jesuit institution. In fact, only one rector sides with Stephen on anything of his own thoughts, in which they discuss aesthetics (Stanley 712). Stephen also rebels by disbelieving in the realism of everything. Stephen begins this by acting out parts of The Count of Monte Cristo, living in a romantic realm of his own creation (Richard). The next petition in Stephens rebellion is a visit to a prostitute: Her round arms held him firmly to her and he, seeing her face lifted to him in serious calm and feeling the warm calm rise and fall of her breast, all but burst into hysterical weeping. Tears of joy and relief shone in his delighted eyes and his lips parted though they would not speak. She passed her tinkling hand through his hair, calling him a little rascal. (89) This shows two things: he held up his rebellion to the church to a huge extreme point, and he liked being the rebel. Although her calling him little rascal emphasizes a small insurgent, its a start for Dedalus. Stephen is the self-conscious artist, using all his resources to fight for what he believes (David). A look at Stephens view of the world as the Labyrinth will help explicate why he feels the urge to rebel. The Labyrinth was a place created because of the outcome of sensuous desire for an unnatural thing. Pasiphae of Greek mythology lusts after a bull, Daedalus builds a cow in which the two could procreate, and the outcome is Minotaur. Daedalus has to build the Labyrinth out of shame, in which no ordinary man could get in or find his way out. After he builds this, Daedalus has to construct wings and escape this horrid contraption, in which fourteen humans have to be sacrificed every eight years. As Fortuna states, The full myth rehearses acts of simony, lust, imprisonment, betrayal, and sacrificial deaths, themes that Joyce returns to again and again in his writing. (Fortuna 71) The Labyrinth keeps all of societys mistakes hidden. Stephen wants freedom from that. Joyce wants to expose himself in this writing and all his others. Joyce wants to pull the floodgates open, leaving nothi ng back; the reason for his no-holds-barred, uncensored writing. Infatuation with the Labyrinth has carried up to modern ages with such complicated, multi-layered novels as Mark Z. Danielewskis House of Leaves, where it describes the Labyrinth as a darkly invoking journey of the benighted soul. The passage shown, describing Danielewskis perceived Labyrinth, has his protagonist trying to figure out what it is (with exception of exempting struck lines and red font): Navidson is not Minos. He did not build the lab- yrinth. He only [discovered] it. The father of that place- be it a Minos, Daedalus, [. . .] St. Marks god, another father who swore Begone! Relieve me from the sight of your detested form, a whole pa- ternal line here following a tradition of dead sons- vanished long ago, leaving the [creature] within all the time in history to forget, to grow, to consume the consequences of its own terrible fate. (Danielewski 336) This text and its oddities of structure show the simple insanity one would go through to solve the puzzle of the Labyrinth. This is another tool of its being. Either way something will try to get out, physical or mental, theres no way out through logic or societies or prayer. In any way one turns, one will be destroyed. When it comes to getting out of this Labyrinth of the soul and society, Joyce has answered it quite frankly. Art and only art can withstand the strain of coming out alive, like Icarus falling to his death not knowing how to deal with such power. This dilemma is now the new focus point as Stephen grows and matures. He has replaced the romance of The Count of Monte Cristo with the flight of Daedalus; he has found a mythic, matured fantasy in his flight for intellectual freedom from the trap of society, Minotaur. Chase pronounces: Language is a Trojan horse by which the universe gets into the mind (Chace 165). This is Stephens main oppressive Minotaur; his own language. In fact, later in his literary life of Ulysses he states, I am the servant of two masters an English and an Italian (Joyce Ulysses 21). This is Stephens and Joyces main, paramount task: to overthrow the language or make his own world out of it. The main reason Stephen is so laden with language is that its not his souls invention. Stephen is a product of his listening and reading, an irrational sum of the texts, written and spoken, which he had been exposed (Kershner 238). From the beginning, Stephen picks up words. As a baby, words like moocow, baby tuckoo, and apologise stick out in his mind. He associates these words with himself and then to the surrounding area. Taking all this in lulls Stephen to a quiet rest (Kershner 236). In his adolescence, Stephen now feels insecure. He is unsteady with the world as scandals and uppe r upperclassmen fly above him without hesitation. Stephen cant comprehend this stage of his life, so he starts where he can: language. At each significant stage in the development of Stephens consciousness, he undergoes a painful sensitivity to raw language, language that seems in some respects to lack denotation. In structural terms, he is confronted by the signifier in the absence of the signified. (Kershner 233) Stephen picks up words such as suck and smugging. He plays with them at a level higher than his Irish folklore years; he now orchestrates the words into different ones, plays with the meanings, and develops it to his own liking. Hence, the naturalization of his own soul with his language begins. He has taken the archetype connotation of what it was and made it his own. Stephen has evolved raw language, or his apparition-esque word system, into his soul. The protagonist, at this stage of his transformation of his language, now takes on transmutation, applying it to his world of aesthetics, connecting both stages of his infancy and youth. Stephen Dedalus Class of Elements Clongowes Wood College Sallins Country Kildare Ireland Europe The World The Universe (12) This writing of Stephen asserts two things: the worldliness of everyone together, and his growing need to find something outside of language. From this stage on, Stephen has a growing affection for aesthetics. The main reason Stephen loves to hold aesthetics close to him is because of the flight from all oppressions; religion, politics, society, and most dominant, language. To turn language into his own does not take away the problem that it was originally constructed without his consent. Stephen must take what he sees and live through that also: not just oral and written thought, not just his sensations between warmth and coldness, not just the difference of how horse urine and the sea smell, not just the bitterness of inadequate meals or the sweetness of Christmas ham. He must transform all his senses to revolve around his renegade soul. The coherent opposites of his feeling (warmth of the prostitute coinciding with the cold trembling at the confessional seat) enforced Stephen to deploy on his aesthetic theory of harmony. This theory insists that harmony doesnt consist of all goodness but must also swirl into a dark pathos. The reason being is that Joyce doesnt associate art with realit y. Joyce firmly believes, on equal ground with Oscar Wilde, that art should be for arts sake and any mixing of the opposite will thoroughly spoil the intention. And so, with aesthetics and language being understood as a thing to conquer, Joyce closes the book with Stephen intending to flee Dublin. Stephen, being on the brink of his epiphany, is still in his Iliad stage of immaturity. He will never actually flee Dublin, but his thoughts of revolution will stay the same. Stephen has found his canvas on which to paint; the eternal flight of Daedalus with the intention of art as soul. With the harmony of conflict and balance at hand, Stephen knows in Ulysses (where his maturity is expunged) it is not the Exodus that matters; its the fight in Joyces Cycle and Flight. Work Cited: Beebe, Maurice. The Portrait as Portrait: Joyce and Impressionism. Rpt. in Irish Renaissance Annual. New York: G.K. Hall, 1980 Bloom, Harold, ed. Blooms Notes: James Joyces A Portrait of the Artist as a Young Man. Broomhall, PA: Chelsea House, 1999. Chace, William M, ed. Joyce: A Collection of Critical Essays. Englewood Cliffs, New Jersey: Prentice-Hall, 1974 Danielewski, Mark Z. House of Leaves. New York: Pantheon Books, 2000. David Fuller, A Portrait of the Artist as a Young Man: Overview in Reference Guide to English Literature, 2nd ed., edited by D. L. Kirkpatrick, St. James Press, 1991. Fortuna, Diane. The Art of the Labyrinth. Rpt. In Bulletin of the New York Public Library. New York: The New York Public Library, 1972. Jhan, Hochman, An Overview of A Portrait of the Artist for Exploring Novels. Gale, 1998. Online. Joyce, James. A Portrait of the Artist as a Young Man. New York, NY: Barnes Noble Classics, 2004 Joyce, James. Ulysses. New York: Random House, Inc. 1990. Kershner, R.B. The Artist as Text: Dialogism and Incremental Repetition in Portrait Rpt. In English Literary History 53. The Johns Hopkins University Press, 1986. Levenson, Michael. Stephens Diary: The Shape of Life. Rpt. In English Literary History 52:4 The Johns Hopkins University Press, 1985 Stanley, Deborah A, ed. Novels for Students V. 7. Farmington Hills, MI: Gale Research, 1999. Startup, Frank. James Joyce: A Beginners Guide. London: Hedder Stoughton, 2001. Richard F Peterson, James Joyce in Twaynes English Authors Series Online. New York: G. K. Hall Co., 1999 previously published in print in 1992 by Twayne Publishers

Historical Poems of Social Protest and Revolution

Historical Poems of Social Protest and Revolution Nearly 175 years ago Percy Bysshe Shelley said, in his Defence of Poetry, that â€Å"poets are the unacknowledged legislators of the world.† In the years since, many poets have taken that role to heart, right up to the present day. They’ve been rabble-rousers and protesters, revolutionaries and yes, sometimes, lawmakers. Poets have commented on the events of the day, giving voice to the oppressed and downtrodden, immortalized rebels, and campaigned for social change.   Looking back to the headwaters of this river of protest poetry, we’ve gathered a collection of classic poems regarding protest and revolution, beginning with Shelley’s own â€Å"The Masque of Anarchy.†Ã‚   Percy Bysshe Shelley:  Ã¢â‚¬Å"The Masque of Anarchy† (published in  1832; Shelley died in 1822) This poetic fountain of outrage was prompted by the infamous Peterloo Massacre of 1819 in Manchester, England. The massacre began as a peaceful protest of pro-democracy and anti-poverty and ended with at least 18 deaths and over 700 serious injuries. Within those numbers were innocents; women and children. Two centuries later the poem retains its power. Shelleys moving poem is an epic 91 verses, each of four or five lines a piece. It is brilliantly written and mirrors the intensity of the 39th and 40th stanzas:     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  XXXIX.What is Freedom?- ye can tellThat which slavery is, too well- For its very name has grownTo an echo of your own.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  XL.’Tis to work and have such payAs just keeps life from day to dayIn your limbs, as in a cellFor the tyrants’ use to dwell, Percy Bysshe Shelley:  Ã¢â‚¬Å"Song to the Men of England† (published by Mrs. Mary Shelley in The Poetical Works of Percy Bysshe Shelley in  1839) In this classic, Shelley employs his pen to speak specifically to the workers of England. Again, his anger is felt in every line and it is clear that he is tormented by the oppression he sees of the middle class. Song to the Men of England is written simply, it was designed to appeal to the less educated of Englands society; the workers, the drones, the people who fed the wealth of the tyrants. The eight stanzas of the poem are four lines each and follow a rhythmic AABB song-like format. In the second stanza, Shelley tries to wake up the workers to the plight they may not see: Wherefore feed and clothe and saveFrom the cradle to the graveThose ungrateful drones who wouldDrain your sweat- nay, drink your blood? By the sixth stanza, Shelley is calling the people to rise up much like the French did in the revolution a few decades prior: Sow seed- but let no tyrant reap:Find wealth- let no imposter heap:Weave robes- let not the idle wear:Forge arms- in your defence to bear. William Wordsworth:  Ã¢â‚¬Å"The Prelude, or, Growth of a Poet’s Mind† Books 9 and 10, Residence in France (published in 1850, the year of the poets death) Of the 14 books that poetically detail Wordsworths life, Books 9 and 10 regard his time in France during the French Revolution. A young man in his late 20s, the turmoil took a great toll on this otherwise home-bodied Englishman. In Book 9, Woodsworth writes passionately: A light, a cruel, and vain world cut offFrom the natural inlets of just sentiment,From lowly sympathy and chastening truth;Where good and evil interchange their names,And thirst for bloody spoils abroad is paired Walt Whitman:  Ã¢â‚¬Å"To a Foil’d European Revolutionaire† (from  Leaves of Grass,  first published in the 1871-72 edition with another edition published in 1881) One of Whitmans most famous collections of poetry, Leaves of Grass was a lifetime work that the poet edited and published a decade after its initial release. Within this is are the revolutionary words of  Ã¢â‚¬Å"To a Foil’d European Revolutionaire.† Though its unclear whom Whitman is speaking to, his ability to spark courage and resilience in the revolutionaries of Europe remains a powerful truth. As the poem begins, there is no doubting the poets passion. We only wonder what sparked such embroiled words. Courage yet, my brother or my sister!Keep on- Liberty is to be subserv’d whatever occurs;That is nothing that is quell’d by one or two failures, or any number of failures,Or by the indifference or ingratitude of the people, or by any unfaithfulness,Or the show of the tushes of power, soldiers, cannon, penal statutes. Paul Laurence Dunbar,  Ã¢â‚¬Å"The Haunted Oak† A haunting poem written in 1903, Dunbar takes on the strong subject of lynching and Southern justice in The Haunted Oak. He views the matter through the thoughts of the oak tree employed in the matter. The thirteenth stanza may be the most revealing: I feel the rope against my bark,And the weight of him in my grain,I feel in the throe of his final woeThe touch of my own last pain. More Revolutionary Poetry Poetry is the perfect venue for social protest no matter the subject. In your studies, be sure to read these classics to get a better sense of the roots of revolutionary poetry. Edwin Markham,  Ã¢â‚¬Å"The Man With the Hoe† -  Inspired by Jean-Franà §ois Millet’s painting Man with a Hoe,† this poem was originally published in the San Francisco  Examiner in  1899. Upton Sinclair noted in The Cry for Justice: An Anthology of the Literature of Social Protest that Markhams poem  became  Ã¢â‚¬Å"the battle-cry of the next thousand years.† Truly, it speaks to hard labor and the working man.Ella Wheeler Wilcox, â€Å"Protest† - From Poems of Purpose, published in 1916, this poem embodies the spirit of protest no matter the cause. To speak up and show your bravery against those who cause suffering, Wilcoxs words are timeless.Carl Sandburg,  Ã¢â‚¬Å"I Am the People, the Mob† -  Also from a 1916 collection of poetry,  Chicago Poems, Sandburg reinforces the thoughts of Wilcox. He speaks of the power of the people - the mob - the crowd - the mass and the ability to remember wrongs while learning a better way.Carl Sandburg,  Ã¢â‚¬Å"The Mayor of Gary† -  A free-form verse that appeared in 1922s Smoke and Steel, this poem looks at the Gary, Indiana of 1915. The 12-hour day and the 7-day week of the workers drew a sharp contrast to Garys trim and proper mayor who had time for a shampoo and shave.

Foreign investment in Qatar Research Paper Example | Topics and Well Written Essays - 1000 words

Foreign investment in Qatar - Research Paper Example y powers vested with the Ministry of Finance, Economy, and Commerce of the state to ensure that the investors and their activities do not cause any harm to the overall national development plan envisioned by the council of ministers of Qatar. As per this law, all sectors of national economy all open for foreign investors provided they have one or more Qatari partners who own 51% or more of the shares of the capital invested, thereby ensuring that the decision making authority lies with the latter (â€Å"Qatar’s Investment Law,† 2000). It also requires the company to be appropriately incorporated as per the provisions of the law of the state. Nevertheless the Government has identified certain sectors in which the foreign investors are free to pump in capital exceeding 49%, and up to 100% by themselves (â€Å"Foreign Investor,† n. d). These sectors include: However this requires a decree of the minister who shall issue the same provided the projects go hand in hand with the development of the state. Preference is also given to projects that may result in â€Å"optimum utilization of local raw materials, industries set up for export of products, or for introducing new products, employing new technologies in the state† (â€Å"Doing Business in Qatar,† 2012) Qatar has been open to foreign investment in-line with the global economic trend, though not without its reasonable share of restrictions implied upon the investors so that the economic activities are in line with the overall development plan of the State. The restrictions are in the form of secluding a few sectors from foreign investments which include banking sector, insurance, and real estate (â€Å"Investment Incentives†, n. d.). A close look reveals that these are the sectors that will have a direct impact upon the market and keeping them free of foreign investments will ensure that the indices are not pliable from outside the State, thus protecting the autonomy and financial integrity of Qatar. Apart from