Free Essays on My Life had stoodâ€a Loaded Gun

Powerful Weapon Emily Dickinson’s poem "My Life had stood- a Loaded Gun- " is a powerful statement of the speaker’s choice to forego the accepted roles of her time and embrace a taboo existence, a life open only to men. The speaker does so wholeheartedly and without reservation, with any and all necessary force, exulting in her decision. She speaks with great power and passion, tolerating no interference, and wills herself to maintain this choice for her entire life. The mix of masculine and feminine images, their juxtaposition, and their occasional transformation across the gender line, is inherent in the message of the poem. The opening stanza begins with a series of masculine images: "a Loaded gun" (1), "The Owner" (3- later identified as "He"- 17, 21). The ambiguous image of the fourth lineis her being carried away by her own love to be - enraptured- or defiled.The second stanza resolves this question. Suddenly the speaker is "We," "roam in Sovreign woods" (5), indicating an acceptance of the relationship. Now the speaker resumes alternation between images suggestive of gender: masculine- "hunt" (6), "Mountains" (8), "Vesuvian" (11), "Day" (13),- and feminine- "woods" (5), "the Doe" (6), "Valley" (10), "Night" (13), "the Eider-Duck’s / Deep Pillow" (15-16). There is a further mingling of gender images in the first stanza: the masculine gun as a passive (i.e., feminine) instrument, standing in a corner, awaiting the masculine empowerment. Likewise, the "cordial light / Upon the Valley glow" (9-10), constitutes a soft, feminine image, until the next line reveals the glow is from a volcanic eruption- an extremely masculine image. This mixture and blurring of sexual cues reflects the message of the poem, the speaker’s adoption of a role crossing gender lines but still being impotent to an extent. While there is very little rhyming in this poem, one rhyme stands out: "Doe"... Free Essays on My Life had stood—a Loaded Gun Free Essays on My Life had stood- a Loaded Gun Powerful Weapon Emily Dickinson’s poem "My Life had stood- a Loaded Gun- " is a powerful statement of the speaker’s choice to forego the accepted roles of her time and embrace a taboo existence, a life open only to men. The speaker does so wholeheartedly and without reservation, with any and all necessary force, exulting in her decision. She speaks with great power and passion, tolerating no interference, and wills herself to maintain this choice for her entire life. The mix of masculine and feminine images, their juxtaposition, and their occasional transformation across the gender line, is inherent in the message of the poem. The opening stanza begins with a series of masculine images: "a Loaded gun" (1), "The Owner" (3- later identified as "He"- 17, 21). The ambiguous image of the fourth lineis her being carried away by her own love to be - enraptured- or defiled.The second stanza resolves this question. Suddenly the speaker is "We," "roam in Sovreign woods" (5), indicating an acceptance of the relationship. Now the speaker resumes alternation between images suggestive of gender: masculine- "hunt" (6), "Mountains" (8), "Vesuvian" (11), "Day" (13),- and feminine- "woods" (5), "the Doe" (6), "Valley" (10), "Night" (13), "the Eider-Duck’s / Deep Pillow" (15-16). There is a further mingling of gender images in the first stanza: the masculine gun as a passive (i.e., feminine) instrument, standing in a corner, awaiting the masculine empowerment. Likewise, the "cordial light / Upon the Valley glow" (9-10), constitutes a soft, feminine image, until the next line reveals the glow is from a volcanic eruption- an extremely masculine image. This mixture and blurring of sexual cues reflects the message of the poem, the speaker’s adoption of a role crossing gender lines but still being impotent to an extent. While there is very little rhyming in this poem, one rhyme stands out: "Doe"...

Adults and children essayEssay Writing Service

Adults and children essayEssay Writing Service Adults and children essay Adults and children essayMany adults become upset when young people break with traditions of the past. Some of them become upset, others become angry, while there are adults who start to swear hard. Their reaction may be different in different situations. Undoubtedly, these adults cannot be justified in reacting this way for a number of reasons.First, adults should not think only about their own beliefs, values and experiences that affect their lifestyle. Young people should be given an opportunity to develop their own traditions, which are consistent with their lifestyles. For example, young people love new trends in music. They should not be forbidden to listen to the music they love. Adults’ preferences in music are different. If there is a tradition in the family to listen to classical music, adults have no right to insist on holding this tradition by the younger generation.Second, adults should not have a powerful influence on young people’s opinions. It is necessa ry to take into consideration that the times are changing. There is a saying: â€Å"you either break tradition, or the tradition will break you†. Adults should not allow young people to become the victims of old traditions. Adults should adjust to changes in life because life is changing constantly. In other words, adults should make concrete adjustments according to the times they live in. For example, there is a family tradition to spend Christmas Eve at home. However, young people prefer to spend this holiday together. Adults should not interfere because of the changing times.Thus, it is necessary to conclude that there is much evidence from the experiences of people regarding the inappropriateness of adults’ behavior and reaction when young people break with traditions of the past. Many young people have acquired traditions from previous generations and continue to hold these traditions, without any knowledge of their meaning. Adults should adjust to the changing t imes and allow young people to develop their own traditions.

Traditional Circus vs Contemporary Circus Essay

Traditional Circus vs Contemporary Circus - Essay Example The origins of contemporary circus (or "cirque nouveau") can be found in 70s. In this circus a separate story is told to the audience in a chain of different small performances, unlike a traditional circus, where no separate story was told. This new movement has not theoretical background and there is no a clear intention to be separated from a traditional circus. The main aim was to position a contemporary circus as a kind of incarnation from a traditional circus. For example, there is no total abandonment of the use of animals during performances, because animals are poor narrative means. In the contemporary circus animals are often used with success. There are different means to amaze the audience in the contemporary circus, because acrobatics, juggling or clown acts are often not unique for the audience and are not very fascinating. In accordance with the artists from one of the contemporary circuses: "Circus in general has its own tradition; but at the Cirque, we try to regroup and or add multiple disciplinary approaches to synergize the creation process. Every time we add a new collection, we have to capture the relationship between the information sources and the usage† (Spencer 2007, p. 23). In the contemporary circus the main emphasis is made on a story told to the audience through a number of different acts of performance instead of separate successive performances of jugglers, clowns or animals. There is more about topic in the modern circus and the spirit of modern times. Thus, the artists of the contemporary circus are able to appeal for the emotions and feelings of the audience by referring to the most critical themes, such as love, friendship, children et cetera. They develop a chain of their actions on the background of one common theme. There are no circus families performing in the contemporary circus, but rather conservatory-trained artists; character-driven acts are conveyed to the audience through a chain of narratives embodied in a series of successive acts of performance. The audience has the ability to sit in front of the stage and get involved in the story told by the contemporary circus. There is no ringmaster in the contemporary circus anymore, because a number of performances are connected by a common theme. Thus, the representatives of the contemporary circus Nanjing I claim: â€Å"It seems that the 'cultural signifiers' related to training do not simply 'jump from one body to another' but are embodied through slow, repetitive ongoing application according to a set of cultural values imported from China. The project challenged the attitudes to training of the trainers, students and administrators of Nanjing I and encouraged them to question their cultural assumptions† (Farrel 2008, p. 2). Thus, there is a special atmosphere and environment in the contemporary circus, which depends on the quality and thematic connection among different acts of performance. To reach a wholeness of narration, the artists in the contemporary circus introduce different changes in their performance, music and costumes. This is an evident difference between a traditional circus and the contemporary circus. The modern artists wear simple leotard s and there are no traditional costumes for clowns. Human bodies of the modern artists are moving in such enchanting manner that it is really fascinating to watch movements of their strong bodies and not to pay attention to their weird costumes, wigs or any other