Neste trabalho, apresento alguns dados sobre a poesia de Lord Byron, seleciono alguns dos seus principais poemas para mostrar a importância de seu papel para a literatura Inglesa bem como o que caracteriza sua poesia como romântica.
Nesta apresentação procuro mostrar o essencial sobre William Blake, tratando de sua poesia e de como suas gravuras revelam dados importantes sobre sua mundividência ao ilustrar seus poemas.
Neste trabalho, apresento alguns dados sobre a poesia de Lord Byron, seleciono alguns dos seus principais poemas para mostrar a importância de seu papel para a literatura Inglesa bem como o que caracteriza sua poesia como romântica.
Nesta apresentação procuro mostrar o essencial sobre William Blake, tratando de sua poesia e de como suas gravuras revelam dados importantes sobre sua mundividência ao ilustrar seus poemas.
After great pain, a formal feeling comes – (372)BY EMILY DICKI.docxgalerussel59292
After great pain, a formal feeling comes – (372)
BY EMILY DICKINSON
After great pain, a formal feeling comes –
The Nerves sit ceremonious, like Tombs –
The stiff Heart questions ‘was it He, that bore,’
And ‘Yesterday, or Centuries before’?
The Feet, mechanical, go round –
A Wooden way
Of Ground, or Air, or Ought –
Regardless grown,
A Quartz contentment, like a stone –
This is the Hour of Lead –
Remembered, if outlived,
As Freezing persons, recollect the Snow –
First – Chill – then Stupor – then the letting go –
Much Madness is divinest Sense - (620)
BY EMILY DICKINSON
Much Madness is divinest Sense -
To a discerning Eye -
Much Sense - the starkest Madness -
’Tis the Majority
In this, as all, prevail -
Assent - and you are sane -
Demur - you’re straightway dangerous -
And handled with a Chain -
I felt a Funeral, in my Brain, (340)
BY EMILY DICKINSON
I felt a Funeral, in my Brain,
And Mourners to and fro
Kept treading - treading - till it seemed
That Sense was breaking through -
And when they all were seated,
A Service, like a Drum -
Kept beating - beating - till I thought
My mind was going numb -
And then I heard them lift a Box
And creak across my Soul
With those same Boots of Lead, again,
Then Space - began to toll,
As all the Heavens were a Bell,
And Being, but an Ear,
And I, and Silence, some strange Race,
Wrecked, solitary, here -
And then a Plank in Reason, broke,
And I dropped down, and down -
And hit a World, at every plunge,
And Finished knowing - then -
We grow accustomed to the dark
By Emily Dickinson
We grow accustomed to the Dark -
When light is put away -
As when the Neighbor holds the Lamp
To witness her Goodbye -
A Moment - We uncertain step
For newness of the night -
Then - fit our Vision to the Dark -
And meet the Road - erect -
And so of larger - Darknesses -
Those Evenings of the Brain -
When not a Moon disclose a sign -
Or Star - come out - within -
The Bravest - grope a little -
And sometimes hit a Tree
Directly in the Forehead -
But as they learn to see -
Either the Darkness alters -
Or something in the sight
Adjusts itself to Midnight -
And Life steps almost straight.
I Died For Beauty But Was Scarce - Poem by Emily Dickinson
I died for beauty but was scarce
Adjusted in the tomb,
When one who died for truth was lain
In an adjoining room.
He questioned softly why I failed?
'For beauty,' I replied.
'And I for truth,--the two are one;
We brethren are,' he said.
And so, as kinsmen met a night,
We talked between the rooms,
Until the moss had reached our lips,
And covered up our names.
I heard a Fly buzz - when I died - (591)
BY EMILY DICKINSON
I heard a Fly buzz - when I died -
The Stillness in the Room
Was like the Stillness in the Air -
Between the Heaves of Storm -
The Eyes around - had wrung them dry -
And Breaths were gathering firm
For that last Onset - when the King
Be witnessed - in the Room -
I willed my Keepsakes - Signed away
What portion of me be
Assignable - and then it wa.
Emily Dickinson
1830-1886
A virtual recluse
In 55 short years of life, rarely left her home in Amherst, Mass.
A comfortable home: dad a prominent lawyer and civic leader.
A chronically ill mother, for whom Emily had to care
An unmarried sister (“Vinnie”) who also lived at home.
A brother (Austin) and his wife Susan Gilbert, to whom ED wrote.
A highly religious household, but Emily was different; a little strange and solitary. Not anti-social, but not exactly the “belle of the ball.” Hard to communicate with; on a different “wavelength.”
Had few friends. Never married or had a “boy friend,” and, as far as we know, never experienced physical love.
A valentine to a young man at Amherst
“Sir, I desire an interview; meet me at sunrise, or sunset, or the new moon – the place is immaterial…With soul, or spirit, or body, they are all alike to me. With host or alone, in sunshine or storm, in heaven or earth, some how or no how – I propose, sir, to see you. And not to see merely, but a chat, sir, or a tete-a-tete, a confab, a mingling of opposite minds is what I propose to have…Our friendship, sir, shall endure till sun and moon shall wane no more, till stars shall set, and victims rise to grace the final sacrifice…I am Judith, the heroine of the Apocrypha, and you the orator of Ephesus. That’s what they call a metaphor in our country. Don’t be afraid of it, sir, it won’t bite!
To George Gould, a friend of her brother Austin, Feb. 1850
“Vesuvius at home”
Spent her solitude reading (Bible and Shakespeare), writing poetry.
Some poems about the theme of creativity itself. Often compared her creative urge to a volcano bubbling invisibly beneath the surface:
Volcanoes be in Sicily
And South America
I judge from my Geography –
Volcanoes nearer here
A Lava step at any time
Am I inclined to climb –
A Crater I may contemplate
Vesuvius at Home. (#1705; ?)
No desire for fame.
Never in her lifetime did she try to publish her poems. Handwrote and tied them together in small bundles (“fascicles”), 1776 in all. Asked sister to burn them after death.
Vinnie could not do it, and with a family friend, eventually brought them to light.
I’m Nobody! Who are you?
Are you – Nobody – Too?
Then there’s a pair of us?
Don’t tell! they’d advertise – you know!
How dreary – to be – Somebody!
How public – like a Frog –
To tell one’s name – the livelong June –
To an admiring Bog! (#288; c. 1861)
Despite staying at home, she knew the world.
I never saw a Moor –
I never saw the Sea –
Yet know I how the Heather looks
And what a Billow be.
(#1052; c. 1865)
Dickinson vs. Whitman
“One of the two great poetic geniuses of the 19th c.” (F. Madden)
As different from Whitman as night from day.
“You speak of Mr. Whitman – I never read his Book – but was told that he was disgraceful --” (ED in letter to TW Higginson, April 1862)
Whitman a “public” poet who loved people; Dickinson intensely private.
Whitman’s lines a ...
The World is too much with usThe world is too much with us; la.docxssusera34210
The World is too much with us
The world is too much with us; late and soon,
Getting and spending, we lay waste our powers;
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This Sea that bares her bosom to the moon; 5
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers;
For this, for everything, we are out of tune;
It moves us not. — Great God! I’d rather be
A Pagan suckled in a creed outworn; 10
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathèd horn.
Dog’s Death
She must have been kicked unseen or brushed by a car.
Too young to know much, she was beginning to learn
To use the newspapers spread on the kitchen floor
And to win, wetting there, the words, “Good dog! Good dog!”
We thought her shy malaise was a shot reaction.
The autopsy disclosed a rupture in her liver.
As we teased her with play, blood was filling her skin
And her heart was learning to lie down forever.
Monday morning, as the children were noisily fed
And sent to school, she crawled beneath the youngest bed.
We found her twisted and limp but still alive.
In the car to the vet’s, on my lap, she tried
To bite my hand and died. I stroked her warm fur
And my wife called in a voice imperious with tears.
Though surrounded by love that would have upheld her,
Nevertheless she sank and, stiffening, disappeared.
Back home, we found that in the night her frame,
Drawing near to dissolution, had endured the shame
Of diarrhea and had dragged across the floor
To a newspaper carelessly left there. Good dog.
Shall I compare thee to a summer’s day?
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date.
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature’s changing course, untrimmed.
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’stº possess
Nor shall death brag thou wand’rest in his shade,
When in eternal lines to time thou grow’st.
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee
Because I could not stop for death
Because I could not stop for Death —
He kindly stopped for me —
The Carriage held but just Ourselves —
And Immortality.
We slowly drove — He knew no haste
And I had put away
My labor and my leisure too,
For His Civility —
We passed the School, where Children strove
At Recess — in the Ring —
We passed the Fields of Gazing Grain —
We passed the Setting Sun —
Or rather — He passed Us —
The Dews drew quivering and chill —
For only Gossamer, my Gown —
My Tippet° — only Tulle — shawl
We paused before a House that seemed
A Swelling of the Ground —
The Roof was scarcely visibl ...
It's a ppt analysis of the short poem "Stopping by the woods on a Snowy Evening" by Robert Frost.The summary explanation along with the literary devices are provided in the slides.Thank You
What Would Foucault Say? Using quotes from Michel Foucault’s famous “Panopticism” essay, the 3rd chapter of “Discipline and Punish: The Birth of the Prison,” Dr. Daniela Antonina Ragusa will demonstrate how the use of visual texts in the classroom can help facilitate the discussion of a challenging reading and help students apply a critical framework to their thinking and writing. Please attend to learn some techniques for nurturing intellectual thought and improve academic discourse skills. WWFS?
Liberal Arts Capstone: "Body Narratives: Reshaping the Discourse from Fertility to Mortality" by Dr. Daniela Antonina Ragusa and Capital Community College Students. Poster Presentation of Body Topics and Artists' Exhibition of "Duct-Tape-Dummy Body-Doubles" Hartford, CT, Dec 17, 2014.
IDS 250-01 Liberal Arts Capstone-- Fall 2014
CRN 3324 Wednesdays 1:15-3:57 in Room 1120
Narrating the Body/Reshaping the Discourse
Instructor: Dr. Daniela Ragusa (dragusa@ccc.commnet.edu 860-906-5202) Humanities Department
Office Hours: Monday & Tuesday and by appointment (office: room 1114)
Catalog Description: IDS 250 Liberal Arts Capstone is an interdisciplinary course focusing on a theme affecting cross sections of humanity. It is designed to broaden students’ perspectives beyond their own culture or discipline and to provide an opportunity for the integration of knowledge gained in General Education courses taken previously. The course will have a rigorous writing component and is required for all students graduating from the Liberal Arts Program (this requirement applies to students who enroll in the Fall of 2007 or later).
Prerequisites: ENG 101, ENG 102. Students must be in their second year (i.e. 30+ credits) of the Liberal Arts and Sciences degree program to take this course. If you do not meet these requirements but have registered anyway, you may still not be eligible to get credit for this course. Please see me in the first week of the semester if you do not meet the prerequisite requirements.
Goals & Objectives: This course will challenge you to grow in all six learning goals of the Liberal Arts and Sciences Degree Program: (1) effective communication, (2) use of information technology, (3) scientific reasoning, (4) critical thinking, (5) research and documentation skills, and (6) global awareness.
Course Description: Our topic for this semester is how body narratives (the personal stories people tell about their bodies) fit into body discourses (larger conversations about the human body existing in the public realm.) In this course, students will inquire into the political import of these narratives to discuss how privilege and oppression become embodied in the ways we view our very selves and in the ways we view others. Furthermore, students will consider how historical, medical, societal, cultural, aesthetic, and other contexts form competing versions of mainstream and alternative discourses, which in turn help create our understanding of: what bodies are for, what they can (and can't) do, to whom they belong, where they are allowed to exist, when they are permitted to be seen, how they are used, and why they are valued, or not.
With the help of guest speakers (professors who are experts in their fields, as well as student-leaders and community members with personal expertise on various topics), students will learn how people narrate the stories of their own bodies according to and/or contrary to public discourses existing outside of themselves. For example: people tell stories of weight loss or weight gain within the paradigm of the weight loss industry as it is mediated by advertising and/or medical rhetoric. Another example: people tell stories of their struggle with alcoholism, drug abuse, and sobrie
50. Why is Death personified as a
gentleman, a lover?
Why is Death dramatized as a date, a
rendezvous?
How does this poem prompt you to
think and feel about your own death?