Surrealism - The Movement and Artists Who Defied Logic

Surrealism defies logic. Dreams and the workings of the subconscious mind inspire surrealistic art (French for super-realism) filled with strange images and bizarre juxtapositions. Creative thinkers have always toyed with reality, but in the early 20th century Surrealism emerged as a philosophic and cultural movement. Fueled by the teachings of Freud and the rebellious work of Dada artists and poets, surrealists like Salvador Dalà ­, Renà © Magritte, and Max Ernst promoted free association and dream imagery. Visual artists, poets, playwrights, composers, and film-makers looked for ways to liberate the psyche and tap hidden reservoirs of creativity. Features of Surrealistic Art Dream-like scenes and symbolic imagesUnexpected, illogical juxtapositionsBizarre assemblages of ordinary objectsAutomatism and a spirit of spontaneityGames and techniques to create random effectsPersonal iconographyVisual puns  Distorted figures and biomorphic shapesUninhibited sexuality and taboo subjectsPrimitive or child-like designs How Surrealism Became a Cultural Movement Art from the distant past can appear surreal to the modern eye. Dragons and demons populate ancient frescos and medieval triptychs. Italian Renaissance painter Giuseppe Arcimboldo  (1527–1593) used trompe l’oeil effects (fool the eye)  to depict human faces made of fruit, flowers, insects, or fish. The Netherlandish artist Hieronymus Bosch  (c. 1450–1516) turned barnyard animals and household objects into terrifying monsters. Did Salvador Dalà ­ model his strange rock after an image by Hieronymus Bosch? Left: Detail from The Garden of Earthly Delights, 1503–1504, by Hieronymus Bosch. Right: Detail from The Great Masturbator, 1929, by Salvador Dalà ­. Credit: Leemage/Corbis and Bertrand Rindoff Petroff via Getty Images Twentieth-century surrealists praised The Garden of Earthly Delights and called Bosch their predecessor. Surrealist artist Salvador Dalà ­ (1904–1989) may have imitated Bosch when he painted the odd, face-shaped rock formation in his shockingly erotic masterpiece, The Great Masturbator. However, the creepy images Bosch painted are not surrealist in the modern sense. It’s likely that Bosch aimed to teach Biblical lessons rather than to explore dark corners of his psyche. Similarly, Giuseppe Arcimboldo (1526–1593)’s delightfully complex and freakish portraits are visual puzzles designed to amuse rather than to probe the unconscious. Although they look surreal, paintings by early artists reflected deliberate thought and conventions of their time. In contrast, 20th-century surrealists rebelled against convention, moral codes, and the inhibitions of the conscious mind.The movement emerged from Dada, an avant-garde approach to art that mocked the establishment. Marxist ideas sparked a disdain for Capitalist society and a thirst for social rebellion. The writings of Sigmund Freud suggested that higher forms of truth might be found in the subconscious. Moreover, the chaos and tragedy of World War I spurred a desire to break from tradition and explore new forms of expression.   In 1917, French writer and critic Guillaume Apollinaire (1880–1918) used the term â€Å"surrà ©alisme† to describe Parade, an avant-garde ballet with music by Erik Satie, costumes and sets by Pablo Picasso, and story and choreography by other leading artists. Rival factions of young Parisians embraced surrà ©alisme and hotly debated the meaning of the term. The movement officially launched in 1924 when poet Andrà © Breton (1896–1966) published the First Manifesto of Surrealism. Tools and Techniques of Surrealist Artists Early followers of the Surrealism movement were revolutionaries who sought to unleash human creativity. Breton opened a Bureau for Surrealist Research where members conducted interviews and assembled an archive of sociological studies and dream images. Between 1924 and 1929 they published twelve issues of La Rà ©volutionsur rà ©aliste, a journal of militant treatises, suicide and crime reports, and explorations into the creative process. At first, Surrealism was mostly a literary movement. Louis Aragon (1897–1982), Paul Éluard (1895–1952), and other poets experimented with automatic writing, or automatism, to free their imaginations. Surrealist writers also found inspiration in cut-up, collage, and other types of found poetry. Visual artists in the Surrealism movement relied on drawing games and a variety of experimental techniques to randomize the creative process. For example, in a method known as decalcomania, artists splashed paint on to paper, then rubbed the surface to create patterns. Similarly, bulletism  involved shooting ink onto a surface, and à ©claboussure involved spattering liquid onto a painted surface that was then sponged. Odd and often humorous assemblages of found objects became a popular way to create juxtapositions that challenged preconceptions. A devout Marxist, Andrà © Breton believed that art springs from a collective spirit. Surrealist artists often worked on projects together.The October 1927 issue of La Rà ©volution surrà ©aliste featured works generated from a collaborative activity called Cadavre Exquis, or Exquisite Corpse. Participants took turns writing or drawing on a sheet of paper. Since no one knew what already existed on the page, the final outcome was a surprising and  absurd composite. Surrealist Art Styles Visual artists in the Surrealism movement were a diverse group. Early works by European surrealists often followed the Dada tradition of turning familiar objects into satirical and nonsensical artworks. As the Surrealism movement evolved, artists developed new systems and techniques for exploring the irrational world of the subconscious mind. Two trends emerged:  Biomorphic (or, abstract)  and Figurative. Giorgio de Chirico. From the Metaphysical Town Square Series, ca. 1912. Oil on canvas. Dea / M. Carrieri via Getty Images Figurative surrealists produced recognizable representational art. Many of the figurative surrealists were profoundly influenced by Giorgio de Chirico (1888–1978), an Italian painter who founded the  Metafisica, or Metaphysical, movement. They praised the dreamlike quality of de Chiricos deserted town squares with rows of arches, distant trains, and ghostly figures. Like de Chirico, figurative surrealists used techniques of realism to render startling, hallucinatory scenes. Biomorphic (abstract) surrealists wanted to break entirely free from convention. They explored new media and created abstract works composed of undefined, often unrecognizable, shapes and symbols. Surrealism exhibits held in Europe during the 1920s and early 1930s featured both figurative and biomorphic styles, as well as works that might be classified as Dadaist. Great Surrealist Artists in Europe Jean Arp:  Born in Strasbourg, Jean Arp (1886–1966) was a Dada pioneer who wrote poetry and experimented with a variety of visual mediums such as torn paper and wooden relief constructions. His interest in organic forms and spontaneous expression aligned with surrealist philosophy. Arp exhibited with Surrealist artists in Paris and became best known for fluid, biomorphic sculptures such as Tà ªte et coquille (Head and Shell). During the 1930s, Arp transitioned to a non-prescriptive style he called Abstraction-Crà ©ation. Salvador Dalà ­:  Spanish Catalan artist Salvador Dalà ­ (1904–1989) was embraced by the Surrealism movement in the late 1920s only to be expelled in 1934. Nevertheless, Dalà ­ acquired international fame as an innovator who embodied the spirit of Surrealism, both in his art and in his flamboyant and irreverent behavior. Dalà ­ conducted widely-publicized dream experiments in which he reclined in bed or in a bathtub while sketching his visions. He claimed that the melting watches in his famous painting, The Persistence of Memory, came from self-induced hallucinations. Paul Delvaux:  Inspired by the works of Giorgio de Chirico, Belgian artist Paul Delvaux (1897–1994) became associated with Surrealism when he painted illusionary scenes of semi-nude women sleep-walking through classical ruins. In L’aurore (The Break of Day), for example, women with tree-like legs stand rooted as mysterious figures move beneath distant arches overgrown with vines. Max Ernst:  A German artist of many genres,  Max Ernst (1891–1976) rose from the Dada movement to become one of the earliest and most ardent surrealists. He experimented with automatic drawing, collages, cut-ups, frottage (pencil rubbings), and other techniques to achieve unexpected juxtapositions and visual puns. His 1921 painting Celebes places a headless woman with a beast that is part machine, part elephant. The title of the painting is from a German nursery rhyme. Alberto Giacometti: Sculptures by the Swiss-born surrealist Alberto Giacometti (1901–1966) look like toys or primitive artifacts, but they make disturbing references to trauma and sexual obsessions. Femme à ©gorgà ©e (Woman with Her Throat Cut) distorts anatomical parts to create a form that is both horrific and playful. Giacometti departed from Surrealism in the late 1930s and became known for figurative representations of elongated human forms. Paul Klee. Music at the fair, 1924-26. De Agostini / G. Dagli Orti via Getty Images Paul Klee: German-Swiss artist Paul Klee (1879–1940) came from a musical family, and he filled his paintings with a personal iconography of musical notes and playful symbols. His work is most closely associated with Expressionism and Bauhaus. However, members of the Surrealism movement admired Klee’s use of automatic drawings to generate uninhibited paintings like Music at the Fair, and Klee was included in surrealist exhibitions.  Ã‚   Renà © Magritte. The Menaced Assassin, 1927. Oil on canvas. 150.4 x 195.2 cm (59.2 Ãâ€" 76.9 in). Colin McPherson via Getty Images Renà ©Ã‚  Magritte: The Surrealism movement was already well underway when Belgian artist Renà © Magritte (1898–1967) moved to Paris and joined the founders. He became known for realistic renderings of hallucinatory scenes, disturbing juxtapositions, and visual puns. The Menaced Assassin, for example, puts placid men wearing suits and bowler hats in the midst of a gruesome pulp novel crime scene. Andrà © Masson: Injured and traumatized during World War I, Andrà © Masson  (1896-–1987) became an early follower of the Surrealism movement and an enthusiastic proponent of  automatic drawing. He experimented with drugs, skipped sleep, and refused food to weaken his conscious control over the motions of his pen. Seeking spontaneity, Masson also threw glue and sand at canvases and painted the shapes that formed. Although Masson eventually returned to more traditional styles, his experiments led to new, expressive approaches to art. Joan Mirà ³. Femme et oiseaux (Woman and Birds), 1940, #8 from Mirà ³Ã¢â‚¬â„¢s Constellations series. Oil wash and gouache on paper. 38 x 46 cm (14.9 x 18.1 in). Credit: Tristan Fewings via Getty Images Joan Mirà ³: Painter, print-maker, collage artist, and sculptor Joan Mirà ³ (1893–1983) created brightly colored, biomorphic shapes that seemed to bubble up from the imagination. Mirà ³ used doodling and automatic drawing to spark his creativity, but his works were carefully composed. He exhibited with the surrealist group and many of his works show the influence of the movement. Femme et oiseaux (Woman and Birds) from Mirà ³Ã¢â‚¬â„¢s Constellations series suggests a personal iconography that is both recognizable and strange. Meret Oppenheim: Among the many works by Mà ©ret Elisabeth Oppenheim (1913–1985) were assemblages so outrageous that the European surrealists welcomed her into their all-male community. Oppenheim grew up in a family of Swiss psychoanalysts and she followed the teachings of Carl Jung. Her notorious Object in Fur (also known as Luncheon in Fur) merged a beast (the fur) with a symbol of civilization (a tea cup). The unsettling hybrid became known as the epitome of Surrealism.   Pablo Picasso: When the Surrealism movement launched, Spanish artist Pablo Picasso (1881–1973) was already lauded as a forefather of Cubism. Picasso’s Cubist paintings and sculptures were not derived from dreams and he only skirted the edges of the Surrealism movement. Nevertheless, his work  expressed a spontaneity that aligned with surrealist ideology. Picasso exhibited with surrealist artists and had works reproduced in  La Rà ©volution surrà ©aliste. His interest in iconography and primitive forms led to a series of increasingly surrealistic paintings. For example, On the Beach (1937) places distorted human forms in a dream-like setting. Picasso also wrote surrealistic poetry composed of fragmented images separated by dashes. Here’s an excerpt from a poem that Picasso wrote in November 1935: when the bull–opens the gateway of the horse’s belly–with his horn–and sticks his snout out to the edge–listen in the deepest of all deepest holds–and with saint lucy’s eyes–to the sounds of moving vans–tight packed with picadors on ponies–cast off by a black horse Man Ray. Rayograph,1922. Gelatin silver print (photogram). 22.5 x 17.3 cm (8.8 x 6.8 in). Historical Picture Archive via Getty Images Man Ray: Born in the United States, Emmanuel Radnitzky (1890–1976) was the son of a tailor and a seamstress. The family adopted the name â€Å"Ray† to hide their Jewish identity during an era of intense anti-Semitism.  In 1921, â€Å"Man Ray† moved to Paris, where he became important in the Dada and surrealist movements.Working in a variety of media, he explored ambiguous identities and random outcomes. His rayographs were eerie images created by  placing objects directly onto photographic paper. Man Ray. Indestructible Object (or Object to Be Destroyed), Oversized reproduction of 1923 original. Exhibition at Prado Museum, Madrid. Atlantide Phototravel via Getty Images Man Ray was also noted for bizarre three-dimensional assemblages such as Object to Be Destroyed, which juxtaposed a metronome with a photograph of a woman’s eye. Ironically, the original Object to Be Destroyed was lost during an exhibition. Yves Tanguy: Still in his teens when the word surrà ©alisme  emerged, French-born artist Yves Tanguy (1900–1955) taught himself to paint the hallucinatory geological formations that made him an icon of the Surrealism movement. Dreamscapes like Le soleil dans son à ©crin (The Sun in Its Jewel Case) illustrate Tanguy’s fascination for primordial forms. Realistically rendered, many of Tanguy’s paintings were inspired by his travels in Africa and the American Southwest. Surrealists in the Americas Surrealism as an art style far outlived the cultural movement founded by Andrà © Breton. The passionate poet and rebel was quick to expel members from the group if they didn’t share his left-wing views. In 1930, Breton published a Second Manifesto of Surrealism, in which he railed against the forces of materialism and condemned artists who didn’t embrace collectivism. Surrealists formed new alliances. As World War II loomed, many headed to the United States. The prominent American collector Peggy Guggenheim (1898–1979) exhibited surrealists, including Salvador Dalà ­, Yves Tanguy, and her own husband, Max Ernst. Andrà © Breton continued to write and promote his ideals until his death in 1966, but by then Marxist and Freudian dogma had faded from Surrealistic art. An impulse for self-expression and freedom from the constraints of the rational world led painters like Willem de Kooning (1904-–1997) and Arshile Gorky (1904–1948) to Abstract Expressionism. Louise Bourgeois. Maman (Mother), 1999. Stainless steel, bronze, and marble. 9271 x 8915 x 10236 mm (about 33 feet high). On exhibit at the Frank Gehry-designed Guggenheim Museum in Bilbao, Spain. Nick Ledger / Getty Images Meanwhile, several leading women artists reinvented Surrealism in the United States. Kay Sage (1898–1963) painted surreal scenes of large architectural structures. Dorothea Tanning (1910–2012) won acclaim for photo-realistic paintings of surreal images. French-American sculptor Louise Bourgeois (1911–2010) incorporated archetypes and sexual themes into highly personal works and monumental sculptures of spiders. Frida Kahlo. Self-Portrait as a Tehuana (Diego on My Mind), 1943. (Cropped) Oil on Masonite. Gelman Collection, Mexico City. Roberto Serra - Iguana Press / Getty Images In Latin America, Surrealism mingled with cultural symbols, primitivism, and myth. Mexican artist Frida Kahlo (1907–1954) denied that she was a surrealist, telling Time magazine,  Ã¢â‚¬Å"I never painted dreams. I painted my own reality.† Nevertheless, Kahlos psychological self-portraits possess the other-worldly characteristics of surrealistic art and the literary movement of Magical Realism. The Brazilian painter Tarsila do Amaral (1886–1973) was midwife to a unique national style composed of biomorphic forms, distorted human bodies, and cultural iconography. Steeped in symbolism, Tarsila do Amaral’s paintings might be loosely described as surrealistic. However the dreams they express are those of an entire nation. Like Kahlo, she developed a singular style apart from the European movement. Although Surrealism no longer exists as a formal movement, contemporary artists continue to explore dream imagery, free-association, and the possibilities of chance. Sources Breton, Andrà ©. , 1924First Manifesto of Surrealism.  A. S. Kline, translator. Poets of Modernity, 2010.Caws, Mary Ann, ed.. Surrealist Painters and Poets: An Anthology. The MIT Press; Reprint edition, 2002Greet, Michele. â€Å"Devouring Surrealism: Tarsila do Amaral’s Abaporu.† Papers of Surrealism 11(Spring 2015)Golding, John. â€Å"Picasso and Surrealism† in. Harper Row, 1980.Picasso in RetrospectHopkins, David, ed. A Companion to Dada and Surrealism. John Wiley Sons,  2016Jones, Jonathan.  Ã¢â‚¬Å"Its time to give Joan Mirà ³ his due again.†Ã‚  The Guardian, 29 Dec 2010.  Ã‚  Ã¢â‚¬Å"Paris: The Heart of Surrealism.† Matteson Art.  25 March 2009 La Rà ©volution surrà ©aliste [The Surrealist Revolution], 1924–1929. Journal Archive.  Ã‚  Ã‚  Mann, Jon. â€Å"How the Surrealistic Movement Shaped the Course of Art History.†Ã‚  Artsy.net. 23 Sept  2016  Ã‚  MoMA Learning. â€Å"Surrealism.†Ã‚  Ã¢â‚¬Å"Paul Klee a nd the Surrealists.† Kunstmuseum Bern - Zentrum Paul Klee  Rothenberg, Jerome and Pierre Joris, eds.  A Picasso Sampler: Excerpts from:  Ã‚  (PDF) The Burial of the Count of Orgaz, Other PoemsSooke, Alastair. â€Å"The Ultimate Vision of Hell.† The State of the Art, BBC. 19 February 2016Surrealism Period. Pablo Picasso.net  Surrealist Art. Centre Pompidou Educational Dossiers. Aug  2007

Heroes Are Heroes Of Heroes - 1416 Words

The stories of heroes are told everywhere; stories of caped men and dashing knights; the poor orphan who used his gift to save the world from the scheming villain, etc. When it comes to the topic of epic heros, most would unhesitatingly agree that heroes are static characters, they were destined for greatness since birth. This is not quite so, as heroes must be dynamic characters. They are made into who they are and they aren’t created from a prophecy or an anomaly that sets them apart from the norm. Heroes, like those around them are shaped by their past and present and are not determined by birth. Still there’s a common belief that the people one idolizes, their heroes, are distant and unreachable; otherworldly even. Some would say that the heroes were always like that, they were born to serve a purpose: to save the world. Humans change all the time but would a hero be the same? It seems to hard to believe that heroes are human too when people hear the grandiose tales of the epic heroes like the crafty Odysseus or mighty King Arthur. The heroes in the â€Å"Odyssey† and â€Å"The Once and Future King† seem to remain unaltered in their respective stories but that is not so. They are human and they do experience emotions and change throughout life just like any other person. In the â€Å"Odyssey† written by Homer, Odysseus is the main character of the epic poem but he is not a hero. He is a static character who is ultimately at fault for the death of his men. Constantly throughout theShow MoreRelatedHeroes : Heroes And Heroes Essay1568 Words   |  7 Pagestimes or in the modern world, heroes still serve the purpose of influencing people to be more courageous, and to reach for higher goals. Heroes are known mainly for their fearless acts or noble character. Heroes prompt people to better themselves, as they help us to dream larger, and work harder. Heroes never give up in their daring acts and encourage other people to do the same. The definition of a â€Å"hero† depends on the era in which they lived in. In ancient times, heroes were more physically powerfulRead MoreHeroes Are Not Born Heroes1259 Words   |  6 Pagesundergone great danger or difficulty† (Webster’s Pocket Dictionary, â€Å"hero 3†). Heroes are not bo rn heroes. Yes, everyone is born with the ability to become a hero, but in time, they may or may not become one. In our society, heroes are greatly acclaimed in the media. Whenever some person takes a bullet for a loved one or save a child from a burning building, there is a huge deal made about it, and they become known as heroes. But a person does not have to physically save someone’s life to be a hero.Read MoreHeroes And Heroes : Joe Dimaggio1008 Words   |  5 PagesJoe DiMaggio Heroes and Villains changed a part of history from 1920 to 1940 in America. During that time baseball became a popular sport. One of the heroes that impacted baseball was Joe DiMaggio. We should all be like Joe he changed an event in life and also changed baseball history. Joe DiMaggio Jr. was born on November 25, 1914 in Martinez, California (Caso). He had Italian Immigrant parents and grew up in San Francisco, California (Joe Bio). He lived in a small house, but with a big family (JoeRead MoreHeroes Of Heroes - Original Writing2279 Words   |  10 Pagesdripped from the silver black ceiling above felt more threatening. That creature was his master, his creator, his God. How could it die? Such thoughts seemed distant even now. It was an impossibility that he refused to accept. Even the so called Heroes were unable to inflict mortal damage to his master. No one was puissant enough to banish it from existence. He was pretty sure that even the so called Gods of the puny mortals were not a match for his creator. But now, they were telling him that hisRead MoreThe Heroes Of Heroes : Superman, Wonder Woman, And Spiderman1381 Words   |  6 PagesThere are many types of heroes but if you look further into them one might find that, mostly, they can all be put into one of three categories. First there are the Superheroes. They are the ones with larger than life powers. They are often found in comic books and movies. The Superheroes are arguably the most well known type of heroes. Great examples include, Superman, Wonder Woman, and Spiderman. The other type of heroes are the Vigilante. The Vigilante are the heroes that save the day but are wantedRead MoreThe Heroes Of The Media953 Words   |  4 PagesAlthough we hardly see heroes in the media because of all the v iolence in the world, we should be able to recognize heroes serving for our country, but also our everyday heroes in our community. Gibbon, a who has studied the disappearance of   public heroes in America, disagreeing with Gibbon and the statement, â€Å"America no longer has heroes.† Journalists and the media do not capture the heroism being shown due to the many columns devoted to other unimportant issues, journalists can contribute to people’sRead MoreThe Heroes Of A Hero1021 Words   |  5 PagesThe Heroes of Fearless A hero can be many different types of people and have many different qualities. The Merriam-Webster dictionary defines a hero as a person admired for achievements and noble qualities. Tom Hanks said â€Å"A hero is somebody who voluntarily walks into the unknown†. Heroes are strong and courageous, but they can also be quite and work behind the scenes. Eleanor Roosevelt once said â€Å"We do not have to become heroes overnight. Just a step at a time, meeting each thing that comes upRead MoreThe Heroes Of A Hero1082 Words   |  5 Pagesdifferent heroes today. There are the heroes you read about in books and watch in movies such as The Avengers and X-Men, and there are the everyday heroes such as doctors, police, and soldiers. There are also tragic heroes. Shakespeare is famous for his tragedies and tragic heroes in them. The traits that make a character a hero in today’s society is, someone who is brave and courageous, strong and fearless selfless, and always wanting to help someone else in need. Today in modern society, heroes are shapedRead MoreHeroes in the Bible763 Words   |  3 Pagesabout the idea of heroes today tends to conjure images created by films such as The Avengers, The Fantastic 4, or Spider-Man. Indeed, since childhood we learn that these are heroes. They are the ones who are not only better than the rest of humanity in some way (usually physical), but who also use these strengths to help those around them. Although few people today think of the Bible in terms of the heroism concept we grew up with, the Old Testament contains some tales of heroes that can stillRead MoreHeroes Essay957 Words   |  4 PagesHeroes Essay The question remains: who is worthy to be called a hero? I have seen many people who deserve the title of a hero for many bold actions. Sure, they do not wear legendary costumes, drive bat-mobiles or possess superhuman abilities. Of course, there is much more to a hero than just what is visible to the eye. As a matter of fact, it is all about what is on the inside—the qualities and behavior fixed in a mentality. That is why self-obsessed people do not make it on the list of heroes

What Impressions of the Characters Relationship Are Conveyed Free Essays

What impressions of the characters relationship are conveyed by the language they use, and the interaction between them? In this text, the opening scene of Ibsen’s Dolls House, the conversation between Helmer and Nora shows who acts as a more authoritative figure through imperatives, patronising lexis and explanative language. This is to show the relationship between the married couple regarding terms of how they address each other. I will also consider gender theories such as Debora Tennen’s gender theory of politeness and Zimmerman and West’s suggesting men are more dominating in conversation. We will write a custom essay sample on What Impressions of the Characters Relationship Are Conveyed? or any similar topic only for you Order Now The purpose of the text, A Dolls House, is to reveal information about the relationship between Nora and Helmer through the interactions of their conversation and their lexis. Nora speaks in a polite manor, ‘just this minute’ which could be interpreted through Trudgill’s gender theory suggesting women use precise pronunciation to aim to be viewed at a higher class. The adjective, ‘just’ could imply Nora will act quickly in order to respond to her husband because he has a higher status and power over herself. However, her husbands language is very different, ‘been wasting money again? ’ this rhetorical question implies a threatening and dominant tone. This could be interpreted by kZimmerman and West’s gender theory which suggests men act more dominant in conversation in order to gain and keep power. The terms of address the couple use change in relation to the conversation topic. Nora addresses her husband by his second name, ‘As you please, Torvald’ which could imply their relationship is formal and she has little authority as he holds all the power. This could be interpreted by Debora Tennen who states that women use terms of address and politeness to form bonds. However, Helmer addresses Nora in two different approaches; whilst they are having a general conversation Nora is referred to as his possession, ‘My little skylark’ the adjective ‘little’ implying she is belittled as she has no authority. Also, the use of the pronoun, ‘my’ implies Nora belongs to Helmer and she has control over her hence the metaphor for her name. However, when Nora ‘misbehaves’ she is addressed with her name, ‘Nora, Nora! Just like a woman! ’ his use of explanative language portrays his loss of patience with her but also he is telling her off like Nora is a child in a patronising manor. The repetition of ‘Nora’ implies she has done wrong and he dismisses her to get her to behave like a father would to a child. This could be interpreted by Grice’s maxims of quantity as he speaks more than Nora implying he has a higher level of authority and power. How to cite What Impressions of the Characters Relationship Are Conveyed?, Essay examples

Alfred Tennysons Charge of the Light Brigade and Wilfred Owens Exposure Essay Example For Students

Alfred Tennysons Charge of the Light Brigade and Wilfred Owens Exposure Essay Alfred Tennysons Charge of the Light Brigade and Wilfred Owens Exposure are two different portrayals of war through poetry. Charge of the Light Brigade is a fast moving poem made up of six stanzas with rhyming in each. The poem describes the advance made by the Light Brigade during the Battle of Balaclava, part of the Crimean War. The Crimean war took place between 1853 and 1856 and Tennyson is one of the most important poets of the Victorian period. From 1850 until his death in 1892, he was poet Laureate, the countries official poet. The poem praises the Brigade, celebrating the sacrifice they made for the country. In the poem there is both the realistic depiction of the violence experienced by the soldiers and the glory of dying for their country. Exposure is a poem written about experiences during the war in winter during World War 1. His poem was a lot more depressing and looked on the more non-heroic. It talks about all the dangers of war not just the battles but it focuses on weather a lot throughout the poem, he talks about Merciless iced east winds and frost will fasten to the mud This gave us a very descriptive image of the climate during the war. Unlike Tennyson who based his poem on a newspaper report, Wilfred Owen actually experienced the war so he had a first hand view of what war was like. At the time of the Crimean war there was much less freedom of speech then there is now. Many poets couldnt even get their poems published during war time to protect the government from being ridiculed for the conditions of war. So it is likely that Alfred Tennyson was told to write a poem praising the soldiers who died in the battle, however It could be just as possible that Tennyson was very awestruck by what he wrote as heroism which the soldiers showed in the war. When can their glory fade? and Honour the charge they made! are just two quotes which portray the soldiers as heroes. Whatever the writers motives were for writing the poem he definitely conveys the idea that these soldiers are heroes. However Wilfred Owen had no ulterior motives for writing the poem, he definitely had a horrific time on the battle grounds not just because it was the place he lost his life but also just from the severe bluntness of his writing during the poem. The first three words of the poem are Our brains ache which is just the beginning of a long journey through feelings and challenges Own personally faced during the war. Wilfred Owen really wanted to convey these feelings through his poem as there was also a lot of propaganda throughout the first world war which suggested heroism and Owen wanted to write about the flip-side of that and show the real effects of war. Sometimes: Nothing Happens. Both poems use a variety of ways to get their point across. They may use the same methods; however they use them to get their very individual messages across in. Personification is used throughout both poems however it is used most in Exposure. Personification is used so that you could relate with the setting or object which is being described so everyday verbs and adjectives are used. In Exposure it uses personification to almost intimidate us with words like Merciless iced east winds and The winds nonchalance. It gives the impression that the weather is angry and murderous. .u8b96e4331c9685f8b8fdde123488a545 , .u8b96e4331c9685f8b8fdde123488a545 .postImageUrl , .u8b96e4331c9685f8b8fdde123488a545 .centered-text-area { min-height: 80px; position: relative; } .u8b96e4331c9685f8b8fdde123488a545 , .u8b96e4331c9685f8b8fdde123488a545:hover , .u8b96e4331c9685f8b8fdde123488a545:visited , .u8b96e4331c9685f8b8fdde123488a545:active { border:0!important; } .u8b96e4331c9685f8b8fdde123488a545 .clearfix:after { content: ""; display: table; clear: both; } .u8b96e4331c9685f8b8fdde123488a545 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u8b96e4331c9685f8b8fdde123488a545:active , .u8b96e4331c9685f8b8fdde123488a545:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u8b96e4331c9685f8b8fdde123488a545 .centered-text-area { width: 100%; position: relative ; } .u8b96e4331c9685f8b8fdde123488a545 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u8b96e4331c9685f8b8fdde123488a545 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u8b96e4331c9685f8b8fdde123488a545 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u8b96e4331c9685f8b8fdde123488a545:hover .ctaButton { background-color: #34495E!important; } .u8b96e4331c9685f8b8fdde123488a545 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u8b96e4331c9685f8b8fdde123488a545 .u8b96e4331c9685f8b8fdde123488a545-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u8b96e4331c9685f8b8fdde123488a545:after { content: ""; display: block; clear: both; } READ: The merchant of venice-From what has Portia's father tried to protect her, and how do her suitors arrive at their choices in the casket test? EssayIn Tennysons poem, however, uses personification to stir up emotions and keep us on edge for the heroes he writes about by saying they are going into the Jaws of death and Mouth of Hell these words also mock the enemies in the battle saying that they are the place where Hell reigns. In Exposure Owen wants to describe just how bad conditions in WWI were. So a technique which Owen uses, which Tennyson doesnt at all, is similes. He uses two of these in one paragraph describing the sound of wind and bullets in the distance. Watching , we hear the mad gusts tugging on the wire. Like twitching agonies of men among its brambles. Northward incessantly, the flickering gunnery rumbles, far off, like a dull rumour of some other war. These lines link the freezing weather lingering on them and the isolation which they feel as they arent in a major war zone. The structure of Tennysons poem is a very fast moving poem which is almost exciting. There is also multiple rhymes throughout the poem; these rhymes, however, dont seem to follow a structure. Rhymes used include hell well shell fell in one stanza. These rhymes usually make the reader put more emphasis on those words, this makes poets uses the more extreme words are the ones which rhyme which is exactly what Tennyson did. The rhythm used is a steady but quite fast beat which reflects on the subject of the poem where the soldiers are charging together. However Exposure has no rhythm as it leaves the reader to choose their own rhythm, Owen doesnt use rhyming much however when he does he doesnt use them in a regular pattern like Tennyson. Owen uses the emphasis of rhyming words to just show how bad it was living in the trenches. In Exposure Owen created imagery in other ways too. In his poem he uses colour to describe the scene and even emotions. Shudders black with snow and shivering ranks of grey This could just mean that there was black snow and that all the army was dressed in grey, but I think that Owen was trying to describe the bleakness and the death that reigned during war; that snow brought death which was written as black snow. Also that grey is a dull colour which could show that nothing was happening and that the soldiers were just stood their shivering and slowly dying. Owen also uses a few bits of onomatopoeia which is used to let people associate the images with sounds while reading the poem. He uses words like the flickering gunnery rumbles These words mixed with strong adjectives such as flickering can give readers an extensive sensory view of the scene Owen is describing. Tennyson used repetition a lot to get his point across; it is used to make the words stick in the readers head. Tennyson even repeats most of a whole stanza in stanza 5 from stanza 3. Also at the end of each stanzas it ends with the words six hundred with a statement about them before. This showed the journey of the army. Starting with rode the six hundred for the first three stanzas then goes Not the six hundred which goes on to say that not all of them make it and then finally the last few words Noble six hundred It really makes the words stay in your mind, it stirs up emotions for these six hundred people who gave their lives and saying it so many times just reminds you each stanza about these six hundred heroes who gave their lives. So leading on from that I come to my conclusion; I think that both of these poems are remarkable pieces of writing which bring two different points about war and also using some of the same techniques and using them to pursue their original ideas. Personally I emphasise more with Owens poem as I feel that he brings a raw poem of the bad sides of war which I think is needed to show how bad war is as Tennyson just praises war. Overall though I think that both poems give due respect to people who have died in the war and that is written very beautifull.