Thomas Hobbes Essay Example | Topics and Well Written Essays - 1250 words

Thomas Hobbes - Essay Example Man’s capriciousness is a threat to themselves and the desire for what others have gained in pursuit of the so-called equality without examining what can make them truly satisfied serves as self-destructive factors. Such claim could be further examined with Hobbes’s three principal causes of quarrel which are: competition diffidence and glory. The concept of the three principal causes can be associated with the example on man’s thrive to equality. In war, time hold a specific and essential role. c. Hobbes opined that time in war is as essential as time in weather. Bad weather cannot be measured with the amount of rain but the rainy days altogether; just as war where threat is not apparent in the battle itself but how long is it going to take for war to persist, because after the war, there is an assurance of peace. The state of war and argument is caused by man himself, and only he can make means to end it by making a pact or covenant in which both parties have t o observe. Section 2: Question 1 â€Å"J.J. Thompson claims...† According to J.J. Thompson, abortion is not always morally impermissible. She noted that a woman must be given the right to choose whether or not the baby should live, in case that the pregnancy was due to rape. She contends that the impermissibility of abortion is a case to case basis. And because of that argument she created thought experiments to further defend her view on that matter. There are few thought experiments she presented in her essay where one is an example analogous to pregnancy due to rape and the other is based on the concept of people-seeds. The first mentioned tells about you being kidnapped. A famous violinist needs your body so that he could live and so, he is ‘plugged’ into your body by some medical tube, where it should stay there for nine months (or more). The doctor said that you have no choice because until he recovers and removing the tubes would mean killing him. In the s ame way, pro-life views would say that abortion of pregnancy due to rape is still impermissible because the life in the womb is innocent, the same way as the violinist is innocent. Because of this, the woman in the example, and the woman being pregnant by rape has the same situation. Thompson further asserts that if right to life is given more weight than right to choose in any circumstance, it is just like saying that the person in the example does not have the right to remove the tubes from her body because it would mean murder; and murder is always and absolutely impermissible. The second thought experiment tells about â€Å"people-seeds.† Thompson argued that unwanted pregnancy even due to voluntary intercourse with contraception gives the mother the right to abort the baby because using contraception infers that the woman does not desire to have a baby. Thompson compared it to a person who puts in mesh screens so that pollens will not be implanted. If in case a seed drif ts in and takes its root, this gives the owner the right to remove it. Thompson’s arguments are direct to the point. She has clear associations which illustrate the points she wanted to express. However, she missed two points in her arguments which made her thought experiments unsuccessful. First, women have an in born motherly instinct and conscience and second, it is well documented that there is no 100% effective birth control method except for abstinence, so

Reflection Letter Essay Example for Free

Reflection Letter Essay This document contains my knowledge and lessons on ethics and integrity I have learnt from the Academic Seminar as well as the reasons why I found myself interacting with the Office of Student Conduct. My suspension was based on misconduct of academic ethics and integrity. We were caught cheating on quizzes and on online tests. Being afraid to tell the truth, the school gave us suspension which I have served outside school. My involvement in academic misconduct in the University of Nevada, Las Vegas has taught me a lesson after the sanction posed on me. It was my actions that have caused me all these mess and according to the lessons I have learnt in the Academic Integrity Seminar, I believe in high degree of integrity from today. My friend and I were caught cheating on quizzes and online tests. Unfortunately, our instructor caught us red-handed and we were referred to the Office of Student Conduct. My relaxed efforts on academics led me into all these mess. Instead of going to do more studies on previously learnt topics, my peers and I would go to the clubs and any other place that we could have fun and forgot our academic roots were more important. Only to find that I had nothing to offer whenever there was an exam. That’s when my best friend would suggest that we improvise a way in which we can acquire high grades and achieve academic scholarship. The truth is that our efforts were imposing a great danger in my academic and personal life. This kind of incidences has also happened to my peers especially my best friend. To avoid such a circumstance occurring again in my life, I have decided to take my studies more seriously. Again, I have decided to make proper preparations in my studies prior to examination period or any other test and quiz. I have also decided to avoid the bad groups or peers in the campus and choose a company with good academic morals. During the Academic Integrity Seminar, I have learnt that I am only destroying my life. I am a person with great vision for my life, my country and the entire world. I don’t want to shun this away. My knowledge on ethics and integrity has gone a notch higher. Being able to know that ethics and integrity is part of my scholar achievement during my academic life, it’s an assurance that I will practice it both in college and after college. This lesson on integrity will go a long way in my life as I have to practice even at work place. Knowledge without ethics and integrity is harm to a scholar’s life. I went through all the modules in the integrity seminar and learnt that some of us fall victims of plagiarism knowingly or unknowingly. We have to include citations in our term papers whenever we use work from other authors whether it’s from the internet or from any other public sources. We should not have the assumptions that the sources belong to the community. From now onwards, I will make sure that I cite any reference that I quote in my academic term papers and any life research papers I work on.

Reviewing The Tragical History Of Doctor Faustus English Literature Essay

Reviewing The Tragical History Of Doctor Faustus English Literature Essay My third chapter proposes a threefold analysis of the major characters in The Tragical History of Doctor Faustus and The Master and Margarita. First, by comparing Faustus and Margarita, I show how their individual features as well as their relationships with the other characters are marked by elements of feminism, psychoanalysis, Renaissance humanism, affective geography, and role-play. Then, I put forth a parallel between Woland and Mephostophilis meant to reveal that-in both literary works-the devils embody a necessary evil that actually reinforces divinity. Last but not least, an insight into some of the most significant supernatural episodes of these books shall demonstrate that magical realism and Bakhtins theory of carnival laughter offer readers the Faustian myth with a twist. Margarita and Doctor Faustus Starting from the premise that man is created as Gods reflection, in a twofold embodiment of the masculine and the feminine principle (Sergei Bulgakov 150), one might easily assume that both The Tragical History of Doctor Faustus and The Master and Margarita underline the harmonious union between male and female elements-hence Bulgakovs title of his novel and also its dual structure; yet instead, nothing could be farther from the actual ponder of masculine over feminine aspects in both books. In this sense, feminist critics and theoreticians base their approach to either of these two literary works on issues of gender-segregated societies, appellatives, transgender identity, androgyny, and linguistically codified male discourses. Both Marlowes England and Bulgakovs Stalinist Russia are worlds segregated in terms of gender. Eve Kosofsky Sedgwick explains: male friendship, mentorship, admiring identification, bureaucratic subordination, and heterosexual rivalry (quoted in Chedgzoy 247) are all forms of homosocial connections that pervade both Marlowes play and Bulgakovs novel. Thus, Faustus aspirations are foreshadowed at the beginning of the play when he fantasizes about exotic sites, colonial exploitation (attributed to men exclusively), and violent ambitions: Ay, these are those that Faustus most desires. / O, what a world of profit and delight, / Of power, of honour, of omnipotence (Marlowe 52). Faustus deems knowledge the way to gain power. His is not a singular view; rather, it represents the exponent of Marlowes epoch according to historians: during those times, this segregation extends even to theatres where actresses are not admitted and universities where men alone are granted access. Bulgakovs work o f fiction account for a role reversal, although the circumstances are somewhat similar. Margarita-the female Faustus of the twentieth century and therefore the one who assumes a anti-hegemonic role-is swept off her feet by the Master, a God-like figure who is not satisfied with writing about Yeshua (hence the identification with the latter that confers him divine authority) but carries his artistic mission further, which acquires metaphysical connotations. The Master remains unnamed and thus represents a universal symbol of Bulgakovs literary times. He is the exponent of one of the major Moscow literary associations, called Massolit (Bulgakov 11) that rarely if ever includes women writers among its members. Even if this is the case, women are belittled twice: first rejected as writers or second fiercely censored by the state. Feminists seek to rebel against such a misogynistic structure of masculinity; they find the key figures to do that in exactly the same female characters who are initially submissive and oppressed. Both Margarita and Helen of Troy disrupt the authoritative discourse of masculinity. On the one hand, the second part of Bulgakovs novel casts away the Master and brings into focus the beautiful Margarita: She was beautiful and intelligent. () many women would have given anything to exchange their lives for the life of Margarita Nikolaevna (Bulgakov 166). She is now the active protagonist, whereas the Master is the passive one. She is willing to sacrifice body and soul in the name of love, acknowledging her role entirely. On the other hand, Marlowes tragedy depicts Helen as the demolisher of masculine power; her name Helen may be read as made up of the core Hel (referring to hell and destruction) and the particle -en. That is why Helens image is associated with the downfall of Troy but also of Faustus and Wittenberg here. Furthermore, an equally significant element that brings about the subversion of masculine authority is love. Both Faustus and the Master single-mindedly surrender to their mistresses, although this aspect is more obvious at Marlowe. In Bulgakovs book, the Master owes Margarita his salvation and recuperation, whereas in Marlowes tragedy, the play of significances has a greater depth. Doctor Faustus and Helen engage in an androgynous role-play: he plays Semele and Paris: I will be Paris, and for love of thee / Instead of Troy shall Wittenberg be sackd, / () When he appeard to hapless Semele (Marlowe 106), while Helen assumes the prototype of feminine beauty but also the role of Jupiter: Brighter art thou than flaming Jupiter (106). A few lines afterwards, by being associated with Eve, Faustus becomes aware of his sin but he is also left with an undermined masculinity: that tempted Eve may be saved, but not Faustus (108). In The Tragical History of Doctor Faustus and The Master and Margarita alike, even episodic characters or those of lesser importance see women only as a medium of power, as objects rather than agents. Hence Valdes ironic observation: Sometimes like women or unwedded maids, / Shadowing more beauty in their airy brows / Than in the white breasts of the queen of love (Marlowe 54) or Robins declamatory fantasy: Ay, there be of us here that have waded as deep into / matters as other men (73). Mephostophilis himself turns the concept of marriage into an antisocial act because he offers Faustus a devil disguised as woman instead of a wife. Bulgakovs text describes the meeting between Azazello and Margarita on which occasion the former reckons that women are superficial beings: saying ironically: Difficult folk, these women! (174). Another character, Hella-Wolands maidservant-is analogised to Helen of Troy through her name (note the particle Hell): she represents the feminine side of Hell. Twentieth century feminists fight against such patriarchal empowerment. This is the case of Helene Cixous who upholds the idea that gender relations are inscribed in the language we use. Consequently, Cixous turns the invisibility of women back against men, who become the other of the other and hence are cancelled out (Hedges 106). Following in the same line, Luce Irigaray argues that man obliterate differences between them and women as a result of their belief that women represent their reflected opposites; therefore, womens otherness is denied (Hedges 105-6). Additionally, the two protagonists of these literary works are linked by features of humanism. Doctor Faustus definitely embodies the exponent of the perfectible man of the Renaissance whose intellectual curiosity, aspiration for power, and nationalism are expressed rhetorically in the first person singular: Ill have them (à ¢Ã¢â€š ¬Ã‚ ¦) / Ill levy (à ¢Ã¢â€š ¬Ã‚ ¦) / Ill make (à ¢Ã¢â€š ¬Ã‚ ¦) (Marlowe 53). In this respect, Faustus is an overreacher according to Harry Levin as he reaches out to the unconscious, to supernatural forces that might help him remedy the intellectual bases of his age which he perceives as faulty (quoted in Mitchell 55). Although he aims to gain fame through his powers and he aspires to be more than a man, he is permanently haunted by an uneasy consciousness; hence the opposition between the Good and the Bad Angels but also the Seven Deadly Sins that reveal the scholars inner flaws. Margarita too is a representative of twentieth century humanism. She does not seek to gain power through knowledge but through love. Similarly, her being an overreacher is evident in the desire to explore new environments and her acceptance to obey occult forces. Marlowes Faustus and Bulgakovs Margarita are both folk protagonists since they are considered dissidents of their times, in spite the fact that their endeavours target very distinct goals. Paul de Man describes this type of character as the one whose path is strewn with those parts of himself that he had to abandon in the process of his own becoming (398). Faustus symbolizes the opposition brought about by the protestant belief that every individual is responsible for his / her own salvation or damnation. Margarita denotes the opposition against the rigid moral and social rules dictated by the communist regime. The scholars unorthodox practices and his extended travels shed light on the ultimate results which he bargains for: knowledge, fame, and control over other cultures, whereas Margaritas is a more limited aim-she is not at all domineering (although she is appointed queen for a night) but looks for affective fulfillment. However, these central characters are brought together by the development of all their individual possibilities, so that, by being put to test in the world, they might penetrate, come to know, and dominate reality (Lukacs quoted in Hedges 92). Faustus and Margaritas personalities extend to more than their individual scope, they represent a literary reaction to the ardent issues of their times. Moreover, these protagonists are depicted as torn between their affective and their intellectual make-up all throughout the texts. Obviously, the combo of emotion and reason is much more stringent in Faustus case: the oscillation between enjoying life and attaining knowledge reveals that for the scholar, the body is more important than the soul, as he himself puts it: This word damnation terrifies not him (Marlowe 58). Nevertheless, Faustus existence stands not under the sign of eros, (like Margaritas does) but of thanatos (Hermand quoted in Hedges 94)-since his quest leads to death whereas Margaritas grants her access to atemporal bliss. Ultimately, the construction of Marlowes and Bulgakovs central characters is informed by the setting where they are portrayed. Garrett A. Sullivan, Jr. speaks about an affective geography (231)-for instance Faustus study or the Master and Margaritas rented apartment-that shapes the protagonists identity. He further explains that the notion of geography is defined as a conceptual structure through which social and spatial relations are simultaneously materialised and represented (Sullivan 236). In these two literary works, there exists a cyclic sequence of broadness and enclosure. We find Faustus alone in his study both at the beginning and in the end of the play, although he travels extensively during the twenty-four years of the pact, while Margarita swings between the remoteness of her Masters apartment-A completely private little apartment, plus a front hall with a sink in it, little windows just level with the paved walk leading from the gate (Bulgakov 109)-Moscows expansiveness, and the seclusion of their eternal refuge. Thus, the relationship space-identity acquires new dimensions; locations become part of the characters emotional make-up: The axis mundi passes through [Faustuss] Wittenberg study and the Muscovite abode; on it lie Heaven and Hell (Kott quoted in Sullivan 240). Overall, Marlowes play and Bulgakovs prose present two multidimensional characters who-if carefully analysed-are more similar than different in terms of questioning patriarchal discourses through feminist techniques, in terms of revealing humanistic features, and in terms of attaching emotional connotations to their setting or background. The Evil Suite The archetype of the dichotomy good-evil permeates human discourses as well as literary creations since the beginning of time. Evil has forever been opposed to and traditionally vanquished by good forces, regardless of the culture adopting this model. Nonetheless, The Tragical History of Doctor Faustus as well as The Master and Margarita put forth an innovative perspective: not only does evil stem from good, but it also reinforces divine laws and teaches moral lessons. Both Christopher Marlowe and Mikhail Bulgakov deal with metaphysical issues in their works, issues that question the relationship between Heaven and Hell and Gods intervention in humans lives at the same time. In this context, Wolands emergence in Moscow and Mephostophilis in Faustus study foreshadow the obvious religious themes whose manifold interpretations are disclosed in these two works. Wolands mission is to point to the moral collapse of the Stalinist 1930s Moscow through the use of satire and supernatural whereas Mephostophilis task is more limited in scope because it refers to a single individual, Doctor Faustus. However, both demons appear as God-sent messengers swinging between Heaven, earth, and Hell. In Marlowes tragedy but also in Bulgakovs novel, the forces of good and evil are not in competition but coexist on more or less equal terms (225) as Laura D. Weeks tells us in her article Hebraic Antecedents in The Master and Margarita: Woland and Company Revisited. The black magic professor, Woland seems inseparably united with God even from the very beginning of the novel, when the motto taken from Goethe exposes this timeless link: I am part of that power which eternally wills evil and eternally works good (Bulgakov 11). The same may be said about Mephostophilis who-when asked about his origins-replies: FAU. Was not that Lucifer an angel once? / MEPH. Yes, Faustus, and most dearly lovd of God. () FAU. And what are you that live with Lucifer? / MEPH. Unhappy spirits that fell with Lucifer (Marlowe 59). Thus, Woland appears as an intricate and profound character while Mephosto is less thoughtful and more servile. Additionally, having the status of Gods opposites, the two devils actually strengthen His goodness and prove once more that they are His envoys. In Bulgakovs novel, Woland claims to have been an incognito observer of Yeshuas trial; it is paradoxical how-by recounting this first installment to Berlioz and Ivan Homeless-Woland in fact reasserts Gods existence: Theres no need for any points of view, the strange professor replied, he simply existed, thats all' (Bulgakov 18). Likewise, Mephostophilis reconfirms the divine authority when he admits his origins and confesses the sin of having Conspird against our God with Lucifer (my emphasis, Marlowe 59). Moreover, both Woland and Mephostophilis have immense powers, yet they are aware these are limited in comparison to Gods. For instance, when Margarita asks that Frieda be forgiven, Satan admits: Each department must look after its own affairs. I dont deny our possibilities are rather great, () But there is simply no sense in doing what ought to be done by another as I just put it department (Bulgakov 216). Mephosto similarly gives away his limitations when he refuses to tell Faustus who has created the world: Now tell me who made the world. / MEPH. I will not (Marlowe 69) or during all the episodes when he urges the scholar to renew his bond for fear Faustus might be forgiven by God. However, in their attempt to attest Gods existence, both Marlowes and Bulgakovs demons actually want to reinstate theirs. Wolands and Mephostophilis is a peculiar status since they seem to embody both good and evil. On the occasion of the Great Ball when Woland is willing to grant Margarita a wish, the power of mercy surfaces: I am talking about mercy, Woland explained his words, (à ¢Ã¢â€š ¬Ã‚ ¦) It sometimes creeps, quite unexpectedly and perfidiously, through the narrowest cracks. And so I am talking about rags' (Bulgakov 216). Mephostophilis does not mention mercy but regret and despair when he contemplates his everlasting doom in Hell: Thinkst thou that I, who saw the face of God / And tasted the eternal joys of heaven, / Am not tormented with ten thousand hells / In being deprivd of everlasting bliss? (Marlowe 59) or when he advises the scholar: O Faustus, leave these frivolous demands, / Which strike a terror to my fainting soul (ibidem). Under these circumstances, there arise questions about the ambiguous, opposites-marked personalities of Woland and Mephosto; Radha Balasubramanian further explains: the two literary works complicate the matter further by concentrating on the nature of the Devil, raising questions as to who the Devil is, and how he came out being angelic. He is a wanderer, without a name and without a home? Does he also resemble God? Are they the same? Do devils exist as a contrast to God? Are they two sides of the same coin? (1995: 41) Therefore, besides the dominant feature of demonism, The Tragical History of Doctor Faustus and The Master and Margarita endow their devils characters with versatile attributes. The demons incorporate multiple valid truths (Emerson 179), acting as coordinators and bridging the different plans of the two books. In so doing, Woland and Mephosto bring about a multiplicity of perspectives and remind the reader of Mikhail Bakhtins heteroglossia, although Marlowes devil is less distant than Bulgakovs: Except when he is the mouthpiece for an installment of Christs Passion, Woland is a taciturn man. This is appropriate. He shows rather than tells (Emerson 179). Another equally significant aspect is related to the parallel that the two authors draw between devils and religion. Hence, the satire of the Stalinist Moscows society is acquired through a review of the Yershalaim narrative. The same may be averred about a satire of Catholicism at Marlowe through a post-Reformation approach. Whereas the parallel between Wolands visit in Moscow and Yeshuas Passions in Yershalaim indicates time condensation-Moscows literary time became a mythical time that can be structurally correlated with the mythical dimension in the Yershalaim chapters (Balasubramanian, 2001: 90)-there is no such analogy or time contraction in Marlowes tragedy. Instead, the dramaturge describes the meeting between Faustus, Mephosto, and the Pope as the only occasion when the Pope is punished by the devil. In this way, Catholicism is downplayed as the Pope is mocked for failing to exorcize the troublesome ghost (Marlowe 83). Here, religious dissidence is also backed up by newly em ergent ideas of predestination and original sin as advocated by the Elizabethan church. By opposition, the sole religious dispute occurs in the incipit of Bulgakovs novel between Ivan Homeless, Berlioz, and Woland. Furthermore, there are additional thought-provoking implications that seem to pervade only Bulgakovs novel but not Marlowes play. For instance, certain scholars question the source and the narrator of the novel at the same time, attributing these alternatively to Bulgakov, the Master, the Devil, or God (Balasubramanian, 1995: 44). It is evident that endowing Woland with the premise of authorship is an idea reminiscent of Bulgakov himself who has originally planned his novel as a Gospel According to the Devil' (Emerson 178). In this respect, Christs story is defamiliarized by transposing narrative points of view from the apostles to the devil (Balasubramanian, 1995: 44)-the habitual Christian perception is disrupted and the gospel acquires novel undertones. In general, good and evil are the inseparable components of the human nature differentiated only by mans free will. There is no preeminence of evil over good, although there can be no good without evil: Kindly consider the question: what would your good do if evil did not exist, and what would the earth look like if shadows disappeared from it? (Bulgakov 274). By this account, both Woland and Mephostophilis appear as the most reliable source of knowledge in these two literary works but equally as troubled allies of God. Supernatural Encounters At the beginning of the nineteenth century, E. T. A. Hoffmann-a leading representative of German Romanticism-uses the fantasy genre with macabre undertones in combination with realism. A century later, the theoretician Mikhail Bakhtin defines his work as a Menippean satire, fundamentally satirical or mocking in nature and seeking to ridicule different intellectual attitudes and philosophical postures (Cuddon 504). The two literary works herein under scrutiny draw on the category of supernatural and on comedy to give the Faustian myth a twist, although humour serves distinct purposes in The Tragical History of Doctor Faustus and The Master and Margarita. The use of humour and farce in the two books is treated differently by critics. On the one hand, in Marlowes play, the comic scenes have not received that much critical consideration over the years. One reason for this aspect might be the fact that there is still ardent debate nowadays over the authorship of these comic scenes: There is almost unanimous agreement that the scenes of clownage (à ¢Ã¢â€š ¬Ã‚ ¦) and the comic scenes at the papal, imperial, and ducal courts (Jump 22) are not Marlowes but someone elses-hence the variation in length and style between the A-version (1604) and the B-version of the text (1616). Regardless of their origin, humourous scenes do permeate Marlowes play. On the other hand, Bulgakovs comedy episodes have been the focus of much more critical interpretation due to the conviction that, in this case, Bulgakov himself is the author of these scenes. Bulgakovs fiction does not employ humour and pranks only for the sake of comic relief but also to underscore a deeper connotation: the Stalinist Moscows small-mindedness, gluttony, and moral degradation. Certain commentators such as Marie-Hà ©là ¨ne Besnault in Belief and Spectacle at Early Performances of Doctor Faustus (2009) separate humourous episodes into low-comedy and clowning scenes (19). The former category occur in Vatican and at Charles-the German Emperors-court, have Faustus as protagonist, depict people pertaining to the social elite, and are further divided into sub-scenes with a larger number of characters (Besnault 19-20): dukes, attendants, cardinals, and others. The most relevant instances of low-comedy scenes centre on the moments when Faustus and Mephosto steal the Popes food or beat up the friars: POPE. How now! Who snatchd the meat from me? / POPE. My wine gone too? Ye lubbers, look about (Marlowe 82). By opposition, the protagonists of the clowning scenes are Robin, Dick, the horse-courser and their suite (in fact, all of them embodying archetypes of clowns), although the main topic of discussion remains Faustus. Besides, these episodes have a less intricate course of events as well as an equally uncomplicated spatial and temporal frame. Examples that best illustrate this case present Faustus tricking the horse-courser or Robin and Dick being changed to animals: For apish deeds transformed to an ape. / MEPH. And so thou shalt: be thou transformed to a dog, and carry him upon thy back. Away, be gone! (Marlowe 85). Similarly to Marlowes low-comedy that parallels the major events of the play, Bulgakovs novel contains buffoonery scenes meant to counterpoint the main plot. For instance, Natashas metamorphosis into a witch parallels Margaritas: Completely naked, her dishevelled hair flying in the air, she flew astride a fat hog, who was clutching a briefcase in his front hoofs, while his hind hoofs desperately threshed the air (Bulgakov 185). Then, there is also the correspondence between Behemoths noble-like manners and Wolands aristocratic personality: There was now a white bow-tie on the cats neck, and a pair of ladies mother-of-pearl opera glasses hung from a strap on his neck. Whats more, the cats whiskers were gilded (Bulgakov 195). Both Marlowes tragedy and Bulgakovs narrative dwell on the connection between belief and disbelief when presenting supernatural occurrences. T. S. Coleridges willing suspension of disbelief (Biographia Literaria, 1817) justifies the emergence of supernatural, seemingly inexplicable actions in a literary work. Thus, despite being taken aback by multiple extraordinary, uncanny events, the readers of these two books are willing to believe and acknowledge such scenes as literary conventions. Berliozs severed head as predicted by Woland, Behemoth traveling by tram with a paid ticket, Faustus invocation of Alexander the Great, or Wagners summoning devils are all examples that illustrate the abovementioned hypothesis. Unlike Bulgakovs fiction however, Marlowes play draws on an extra element which reinforces the suspension of disbelief (ibidem), namely the fact that the comic scenes seem open to further editing, alterations, or adjustments according to the taste of the audience who watches t he performance of the play onstage. Additionally, magical realism informs The Tragical History of Doctor Faustus and The Master and Margarita alike. In The Penguin Dictionary of Literary Terms and Literary Theory (1998), J. A. Cuddon enumerates some of the key aspects which characterize this literary trend: Some of the characteristic features of this kind of fiction are the mingling and juxtaposition of the realistic and the fantastic or bizarre, skillful time shifts, convoluted and even labyrinthine narratives and plots, miscellaneous use of dreams, myths and fairy stories, expressionistic and even surrealistic description, arcane erudition, the element of surprise or abrupt shock, the horrific and the inexplicable. (488) In the two literary works analysed here magical realism establishes a link between the books reality and a mythological, distant past. In this way, supernatural episodes are bordered by easily recognisable locations and characters that offer readers a dose of certainty. Behemoth alludes to Charles Perraults story The Booted Cat (1697) when he claims: A cat is not supposed to wear trousers, Messire, the cat replied with great dignity. Youre not going to tell me to wear boots, too, are you?' (Bulgakov 195). Koroviev himself hints at various titles as he walks pass the Griboedov House: and a sweet awe creeps into ones heart at the thought that in this house there is now ripening the future author of a Don Quixote or a Faust, or, devil take me, a Dead Souls. Eh?' (268). Furthermore, humour at Marlowe and Bulgakov is not exclusively employed for purposes of comic relief during moments charged with narrative or dramatic tension. Rather, it also mocks, it satirizes individual and social flaws, being marked by ironic undertones. In Bulgakovs novel, the fascination with the folkloric, the demonic and the grotesque (Jones 27) actually indicates a satire of the Stalinist society that has discarded individual reliability and awareness. In this situation, the mockery seems to be directed especially towards people of the artistic sphere: writers, critics, or theatre employees. By comparison, in Marlowes dramatic work readers come across entertaining episodes fraught by sinister underpinnings-for example, Robin and Dicks metamorphoses in animals parody the degradation of the human nature, its reduction to primeval instincts. Moreover, Mikhail Bakhtins theory of carnival laughter may be applied to both Marlowes play and Bulgakovs narrative. In the article entitled Carnival and Comedy: On Bakhtins Misreading of Boccaccio, Adrian Stevens explains that For Bakhtin, carnival is a manifestation of folk laughter; it embodies a folk based culture defined by its antipathy to the official and hierarchical structures of everyday, noncarnival life (1). Bakhtin believes that carnivals influence the various types of comic works in literature by deferring daily constraints and thus liberating humans and also by bringing opposites together. In Bulgakovs and Marlowes books comic scenes unite masters and servants (Faustus and Mephosto-Wagner and his suite; Margarita-Natasha; Woland-his retinue), the righteous and the sinful (Yeshua-Woland; Pope-Mephosto; Good Angel-Bad Angel) but equally the wise and the fool (Faustus-Benvolio; the Master-Ivan Homeless). On the whole, the third chapter of my paper has shown how the personalities of the protagonists in The Tragical History of Doctor Faustus and The Master and Margarita are shaped by elements of feminism, humanism, and affective geography. Afterwards, I have compared the evil entourages in these two works only to reveal that Woland and Mephostophilis are an integrant part of goodness. Finally, by contrasting the supernatural and the comic episodes in Marlowes play and in Bulgakovs novel, I have exposed the fact that humour may acquire deeper implications besides the visible comic relief at the surface.

Argumentative Essay: Gun Control Does Not Reduce Crime :: Argumentative Persuasive Essays

Americans are faced with an ever-growing problem of violence. Our streets have become a battleground where the elderly are beaten for their social security checks, where terrified women are viciously attacked and raped, where teen-age gangsters shoot it out for a patch of turf to sell their illegal drugs, and where innocent children are caught daily in the crossfire of drive-by shootings. We cannot ignore the damage that these criminals are doing to our society, and we must take actions to stop these horrors. However, the effort by some misguided individuals to eliminate the legal ownership of firearms does not address the real problem at hand, and simply disarms the innocent law-abiding citizens who are most in need of a form of self-defense. Â   To fully understand the reasons behind the gun control efforts, we must look at the history of our country, and the role firearms have played in it. The second amendment to the Constitution of the United States makes firearm ownership legal in this country. There were good reasons for this freedom, reasons which persist today. Firearms in the new world were used initially for hunting, and occasionally for self-defense. However, when the colonists felt that the burden of British oppression was too much for them to bear, they picked up their personal firearms and went to war. Standing against the British armies, these rebels found themselves opposed by the greatest military force in the world at that time. The 18th century witnessed the height of the British Empire, but the rough band of colonial freedom fighters discovered the power of the Minuteman, the average American gun owner. These Minutemen, so named because they would pick up their personal guns and jump to the defense of their country on a minute's notice, served a major part in winning the American Revolution. The founding fathers of this country understood that an armed populace was instrumental in fighting off oppression, and they made the right to keep and bear arms a constitutionally guaranteed right. Â   Over the years, some of the reasons for owning firearms have changed. As our country grew into a strong nation, we expanded westward, exploring the wilderness, and building new towns on the frontier. Typically, these new towns were far away from the centers of civilization, and the only law they had was dispensed by townsfolk through the barrel of a gun. Crime existed, but could be minimized when the townspeople fought back against the criminals. Eventually, these organized townspeople developed police forces as their towns grew in size. Fewer people carried their firearms on the street, but the firearms were always there, ready to be used in self-

Diversity within Society Essay

This essay will discuss some of the changes brought to Britain by immigration and new religious teachings. It will briefly analyse some of the benefits and how these still contribute to our society by improving this country. Furthermore, it will show that immigration has led to religious diversity making us a multicultural society. Britain nowadays is an extremely diverse country. There are people of different nationalities and religions all around us and we have learnt to adjust to their own ways and beliefs. With immigration we have embraced new changes: fashion, food, music and festivals. New religions have taught us to be a more tolerant society and become more accepting of other faiths. Some fashion is influenced through migrants, for instance the Hindu sari’s colours and style have helped shape the evening backless gowns. The burka however, still creates great controversy. Although there is a merging of fashion similarly fashion can also separate. It would seem people are judged by their sense of dress, whether they dress for cultural or religious reasons. Today there are even magazines in the media to help expand our knowledge of Islam. Most notably, the Emel is a British lifestyle magazine that reports on contemporary British Muslim culture. Launched in 2003, it was previously only available in M uslim bookshops. It has since become the most widely read British Muslim magazine in Britain and now attracts interest from non-Muslim readers too. As well as covering fashion it also informs on other aspects of life such as consumerism and politics, health and education. The whole aim of the magazine is to explain the positives aspects of Islam to non-Muslims and reduce fear and tension. (Emel, 20/05/2013) Another example of change in the fashion is that Indian people have brought with them their knowledge of threading, a method of facial hair removal, which is currently very popular amongst both women and men. One particularly striking aspect that affected Britain tremendously is new food. Immigration and religion have enriched Britain’s diet. These days there is a large variety of restaurants presenting foreign cuisines. We can have our pick of Chinese, Thai, Japanese, Indian, Italian, Spanish, Mexican and many  others to suit our tastes. Amazingly, there are even some restaurants that of fer a mix of cultural gastronomy allowing us the luxury of selection and variation on the same plate. For some people these days, the Indian dish, the curry especially, is a favourite meal and most popular in Britain. In particularly, some people also choose to adapt a Mediterranean diet for health reasons. The food we consume is also determined by our religious beliefs. In Christianity, fish is eaten on Good Friday as a way of celebrating Jesus whereas in Islam and Hinduism, pork is out of the menu as the pig is seen as a dirty animal. Also in Hinduism, beef is not consumed as Hindus believe the cow is holy. British popular music also shows many influences from immigration. Immigrants have brought new musical sounds like reggae, ska and calypso. Black music, most notably RnB has had a lasting impact on British popular culture. Pop music is another indicator of the multicultural nature of Britain today. In most UK towns and cities it is possible for worshippers of Christianity, Buddhism, Judaism, Hinduism, Sikhism, Islam and many other religions to find somewhere to celebrate their faith in a community safely with others. The most known religious festivals in Britain are Christmas and Easter as part of Christianity. Eid is the second most important festival in the Muslim calendar. In the same way Christians celebrate Jesus at Christmas, Muslims celebrate Raham at Eid. Both events are about sharing, music, party and simply good fun. In Hinduism, Diwali is perhaps the most well-known Hindu festival. It is known as the ‘festival of lights’ and this five day festival honours Lakshmi, the goddess of wealth. The Notting Hill Carnival in London is the largest street festival in Europe. It originated in 1964 as a way for Afro-Caribbean communities to celebrate their own cultures and traditions. It celebrates the abolition of slavery and freedom. It takes place every August Bank Holiday weekend and since festivals invite participation, every year people get together to enjoy this amazing, lively event and savour the Caribbean food on offer. On the whole, it is obvious immigration has brought significant benefits to Britain. Immigrants have enriched our society by working hard and creating jobs. They have offered us all the beneficial changes previously mentioned and we could no longer live without them. As a result, Britain is now a far  stronger society. Immigration has educated us to be more aware the ‘other’ making us open, tolerant, diverse and welcoming and this is something Britain should be proud of. BIBLIOGRAPHY Emel, http://www.emel.com/, (2O/05/2013) BBC, http://www.bbc.co.uk/schools/religion/islam/eid_haj.shtml, (20/05/2013) BBC, http://www.bbc.co.uk/schools/religion/hinduism/diwali.shtml, (20/05/2013) http://www.politics.co.uk/comment-analysis/2013/03/25/david-cameron-immigration-speech-in-fullpolitics.co.uk, (20/05/2013)

Federalist View on the War of 1812 essays

Federalist View on the War of 1812 essays My fellow congressmen, as we all know the tension between the United States and Great Britain has grown exponentially since the Jeffersonian Republicans came to power back in 1801, and that trend seems to be spiraling out of control as of late. There are several recurring issues that we have with the whole notion of a war with Great Britain. First of which, is the fact that America is grossly unprepared for such a daunting undertaking as a war with mighty Great Britain. Jeffersons navy composed of measly gunboats will be totally obliterated by the large overpowering British frigates. Another of Jeffersons polices that puts us in an even direr situation is the state of our standing army. During his presidency he has elected to reduce the peacetime army to twenty five hundred men, and what are we to assume that these twenty five hundred soldiers can take on the brunt of the British army? In addition to this are we to assume that raw volunteers can possibly outwit the crack and disciplined British army? I think not. Jefferson as a president has neither the knowledge nor the tact for fighting a successful war. I point to his military blunder in Tripoli that ended up being more of a laugh than a decisive victory. Having to pay the ransom and having to wait four years points to the fact that we as a nation were extorted plain and simple, and a man that backs down that easily is not fit to lead his country into battle against such a looming foe as Great Britain. And he assuredly does not have the diplomatic resolve to force such a proud and industrious nation as Great Britain to make concessions once this war is over that is if we win this Godforsaken war. If this war should occur it is undoubtedly known that we as a nation must seek alliances, and strong ones at that, if we are to be successful in our dealings with the British. Let me also point out the fact that there are no nations will ally with us against ...