Abstract
The following paper discusses how Poe categorized his works into two distinct categories, the grotesque and the arabesque and put 'The Purloined Letter' into the grotesque category, for its use of more realistic characters who react more humanly to the story happening around them.

From the Paper
"At the beginning of the story, it seems like a very simple detective case, not like most of Poe's dark and disturbing works. It seems relatively easy to figure out that the Minister took the missing letter, for whatever reasons. However, after searching the Minister's rooms, and the Minister himself, the police still cannot find the letter, and even after a month, it is still missing. Now Poe has set the stage. Why is this letter so important, and why is it still missing, if it was such a simple case? As Dupin says, Perhaps the mystery is a little too plain, said Dupin, and already we are wondering just what it is, and why it is so plain. In the first few lines we read, Poe has already roped us in, by making us wonder, and making us want to know more. It is a common style in fiction, especially mysteries, but it works, and Poe is a master of setting the stage."

Tags:fiction, mystery, revenge, detective, hero, evil

Abstract
The paper examines "Cask of Amontillado" by Edgar Allen Poe, an excellent example of an Arabesque writing style made popular in the eighteenth century. Poe uses Gothic conventions of horror and dark, exotic locales to promote his theme of revenge. The paper shows how he uses this technique to create an object of macabre beauty and he is rigid in his analysis and application of this form.

From the Paper
"Poe adds to this effect by calling this character Fortunato because he is anything but fortunate, and then dresses him up in a clown's costume since Montressor aims to make a fool of him. There are also instances of verbal irony, such as when Montressor tells Fortunato to turn back because his cough will worsen and Fortunato replies, "I will not die of a cough." Montressor answers, "True---true...""

Tags:Fortunato, Luchresi, Montressor

Abstract
This paper discusses the evolution of Turkish music from its traditional roots to its contemporary form. The writer describes the rich cultural tradition of music in Turkey, and its unique blend of traditional Turkish, Arabic, Persian and Western music. The writer also discusses the modernization of Turkish music with the rise of rock, pop and rap, and provides a list of traditional musical instruments. The writer concludes that the ways that modern Turkish musicians have found to use traditional instruments in contemporary music have resulted in a musical brand unique to Turkey that is a true blend of the old and the new.

From the Paper
"Although traditional Turkish music began as monophonic, their contemporary music adopted polyphonic forms. When Turkey went through a political and social transformation in the early 1900s wherein they began embracing more Western attitudes, several of its musicians began studying in Western nations. As a result of their western training, they changed Turkish music into a different form when they returned home. These Turkish-born and foreign-trained musicians studied in the cultural centers of Europe and upon returning to Turkey 'they became the founders of modern Turkish art music. Conventional approach considers five of these composers, commonly called the Turkish Five, as the first generation of the polyphonic school.'"

Tags:Janissary, Islamic, Cartel, sound, maquam, mystic, Arabesque, saz

Abstract
This paper explains that Poe efficiently employs the theme of revenge and adds elements of irony and suspense to complete his tale. The author points out that Edgar Allan Poe is given credit for formulating a set of guidelines that can be used for composing short stories. The paper relates that Poe states that there should not be one word in the entire work that does contribute to the original idea.

From the Paper
"Another element of the suspense in the story is the slow realization of Fortunato as he becomes sober. Montresor admits the cry he heard while placing the bricks in the opening was "not the cry of a drunk man." This scene heightens the suspense because we realize that Fortunato must be realizing that he has been trapped. To make matters worse for Fortunato, Montresor tosses his torch into the crypt so that Fortunato can see what is happening to him. As readers, we are shocked at such a brazen act but, at the same time, cannot tear ourselves away from the text."

Tags:arabesques, revenge, irony, suspense, short