Abstract
This paper examines various issues in anthropology, particularly the manner in which ethnographical accounts are written. This paper reviews and analyzes the chapter entitled "Confessional Tales" in John van Maanen's book "The Western Imperialist Gaze." According to the paper, in the post-colonial era, there has been a growing consciousness that the power relations within anthropological discourses are inherently skewed in favor of the anthropologist, and against the people whom the anthropologist studied. This has led to a much needed, self-conscious re-examination of the way in which anthropologists impose their own meaning and reality on the people whom they study.

From the Paper
"A key issue in anthropology is the manner in which ethnographical accounts are written. In the post-colonial era, there has been a growing consciousness that the power relations within anthropological discourses are inherently skewed in favour of the anthropologist, and against the people whom the anthropologist studied. This has led to a much needed, self-conscious re-examination of the way in which anthropologists impose their own meaning and reality on the people whom they study. It is within this context that John van Maanen's chapter entitled..."

Tags:anthropology, confessional, tale

Abstract
In this paper, Longenecker defines the duality of this role of Christ as both a human being and a spiritual entity. Also, Timothy 3:16b is also a position that is taken that provides the duality of Christology that exists through a confessional argument on the testimonial of Christ's image. One image of Christ may be a Gnostic form of Christ that evolves from the neo-platonic denouncement of any special ability to 'grasp' God, as Longenecker defines in Phillip 2:5-11.

From the Paper
Thank you for purchasing a customized research paper from The Paper Experts Inc. rive to deliver to our customers the most accurate and up-to-date research each and every time we prepare a custom work. Your Writer ID: #255 Order ID: 20964 Topic: Theology Disclaimer: This document should be used in precisely the same way you would use any article you might find in your local research library. Remember, you must cite it properly just like you would any other source listed in your bibliography. If you have any questions regarding citing

Tags:confess, theory, christology

From the Paper
"In the 1960's, a new school of American poets emerged whom M. L. Rosenthal, in his book The New Poets, labelled "The Confessional Poets" (Phillips 1973). Confessional poets distinguished themselves by their frank, autobiographical work detailing their experiences and, frequently, their personal weaknesses and failures. The poetry itself, like the subject matter, was often raw, lacking a crisp, predictable metrical structure, and confessional poets expressed themselves in the first person, using straightforward, unadorned language. Although one can find examples of "confessional" poetry dating back to Ancient Greece, and the inklings of confessional poetry as we know it can be found in the work of Walt Whitman and Emily Dickinson, the modern school traces its immediate roots to Robert Lowell and his part prose, part poetry book Life Studies..."

From the Paper
"Thomas DeQuincey and Samuel Taylor Coleridge were both completely addicted to opium throughout most of their respective careers. Their writings, in the form of confessional essays for DeQuincey and elaborate, fantastical poems for Coleridge, offer great insight into what the drug does to the creative mind. While there are many similarities between DeQuincey's descriptions of the pleasures and pains of opium and some of Coleridge's more blatantly opium induced poetry, there is a fundamental difference. While the effect of opium on the raw materials of these two minds is similar, the reactions of these two minds to opium is vastly different."

Tags:opium, eater, pleasures, of, opium, comparison

Abstract
This paper explains that Robert Browning's poem "My Last Duchess"
is a dramatic monologue spoken by the Duke of Ferrara. The author points out that, given the title, the poem appears to be about the late wife of the Duke, whose portrait is being shown to a visitor, as the Duke negotiates for his next Duchess; however, the Duke reveals much more about himself and his role as a husband than he does about his late wife. The paper relates that "My Last Duchess", typical of this type of poetry, overtly is about a painting but the covert meaning is confessional. The author underscores that, in the lack of distinction between the portrait and the woman, the Duke reveals his feelings, that women are the possessions of men and are only good for their beauty.

From the Paper
"The speaker makes a shift in the poem and goes from discussing the qualities of the painting itself, to making jealous hypotheses about why the woman in the painting is blushing. He also says to his listener "not the first / are you to turn and ask thus" (12-13), but the listener did not ask. This implies that the Duke has been suppressing this jealous rant and has been waiting for an opportunity to let the beast out for a high-spirited run. The fact that he says the listener is not the first to ask is probably more likely to mean that the listener is not the first person the Duke has revealed this to."

Tags:domineering, confessional, hypotheses, arrogant, trivial

Abstract
This paper describes that both Anne Sexton and Sylvia Plath were victims of the 1950 middle-class woman's assumed passivity; both of these women reveal in their work the inner-turmoil of being choked by a masculine world. The paper states that Sexton and Plath are classified as confessional poets because their writings detail with honesty the journey from discontent to mental instability with few societal constraints impacting their works. The author believes that the poetry of both Sexton and Plath is a catharsis of their Electra complexes and reflects their struggles to accept their womanhood amid worlds dominated by their fathers.

From the Paper
"Plath's experiences as a masculine sacrifice are conveyed in her writings with much more hostility than are Sexton's, her involvement with the father-daughter relationship of the Electra complex a deeply-rooted emotional disturbance that affected her marriage as well. Consumed by an overwhelming guilt, Plath resents anyone who has power over her, at the same time despising herself for her vulnerability. Unlike Sexton, Plath is neither able to laugh about her role in the Electra complex nor tease about the sexuality of it, for the emotions bombarding her are too complicated, especially since, as her poetry indicates, she loathes her cold, stern, dark father."

Tags:mental, confessional, instability, father, daughter

Abstract
The paper describes the main theme of the book, which is about a boy growing up in Ireland at the end of the nineteenth century and his decision to dedicate his life to writing. The writer explains how the main character, Stephen Dedalus, is limited by his Irish Catholic upbringing and environment. The writer shows how, as Stephen grows, he begins to express his individuality. In conclusion, the writer states that in the end of the novel, Stephen's struggle for independent artistic identity remains unfulfilled and compares his expressive stance as one that has so deep an investment in the linguistic formulations of a Catholic confessional, so as to be indivisible from them.

From the Paper
"Joyce's portrayal of Stephen Dedalus dramatizes for readers how the young artist's insufficiently sophisticated dependence on an inherited mode of subjectivity prevents his achieving precisely this kind of critical aesthetic consciousness. Only when the Irish writer's words exposed themselves as a nexus of cultural interplay would Ireland begin to emerge from its self-imposed cultural tutelage. By fashioning his text to reveal the irreducible complexity of Irish social and cultural life, Joyce interprets the fallacy that any singular discourse can wholly and completely embody Irish culture. The stylistic and narrative shifts that characterize A Portrait symbolizes to the novel's audience a fuller understanding of Ireland's uniqueness than had previously been attempted in Irish literature, and seek nothing less than a revolution of the national mind."

Tags:stephen, dedalus, writing, irish, catholic, confessional

Abstract
Confessional poets often write about their own personal experiences, without filtering painful emotions. One of the 1960s most influential confessional poets, Sylvia Plath, used the anger and grief that stemmed from her father's death when she was only eight as the subject of many poems. This paper discusses tone in two of the most well-known Plath poems, "Daddy" and "Lady Lazarus," in which she tackles her depression in very different ways. It shows how Plath's word choice in both poems creates two opposing tones on similar subject matter. In "Daddy," Plath is clearly filled with bitterness and rage, but she is almost playful and sarcastic in "Lady Lazarus." The paper shows, too, how Plath channels her own personal world of suicidal escape in both poems, but she clearly changes tone in each by selecting words with specific meanings. Biographical information on Plath is also included.

From the Paper
"Plath conveys this instability in her poem "Daddy." Written in 1962, twenty-two years after her father's death and just one year before her suicide, "Daddy" is not only an obvious cry for help but also a stream of unabashed rage toward the father who left her, the husband who betrayed her, and the circumstances that ultimately left her alone. Plath chooses words like "Aryan eye," "swastika," "Fascist," and "devil" to associate with her father ("Daddy" 44, 46, 48, 54). All of these words conjure feelings of hatred and liken the father in the poem to someone like Adolf Hitler, a historical figure whose name is almost synonymous with oppression. This comparison is even more evident when Plath describes her father's Hitleresque "neat mustache" and "bright blue" eyes ("Daddy" 43-44). Plath, as the speaker in "Daddy," calls herself a Jew and speaks from the perspective of an innocent who has been wrongly persecuted ("Daddy" 40)."

Tags:Hitler, Jewish, persecution, Frances, McCullough

Abstract
This paper briefly examines the language of doubleness in Eliot's poem. It explains how T.S. Eliot prepares the reader to sense the confessional tone of this monologue uttered by a man helplessly at war with himself.

From the Paper
"In the passage from Dante's Inferno, Count Guido da Montefeltro states that he believes himself free to be honest because the person he reveals his secrets to will seemingly never return from hell. By choosing this passage, Eliot succeeded in two important objectives: the first is to equate the "hell" of eternal damnation in Dante's story to the hellish insecurity of the Prufrock's self-deprecating state of mind where Montefeltro's assertion that his words wont return to earth are linked to Prufrock's certainty that no one will listen to him or understand his intentions accurately, and secondly, he succeeds in establishing a tone of secrecy and a sense of alienation to which the reader will imagine she is privy to as she observes the contradictions of the speaker's fractured ego."

Tags:war, confession, doubleness

Abstract
This paper examines Alice Walker's "The Color Purple", a confessional and uninhibited look at the life of Celie, a poor, black woman in the Deep South. It discusses how Celie's life is a complicated story of both community and individuality and how as a woman, she is surrounded by societal expectations and traditional gender scriptings. It shows how the story is a contrast between the traditional gender roles and while some characters embody certain behaviors and attitudes indicative of their sex, others denounce the long-holding patriarchy defining sexism and gender interactions. It evaluates how, in developing each of her characters throughout the novel, Walker overtly specifies how each does not meet the conventional mold.

From the Paper
"As the bonds between Celie and Sofia grow following their original clash, Walker introduces another female character. This time, the semi-famous former lover of Mr.____ comes to stay at their household while she recuperates from a grave illness. At first, Shug Avery is hateful towards Celie. She mocks her good intentions, orders her around, and calls her ugly. Yet Celie feels nothing but awestruck towards this woman. Celie also begins to have conflicting erotic feelings for Shug; feelings she does not understand when seeing Shug naked and giving her a bath. The course of this relationship drives towards lesbianism. "

Tags:patriarchy, racism, rape, relationships, sexism