Abstract
This essay explores Pynchon's novel, "The Crying of Lot 49". It also looks at a critical essay written by Molly Hite and discusses the ways in which Oedipa becomes both isolated and at one with society. As more people join the "society of isolates", they become assimilated as one, rather than separate in their isolation. This essay covers some of the questions that arise when reading Pynchon's famous novel and it delves into the subject of love in "The Crying of Lot 49".

From the Paper
"In her essay "Purity as Parody in _The Crying of Lot 49_," Molly Hite repeatedly argues that as Oedipa attempts to define her universe in terms of either absolute coherence, the "Word," "one," or "Meaning," or absolute incoherence, the "Void," "zero," or non-meaning, she misses a possible assimilation of these two ideas and thus becomes a failed heroine. Between these two apparently irreconcilable interpretative definitions that Oedipa gives to her universe, Hit posits that the novel suggests a third reality that the protagonist rejects during her alienated despair: "The idea of a community of isolates is a paradox.""

Tags:alienation, anonymous, conventions, critical, criticism, inamorati, isolate, lot, society, thomas, tristero, yoyodyne, meaning, non-meaning, isolation

Abstract
The writer relates that in retrospect, he believes he did not use critical thinking in his initial essay on the problem of obesity and in his opinions regarding a solution to the problem. The writer asserts that even with just a cursory review of his writing, it is evident his essay was full of assumptions and biases.

From the Paper
"In retrospect, I believe I did not use critical thinking in my initial essay on the problem of obesity, and in my opinions regarding a solution to the problem. Even with just a cursory review of my writing, it is..."

Tags:critical, obesity, logic

Abstract
The three films to be discussed in this essay (Lang's "Metropolis", Fellini's "La Strada", and Branagh's "Henry V") have all succeeded in resonating with the popular audience while receiving considerable critical attention at the same time. In order to better appreciate the important qualities of each of the above works, this paper will analyze critical reviews of each. In the process, it will be seen that the power of all three films lies in their capacity to impress audiences with either their technical achievement, or their incorporation of eternal verities of the human condition.

Tags:analysis, three, movies

Abstract
This 10-page critical analysis paper examines legal, ethical, and social values of business and analyzes how they apply in the context of pharmaceutical companies refusing to sell AIDS drugs to African countries. Legal aspects of this issue are critically analyzed, Utilitarian and Kantian ethical philosophies are examined in terms of how they apply, and social responsibility issues are discussed in order to ascertain the role social responsibility plays in business decisions and policies.

From the Paper
AIDS in Africa: A Critical Analysis of Pharmaceutical Company Policy Abstract This 10-page critical analysis paper examines legal, ethical, and social values of business and analyzes how they apply in the context of pharmaceutical companies refusing to sell AIDS drugs to African countries. Legal aspects of this issue are critically analyzed, Utilitarian and Kantian ethical philosophies are examined in terms of how they apply, and social responsibility issues are discussed in order to ascertain the role

Tags:pharmaceutical, companies, aids

Abstract
This critical analysis studies the thriller "Malice" from the perspective of psychoanalytic criticism. Malice is in many ways a typical example of the standard and oft-imitated suspense thriller genre. Like other examples of films in this genre, issues of repression and ego are dealt with covertly or overtly, and the resurgence of the violent forces of the id are depicted as breaking out into the social sphere, where the appearance of transgressive behavior upsets the social balance but not without severe consequences and a mandated return to an accepted equilibrium.

From the Paper
"This critical analysis will study the thriller Malice (1993) from the perspective of psychoanalytic criticism. This form of literary criticism is defined as placing emphasis on unconscious language, images and symbols in a work of art in order to attempt to elucidate what are considered to be "hidden" (implicit and unverbalized) meanings and intentions (Harmon and Holman 421). Psychoanalysis has its origins in the work of Sigmund Freud, from whom it derives many of its key concepts and terms, some of which will inform this analysis. Freud's work focused mainly on the nature of the unconscious, postulating it as a source of unexamined personal..."

Tags:psychoanalysis, thriller, critique

Abstract
This paper offers a critical analysis of Norman Rockwell's painting "Girl at Mirror," a popular work by one of the most commercially successful and well known artists and illustrators of the 20th century, Norman Rockwell. Although he was known most commonly as an illustrator, the paper asserts, much of Rockwell's work contains a much deeper artistic meaning; closer examination has revealed that many of his illustrations are actually very well constructed masterpieces containing hidden meanings that show another side to this widely popular artist. In analyzing "Girl at Mirror," the paper points out the portrayal of girlish innocence in contrast with emerging womanhood, and identifies the placement of items as well as the painting's significant textures, lighting, and color. The paper concludes that if people would only take the time to look beyond the first impression of Rockwell's work, they might see that beneath the innocent exterior there is a serious artist with an important and often controversial message.

From the Paper
"At first glance, "Girl at Mirror" appears to be an innocent portrayal of an adolescent girl behaving as girls of that age often do. It shows a young girl dressed in white and sitting in front of a mirror with a magazine on her lap, trying on make-up and looking at herself in the mirror as all young girls have done. Lying on the floor nearby is the open make-up, a hair brush, and her doll. The mirror is propped up against a chair and the room appears to be dimly lit, suggesting it may be in an attic or similar place. The viewer is first drawn to the girl's face. She has her hair pinned up, lipstick on, and her face resting on her closed hands. The look on her face is young and innocent. Perhaps she is just using the mirror to see how the make-up looks or how she looks with her hair up. Maybe she is just looking through the magazine, daydreaming about being a movie star and trying to imitate the poses. But after looking closer at the expression on her face it also seems as if she might be looking in the mirror for more than just to see how the makeup looks. Her expression seems to show that she is feeling sad, worried, lost, or faced with a difficult decision. She appears to be trying to figure out who she is as she is "poised between childhood and womanhood and her innocence hovers in the balance" (Fuller, 2010, para. 7)."

Tags:illustrator, Americana, traditional, art

Abstract
"Orientalism" centers on the study of Near and Far Eastern society and culture, including most of Asia and the Middle East, typically through the expression of art, by the Western world. The term "Orientalism" is becoming outmoded due to the debate of whether or not Orientalist artists' works were simply a portrayal of the Near and Far Eastern society at the time, or a prejudiced stereotypical portrayal that had a negative impact on both societies. This latter belief was most famously articulated by Edward Said, in his various works, but most notably his book "Orientalism". It is these two divergent critical analyses that this paper focuses upon.

Paper Outline:
Introduction
Edward Said's Analysis of Orientalism
Proponents of Orientalism
Conclusion
References

From the Paper
"In fact, Said (1979) believed that the crucial turning point in history was Napolean's conquest of Egypt. Warraq (2002), on the other hand, notes that Egypt was not simply a passive victim of Western rapacity. The French were forced out of the country in less than four years. During their occupation, the French were highly sensitive to Muslim opinion, as opposed to being oppressive, or viewing them as "other". In fact, General J.F. Baron de Menou had converted to Islam and had enacted a variety of measures to conciliate the Muslims."

Tags:oriental, stereotype, colonialization, eurocentric, Linda, Nochlin

Abstract
The paper explores some of the ways in which the popular science fiction movie "Time After Time" (1979) expresses and unfolds its narrative in mythic terms. The paper defines the expressions "mythic criticism" and "the archetype" and shows how the film reveals more of a mythic substratum than its makers may even have intended. The paper concludes that the filmmakers of "Time After Time" have followed the lead of much science fiction by their innovative utilization of fact, fiction and fantasy to create a new myth for the scientific age.

From the Paper
"According to A Handbook to Literature, the critical perspective known as mythic criticism is defined as that "which explores the nature and significance of the archetypes and archetypal patterns in the work" (Harmon and Holman 136). In this context, myth can be defined as that which portrays "a projection of social patterns upward onto a superhuman level that sanctions and stabilizes the secular ideology" (338). The same definition goes on to explain that myths, among their other functions, "attempt to explain creation, divinity, and religion; to probe the meaning of existence and death; to account for natural phenomena; and to chronicle the adventures of cultural heroes" (338). In reference to the archetype, the same handbook defines this term as a "primordial image" which draws upon the "prelogical mentality" (subconscious) of the reader / viewer and is frequently encountered in myth and folklore (41)."

Tags:archetypes, patterns, cultural, heroes, folklore, antagonist, antihero

Abstract
Some modern critics have dubbed Mary Shelley's Frankenstein a gothic story. This paper attempts to defeat this claim by showing that the novel can be interpreted in a number of different ways due to the tale's artistic validity. It discusses how, because "Frankenstein" was born out of ideas, the theme, characterization and relationships of the central figures can all be considered on different levels.

From the Paper
"We may interpret Frankenstein's mirror image or Monster firstly as symbolizing reason in isolation, since he is the creature of an obsessional rational effort. The manifest change in Frankenstein's nature after the creation of the Monster can be explained by the part-separation of his intellect from his other integral properties. He becomes a sort of Hamlet figure, indecisive and remorseful too late. He decides to destroy the Monster, but is persuaded to pity him by creating a female Monster, though fails at the last moment. He then receives the Monster's threat of revenge and does nothing: "Why had I not followed him, and closed with him in mortal strife? But I had suffered him to depart..." Frankenstein muses bitterly when the damage has been done."

Tags:monster, creation, imagination

Abstract
The paper discusses how a moral agent is an entity who generally qualifies as an active or passive agent open to responsibility ascriptions and possesses the general capacity to evaluate reasons for acting and the capacity to experience benefit/detriment. This raises the question of whether a moral agent must have the capability of understanding abstract moral principles in order to apply them in making decisions. The paper argues that the answer is affirmative, for moral agency requires the possession of moral principles and values, memory, self-consciousness, and the faculty of reasoning. The paper asserts that these attributes and capabilities are relevant in that they enable a moral agent to examine alternatives, and then identify and apply the means of achieving their objectives.

From the Paper
"A moral agent is an entity who generally qualifies as an active or passive agent open to responsibility ascriptions, and who possesses the general capacity to evaluate reasons for acting and the capacity to experience benefit/detriment. This raises the question of whether a moral agent must have the capability of understanding abstract moral principles in order to apply them in making decisions. The answer is affirmative, for moral agency requires the possession of moral principles and values, memory,..."

Tags:moral, acts, analysis