| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "WALLACE STEVENS DESIRE WOMAN LOST": |
|
|
Wallace Stevens and Desire: Woman Lost--Woman Ignored, 2005.
A psychosexual and archetypal study of feminine figures in "Collected Poems of Wallace Stevens".
5,141 words (approx. 20.6 pages), 33 sources, MLA, $ 128.95
»
Click here to show/hide summary
Abstract
This paper examines the "Collected Poems of Wallace Stevens", America poet. The paper shows that desire and desired denied in this work may be interpreted through the archetypal psychology of Carl Jung to disclose the reason for Stevens' preference for places over people and to explain his ambivalence toward the abstract feminine figures in his poems.
From the Paper
"Feminine archetypes reconstruct the distant attitudes in Stevens' poetry by figuring-forth embedded emotions. First, they provide an archetypal perspective on individual poems. Second, they illustrate how, ranging from Harmonium (1923) to The Rock (1954), clusters of motifs influence the poet-hero's psychic development. Although their appearances change to fit their ambiguous roles, these singular feminine figures determine the poet-hero's canon-long struggle to achieve a regulated unity of self. Two categories need to be distinguished: (a) feminine figures and (b) the interior paramour. Their protean capability makes scrupulous demarcations between exterior feminine figures impossible, but three forms or combinations prevail: the summer maiden (Kore or lover), the universal mother or earth mother, and the maiden-mother (an overlapping maid and mother figure). The interior paramour represents a climax to the poet-hero's experience with exterior feminine figures."
| |
|
The Poetry of Wallace Stevens, 2004.
Provides explanations and analysis of some Wallace Stevens's poems.
1,351 words (approx. 5.4 pages), 4 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper discusses some of the poems contained within the book of poetry, "Harmonium", by Wallace Stevens. The paper demonstrates the technique Stevens uses in his poetry of relating to things surrounding him in the world. It also talks about and provides examples of the way Stevens relates his poetry to nature.
From the Paper
"Poetry is a way in which people express themselves in words. It is how some communicate with the world. Wallace Stevens is a poet who introduced a new way of expressing himself through poetry. His sense of style is that of something many people have trouble defining. Stevens?s main genre is a widely debated topic. His poetry seems to be a record of his own sense of being (McNamara 13). He relates to the things surrounding him in the world. Many critics have often referred to his style as being philosophical, artistic, and musical (Willard 127). He was a very modern poet for his time. Stevens wrote about his views on society and the world around him in a very abstract, or metaphysical, manner."
| |
|
Wallace Stevens' Poetry, 2005.
Individualized overview of Wallace Stevens' poetry and poetics as they emerged, book-by-book.
3,472 words (approx. 13.9 pages), 20 sources, MLA, $ 97.95
»
Click here to show/hide summary
Abstract
This general overview of Wallace Stevens' work, introducing his individual volumes of poetry, book-by-book, highlights the major points of his poetics without the usual associative amalgam of theme, form, diction, imagery, symbolism and belief that complicates most surveys of his poetry. The paper explains that the volumes appeared as separate collections, but the Stevens criticism and scholarship invariably commingles them as if they were parts of a simultaneously generated whole. This book-by-book overview clarifies the poetic perspective and suggests revisiting his collections with a fresh modular approach.
From the Paper
"Wallace Stevens' poetic development began with his apprentice poems published under pseudonyms in the Harvard Advocate at the turn of the century, but it was not until more than twenty years later that his elegant style and ambiguous motifs detonated into the flashy modernism of Harmonium (1923). The first change of style was drastic; he jettisoned the conventional sonnet, absorbed imagism, experimented with semi-open forms and, by liberating his style, he liberated also his sense of the bizarre, comical, and relentlessly aesthetic. Even between the brief lyrics and the deft prosody of the longer poems, Stevens' style invariably shifts to accommodate his tenets about the axis of imagination and reality. This overview looks at those shifts book-by-book."
| |
|
Wallace Stevens' Poem "Comedian as the Letter C", 1993.
Analysis of Wallace Stevens's poem, "The Comedian as the Letter C?.
7,500 words (approx. 30.0 pages), 10 sources, $ 164.95
»
Click here to show/hide summary
Abstract
This paper looks at Wallace Stevens's "The Comedian as the Letter C?. The author includes lavish interviews with Stevens about the work along with excerpts from the poem in his attempt to analyze the work. The character, Crispin, is looked at in-depth through criticism and commentary over the years.
From the Paper
"The Comedian as the Letter C? the most dramatic if not the most ambitious work in the whole of the poetry of Wallace Stevens. The majority of the critical exegeses of Stevens' pivot?al work concern themselves with analysis of the work as a frame?work in which the poet has worked up an incomprehensible extended metaphor of the imagination and reality. Some have re‑extended, from textual evidence this permeating analysis or interpretation, to include Stevens and his poetic capabilities. Only a few have considered the possibility that Stevens may have been risking the didactic in willfully constructing an allegory. The majority are un?doubtedly correct considering the pervasive dawn of the stream of consciousness school of poetry Stevens was familiar with, and the French school of "pure" poetry which was highly touted at the time."
| |
|
Wallace Stevens, 2007.
This paper discusses the ideas and poetry of Wallace Stevens.
1,937 words (approx. 7.7 pages), 5 sources, MLA, $ 61.95
»
Click here to show/hide summary
Abstract
The paper reveals that beneath the quiet surface of the ordinary American businessman, Wallace Stevens was one of the greatest American modernist poets of the 20th century. The paper looks at "Thirteen Ways of Looking at a Blackbird," perhaps his most famous poem. The paper discusses how his choices as a poet reflect the idea that one need not go to Europe to apprehend the evolving great ideas and ideals of the modernist movement. The paper concludes that Stevens made his mark as a uniquely national modernist poet.
From the Paper
"Yet the poet Wallace Stevens stayed at home. But in his verse this mild-mannered executive at a major insurance firm in Hartford, Connecticut had "a flair" for the "flashiest titles," and turns of phrase in his verse such as "Peter Quince at the Clavier," "Thirteen Ways of Looking at a Blackbird," and "Le Monocle de Mon Oncle." Thus "Stevens, the aesthete par excellence" pressed "back against the pressure of reality" with a modernist spirit of innovation in his simple yet startling words and images ("Modernism." Poets.org, 2006) But Stevens' first work, rather than the result of engagement with other modernist authors, entitled "Harmonium" emerged as an unusual first book."
| |
|
Wallace Stevens' "The Man with the Blue Guitar", 2008.
A discussion on the poem "The Man with the Blue Guitar" by Wallace Stevens.
892 words (approx. 3.6 pages), 1 source, APA, $ 31.95
»
Click here to show/hide summary
Abstract
The paper provides an analysis of Wallace Stevens' poem "The Man with the Blue Guitar". Specifically, the paper discusses the author's conception of poetry compared to classicism and to another trend of modernist poems. A copy of the poem is included at the beginning of the paper.
From the Paper
"Indeed, Wallace Stevens' work differs in multiple ways from Pound's. Stevens focuses mainly on the frontier that lies between imagination and reality. He believes that poetry is what humans do: the poet is aware of his role in society. This point of view over the authorial voice parallels some romantic concepts, a paradox since most modernist poets tended to escape from the formalism and ornament diffused by the romantic movement. "
| |
|
The Mythological World of Wallace Stevens, 2002.
This paper looks at the poems of Wallace Stevens, analyzing Stevens? mythological construct.
2,928 words (approx. 11.7 pages), 9 sources, MLA, $ 86.95
»
Click here to show/hide summary
Abstract
The writer explores the question of whether Stevens? poetry is located in the realm of imagination or in reality, or attempting to balance somewhere in between. According to the paper, Stevens creates a kind of mythology in each of his poems which centers around refined symbols. The paper looks at these poems, discussing the symbols and how they are effective.
From the Paper
"Before we can understand what Stevens? mythological construct is, we must first explore what it is not. Recognizing that the crisis of faith today may be as result of the fact that our myths are no longer credible, Stevens searches ?to find nobility in things as they are, uncrowned by myths or gods? (Weston 61), which is to say that he finds neither consolation nor enlightenment in conventional mythologies, religious traditions, or cultural histories. Indeed, such dependence on the past threatens the mind seeking to relate itself to the world of the present, and Stevens strives ?to clear away all that intervenes between the perceiving mind and the world as presently perceived? (Borroff 3). According to Stevens, we must guard ourselves against the past to avoid being vulnerable to it. For example, Stevens writes in ?The Pure Good of Theory,? ?Malformed, the world was paradise malformed . . . / . . . the solar chariot is junk? (Collected 332), showing that ?even though it is no longer believed in, the ancient myth of the sun-god may interpose itself between us and the sun, and the names and legends of the constellations may similarly obscure the stars? (Borroff 3). Thus, the power of myth today is a destructive tendency to eclipse reality."
| |
|
The Poetry of Wallace Stevens, 2005.
This paper discusses the changes in style of Wallace Stevens' poetry and includes several examples.
2,035 words (approx. 8.1 pages), 15 sources, MLA, $ 64.95
»
Click here to show/hide summary
Abstract
This paper explains that the changes of Stevens' style originated not from gaudy triumphs but from isolated confessions of perceived defeat and depression. The author points out that as Steven's aged, his maturity curbed his poetic excess; a change of style caused a change in substance and a well-tempered style emerged. The paper relates that Stevens, eventually known for his restless style and imagination, won the 1954 Pulitzer Prize, at age 75, a year before died.
From the Paper
"Colors grow smaller because the poet-hero fails to resolve his opposing states of his mind. He requires a reconciling, redeeming symbol-Jung's transcendent [unifying] function to pacify his "violent disunion." These opposed states of mind negate each other until the ego finds a compensatory context, much as an emotional thesis and antithesis meld into an over-arching synthesis, not as an explicit solution but as an adjusted attitude. Having repudiated the maidens of summer and recognized the promise of the singer and the "voice within" almost simultaneously, he looks to the moon he saw and felt "When he was young, naked and alien, / More leanly shining from a lankier sky."
| |
|
Wallace Stevens' "Le Monocle", 2007.
This paper analyzes the poem "Le Monocle" by Wallace Stevens.
2,039 words (approx. 8.2 pages), 5 sources, MLA, $ 64.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that like much of Stevens' poetry, "Le Monocle" is a challenging poem for readers and scholars to define and explicate. This poem was published as part of a book of poetry in 1923 called Harmonium. The writer points out that the title of the poem, which indicates the speaker, previews the problems that the reader faces from this modernist viewpoint. The writer notes that the author plays with different strands of thought throughout the poem that sometimes interact and sometimes are antithesis of each other. The writer concludes that ideas about love and language dominate this poem, but leave the reader to wonder exactly how Stevens would define either or both of those terms.
From the Paper
"The shifting meaning and problematic relationships haunt the entire poem. The separation of the poem into twelve distinct stanzas causes problems for the continuity of language. The blank space that appears between the sections makes the reader believe that something has completed and a new idea will be introduced. This is not the case. Stevens intentionally does not complete ideas within stanzas. He frequently introduces an idea or parable that remains unresolved in that stanza and in the poem itself. Stevens may be commenting on the disjunctive nature of modern life through his form. He does toy with certain motifs across the poem, but does not allow the reader to really draw conclusions about his intention."
| |
|
Wallace Stevens: Archetypal Sexual Fissure, 2004.
An analysis of the conflict of male and female archetypes within the protagonist of Wallace Stevens' poems.
3,151 words (approx. 12.6 pages), 18 sources, MLA, $ 91.95
»
Click here to show/hide summary
Abstract
This paper explores the psychosexual conflict between the hero archetype and feminine archetype in a group of Stevens' poems and underscores how that conflict supplements or surprises customary readings. It focuses on the poet-hero as the central figure of sexual polarity, distinct from biography and contemporary critical approaches, and thus humanizes many abstract stick-figures.
From the Paper
"One of the constructive ways to get at the abstractions and ambiguities in the poetry of Wallace Stevens is to reify the diverse speakers of his poems as a single protagonist-an archetype of the poet-and to treat this meta-Stevens as the psychosexual hero of his own poems. Archetypes and archetypal patterns abound in poetry, but it is plain that in Stevens more than in other modern poets the primary conflict beneath the surface of many of his poems is a conflict between male and females archetypes, and the poet-hero's self-protective ambivalence between creation and procreation as competitors. Stevens invites this archetypal reading because the female figures in his work, young and old, are archetypal sketches or women without biographies. To analyze the poet-hero's psychosexual interaction with these figures turns conventional interpretations of Stevens' poetry on their head and uncovers fresh and comprehensible vantage points on his work."
| |
|
Lost Women of a Lost Generation, 2002.
This paper discusses lost women of a lost generation, between the 1920s and the 1930s, "The Sun Also Rises" by Ernest Hemingway and "Good Morning, Midnight" by Jean Rhys.
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
»
Click here to show/hide summary
Abstract
This paper states that both novels prominently feature women who live frivolously from day to day, desperately attempting to "buy" their happiness; or, at least, to buy the alcohol with which they may buy "forgetfulness" of their traumatic pasts. The author believes that, in many respects, the character of Sasha Jensen from "Good Morning, Midnight" may be seen as an older version of Brett Ashley from "The Sun Also Rises". The paper states that these two female characters serve as cultural "bookends" or markers to the long intermission between the wars.
| |
|
"A High-Toned Old Christian Woman", 2005.
An explication of Wallace Steven's poem"A High-Toned Old Christian Woman".
690 words (approx. 2.8 pages), 1 source, MLA, $ 23.95
»
Click here to show/hide summary
Abstract
In this paper, Wallace Stevens poem, "A High-Toned Old Christian Woman," is explicated for what might be meant by the speaker's claim to an old Christian woman that "poetry is the supreme fiction." It discusses arguments in the poem that maintain that fictions are all products of human imagination and reflect the values of the individual that creates them.
From the Paper
" The speaker in Wallace Stevens' A High-Toned Old Christian Woman attempts to convince a true believer that since religious faith and belief and poetry all stem from the human imagination that poetry is as ..."
| |
|
Steven Spielberg's ?Indian Jones: Raiders of the Lost Ark? (1981), 2005.
This paper discusses the use of symbolism to portray the stereotype of the American male hero in Steven Spielberg's "Indiana Jones" trilogy, especially "Raiders of the Lost Ark" (1981).
1,625 words (approx. 6.5 pages), 9 sources, MLA, $ 52.95
»
Click here to show/hide summary
Abstract
This paper explains that not only are there actual symbols present in Steven Spielberg's "Indiana Jones" trilogy, especially "Raiders of the Lost Ark", such as Indiana's most feared enemy, the snake, but also the movies themselves serve as a symbol of American pop through the Hollywood's glorification and stylization. The author points out the symbolism in the main character Indiana Jones, played by Harrison Ford, who is a young, powerful educated man, coming from a civilized background with a catchy nickname "Indy", which all heroes must, and dressed in his classic American archaeologist attire of leather jacket and bullwhip. The paper concludes that the Indiana Jones trilogy continues to be an incredible success because it is so easy for the American population to relate to Indy, a hero who never failed, and because it reflects American pop culture of adventure, power and heroism.
From the Paper
"It is very possible for even one trailer that is a mere one minute and fifty seconds long, to encompass so many different symbols, that have significance all throughout the movie. The clip that portrays the most symbolism in the shortest amount of time is definitely the part of the movie when Indiana Jones finds himself fighting a town full of Arabs in the middle of a marketplace in Cairo, all in order to rescue Marion. First and foremost, this entire sequence is filmed to fully capture the role of having a damsel in distress, as Indy is fighting in attempt to save Marion. Secondly, a very apparent form of symbolism appears in the background of the shot, where the entire marketplace is full of Arabs who are all wearing turbans and sandals, a very stereotypical image of the people of the eastern culture living in that region. The most noticeable glorification of the American culture becomes very evident when Indy is facing a large Arab man with a sword, who is prepared to fight him."
| |
|
Discourse of "Desire" in 'The Diviners', 2008.
This paper discusses the concept of satisfying desire by looking within, by looking at the discourse of 'desire' in Margaret Laurence's "The Diviners".
1,277 words (approx. 5.1 pages), 6 sources, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
In this article, the writer discusses that in Margaret Laurence's 1975 novel 'The Diviners', desire becomes a vehicle of feminist and personal liberation for the middle-aged protagonist, Morag Gunn. The writer notes that more than anything, Morag desires to find a true, rather than a false identity. The writer maintains that it is not the content of her work, but Margaret Laurence's wisdom, mixed with irony and humor, that brings insight to the reader. The writer concludes that the author writes in favor of a mature decision to cease to yearn for external change, and to satisfy one's desire through internal reflection.
From the Paper
"But it is not movement that gives her peace. Rather it is actively seeking peaceful solitude within, not finding elevated social status or fulfillment in her marital or extramarital relationships. Changing her external geography is not a complete form of self-actualization for the protagonist. The novel stresses that the liberating power of desire is not only found in sexuality or a change of place for a woman, but simply a desire to achieve a complete sense of identity and selfhood in solitude can be just as empowering.
"Morag's desire for authentic selfhood shows her continually wrestling with what society construes as status, and what she believes has real worth and merit. For example, initially, Morag sought her self-actualization through her desire to experience life outside of a provincial town and outside of a life limited by education. But this mode of liberation became stifling because of the relationship she had with her husband, even though he taught at a university. She was still constrained by feelings of inferiority and a sense that she was not living her own life."
| |
|
Biblical Themes from "Desire Under the Elms", 2002.
This essay examines O'Neils' use of biblical themes to highlight the destructive power of improper desires in "Desire Under the Elms".
1,725 words (approx. 6.9 pages), 5 sources, $ 55.95
»
Click here to show/hide summary
Abstract
This paper looks at Eugene O?Neil's classic drama, "Desire Under the Elms" and allusions that are made to the Bible. The author pays close attention to the significance of Ephraim Cabot?s name and his connection to the land, the similarities between Jacob and Eben in their attempt to secure their birthright, and a perversion of the Adam/Eve account in the relationship between Eben and Abbie.
From the Paper
"While most critics will attribute O?Neil?s? styling to that of Greek tragedy, I feel that in many cases we can see that it goes back much further. Although he never professed a need for a ?god? within his life, it is quite obvious that he often times chose to draw upon many of the tragedies found within the pages of the Bible for his inspiration. His repeated consideration of godlike figureheads was perhaps a means by which he attempted to come to a better understanding of the plague of the human condition. O?Neil once said, ?Obsessed by a fairy tale, we spend our lives searching for a magic door and a lost kingdom of peace.? Since his life was for the most part devoid of peace, much of his writing ended up being somewhat cathartic in nature. It is no surprise then that the Bible, which has always addressed the age old questions and concerns of man, figures so highly in much of his work."
|
|
|
