.] the wife is regarded as the property of her husband" (Besant
In Browning's poem, the title itself -- "My Last Duchess" -- is perfectly ambiguous: it refers either to the Duke of Ferrara's first wife, or the portrait of his first wife that hangs in his art gallery. The chilling revelation of the verse monologue is that, of course, the Duke's complete control over the portrait is intended to compensate for a certain lack of control he had over the actual wife, whom eventually he had killed: the Duke tells his guest that "none puts by / the curtain I have drawn for you, but I" (Browning 9-10), demonstrating that access to the late wife's portrait is entirely controlled by the husband
Marriage is a state of higher duties. I never thought of it as mere personal ease" (Eliot, IV)
If Dorothea is, as Leavis claims, Eliot's 'day-dream ideal self' her perfection lies in the kind of high womanliness which her creator herself was anxious to represent." (Foster 219)
But overall, Besant's argument focuses on the state of the actual laws in England in the Victorian period, arguing that "by marriage a woman loses her legal existence…the very being or legal existence of the woman is suspended during the marriage" (Besant 8). Again this is traced back to the religious notion that husband and wife are "one flesh," but it is -- as Shanley notes, an accurate assessment of the state of English law at the time, which was still heavily influenced by "the notion that a husband in some manner owned his wife's affection and sexual services, that she was his property, but a wife did not have a similar legal claim on her husband" (Shanley 24)
It is also not insignificant that Pollan's celebration of Polyface Farm is entitled 'pastoral.' As he waxes poetic about "the meadows dotted with contented animals" Pollan paints Salatin's relationship with the land as ideal, an extension both of Salatin's devout Christian beliefs of showing stewardship to the land as well as Salatin's knowledge of traditional forms of agriculture (Pollan 2006: 124)
According to Pollan, inexpensive food is a 'problem.' "The real problem is that subsidies keep the prices of some, largely mass-produced foods artificially low" (Worthen 2010)
In spite of his struggles however, it appears he received little support and had to turn to less conventional methods to recover his self-esteem while embarking on a journey meant to provide him with the ability to progress. "Be blessed, oh my God, who givest suffering As the only divine remedy for our folly, As the highest and purest essence preparing The strong in spirit for ecstasies most holy" (Baudelaire) It is likely that Baudelaire inspired from the Church's traditional belief in the fact that human suffering is likely to have spiritual benefits
Even with the fact that he focuses on victimizing himself throughout the poem, he certainly succeeds in experiencing a process of catharsis as he becomes more and more prepared to deal with problems that he might encounter. It appears that his experiences played an essential role in making it possible for him to explore his creativity and to focus on his problems, both as a poet and as an individual (Leakey 26)
The poet obviously wanted "Benediction" to stand as tool that could influence individuals to employ serious though in thinking about the world, about themselves, and about what he actually wanted to express through this text. "Baudelaire's melancholy poetry opens almost with a blow a double space, one dreamlike, appropriate to the demands and aspirations of the poetic genius, in which the I can feel itself at home, and one in which it is confronted in the most painful way with a reality which is as trivial as it is inexorable, the most disgusting prose of modern life" (Lloyd 19)
during English programming] was just as effective and well received among respondents as the ad written mostly in Spanish inserted in a Spanish medium [during Spanish programming]. Further, the primarily English ad was more effective and better received than the primarily Spanish ad when placed in the English medium" in terms of how sensitive the advertisements were perceived to be to consumers' needs (Bishop & Peterson 2010)
"The terms given in response to the English story are not a translation of the terms given for the Greek story and what bilinguals are reacting to is the different cultural context of each story. There also seems to be a pattern of concern for the family in the Greek scenario -- particularly for the widowed mother -- that does not appear in the American scenario" (Panayiotou 2004: 132)
BILINGUAL Greek-English code switching -- Bilinguals' Emotional Responses in English and Greek Bilingual 'code-switching:' an overview and research proposal Code-switching is the linguistic term for breaking in and out of different languages. "Going from one language to the other in mid-speech when both speakers know the same two languages" (Qing 2010)
The most common reason is unconscious behavior: when in a different social contexts, bilingual persons will naturally shift from one language to the other, depending on which 'feels' more natural to the circumstances, such as a home vs. A work environment (Thompson 2013)
It is worth noting that this identification also crucially incorporates the non-human natural world -- everything which is not culturally determined. Basch notes that Catherine's statement is not hyperbolic, as indeed the logic of the novel demonstrates that "by denying momentarily within herself her passion for Heathcliff, by abandoning him and Nature, of which she is an organic part, Cathy brings about her own destruction" (Basch 91)
It is worth noting that the dynamic is not unlike the one expressed by Butler in Gender Trouble, where, discussing Joan Riviere's notion of womanliness as a "masquerade" Butler notes that "femininity is taken on by a woman who 'wishes for masculinity,' but fears the retributive consequences of taking on the public appearance of masculinity…The woman takes on a masquerade knowingly in order to conceal her masculinity from the masculine audience she wants to castrate…the woman who 'wishes for masculinity' is homosexual only in terms of sustaining a masculine identification, but not in terms of a sexual orientation or desire." (Butler 70)
Patriarchal civilization dedicated women to chastity; it recognized more or less openly the right of the male to sexual freedom, while woman was restricted to marriage. (De Beauvoir, 374)
Similarly too Emily Bronte's Heathcliff "forgets" or is made to forget who and what he was; Mary Shelley's monster is "born" without either a memory or a family history…what all these characters and their authors really fear they have forgotten is precisely that aspect of their lives which has been kept from them by patriarchal poetics: their matrilineal heritage of literary strength, their "female power" which…is important to them because of (not in spite of) their mothers. (Gilbert and Gubar 59) Gilbert and Gubar are certainly right here, that to a certain extent what is central in a feminist conception of the "matrilineal heritage" of literary genealogies is the prospect of identifying with one's precursor
This becomes apparent in the scene relatively early in the narrative where Frankenstein finally succeeds in bringing his creature to life. Victor tells us that he "had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body" -- this would seem to be about the amount of time the nineteen-year-old Shelley had spent pregnant (Shelley, V)
Never is she seen in one that fits her person, but in those frightful "loose jackets," which must surely have been invented by somebody envious of a pretty shape. (Wood XXXI) While no critic would ever want to make claims for the feminism of Mrs