Flight Essays (847 words) - John Steinbeck, More Pep, Pep

Flight In his classic short story, "Flight," John Steinbeck uses many examples of symbolism to foreshadow the conclusion. Symbolism can be anything, a person, place or thing, used to portray something beyond itself. It is used to represent or foreshadow the ending of the story. Steinbeck uses colors, direction, and nature symbolism to help presage Pep?'s tragic death. Let us now more closely examine the ways that Steinbeck uses colors to foreshadow the ending of his short story. Perhaps the most repeatedly used symbol in "Flight," is the color black. In literature many authors use black to represent death. There are numerous examples in this short story. Some of these include the black handle on the long blade, Pep?'s black hair and the black jerky. Another example may be found when Pep? puts on his fathers black coat, which represents death. When Pep? puts on the coat he is literally covering himself with death. Another fine example is the trail in which Pep? travels. Steinbeck describes the path as a well-worn black path. By traveling on this path he is in fact taking the road of death. Furthermore Pep?'s appearance also helps foreshadow the ending. Steinbeck describes him as having a black hat that covers his black thatched hair. Pep? is also described as being dark, lean and tall. Another example is Pep?'s shack. The shack is described as weathered and very old. It casts a rather large shadow to the North east. The darkness of the shadow symbolizes death in the home. As we can readily see, the authors use of black symbolism in the story tells us that the main character, Pep?, is impending death. Another commonly used symbol in the story "Flight," is direction. Direction is used to represent positive or negative effects. North and East are generally "good" directions. Many people feel this came about when the early man saw the sun rise in the East. On the contrary, the directions South and West are generally "bad" directions. Basically this is because the sun sets in the West. Besides compass directions, height is also a very popular way of foreshadowing the conclusion of the story. The direction up, which is also the way to heaven is generally "good," while down, the direction of hell, is considered to be "bad." An example of this form of symbolism can be found when Pep? is returning home. Pep? looks at his "weathered little shack" and notices the shadow. The shadow is heading in the direction North East. Even though the directions North and East are "good," the fact that the shadow is there turns them "bad." This means that evil is winning over goodness. So, whichever direction Pep? turns to he will fall into evil. Another fine example is when Pep? watches the sun set in the West. The sun, which is the bringer of all life is moving towards evil. That means it will be dark out and Pep?'s death is soon to come. Steinbeck further uses this symbolism while describing the tops of the trees on the mountain. The tops of the trees were wind-bitten and dead. This symbolizes that the further Pep? travels up the mountain the closer he is to his inevitable death. As shown above, direction is another very important aspect of symbolism. Direction is just another of the many ways John Steinbeck accomplishes his foreshadowing of the ending of his story. Let us now look further into symbolism by discovering yet another form of symbolism. Throughout the story Steinbeck emphasizes nature symbolism. Nature symbolism includes a variety of things. One very popular symbol is water. Because of the fact that we, as humans, require water in order to live, water represents life. An example of this in the story "Flight," would be Pep?'s water bag that he hung over his horse's shoulder. The water leaked onto the horse's shoulder. This meant Pep?'s life was actually leaking away. It just so happened that when the horse was shot it was in the same shoulder. The most obvious example of nature symbolism would be when Pep? is traveling up the mountain. When he first starts out he is traveling very close to the river. As he continues with his journey, the path in which he travels has the tendency to turn more and more away from the river. In reality this means Pep? is moving further away from life and closer to his inevitable death. These are just a couple of situations in the story "Flight" that help the reader catch a glimpse of

History of Scuba Diving and Pioneer Jacques Cousteau

History of Scuba Diving and Pioneer Jacques Cousteau Modern scuba diving gear consists of one or more gas tanks strapped to the divers back, connected to an air hose and an invention called the demand regulator. The demand regulator controls the flow of air so that the air pressure within the divers lungs equals the pressure of the water. Early Diving Gear Ancient swimmers used cut hollow reeds to breathe air, the first rudimentary snorkel used to enhance our abilities underwater. Around 1300, Persian divers were making rudimentary eye goggles from the thinly sliced and polished shells of tortoises. By the 16th century, wooden barrels were used as primitive diving bells, and for the first time divers could travel underwater with more than one breath of air, but not much more than one. More Than One Breath In 1771, British engineer, John Smeaton invented the air pump. A hose was connected between the air pump and the diving barrel, allowing air to be pumped to the diver. In 1772, Frenchmen, Sieur Freminet invented a rebreathing device that recycled the exhaled air from inside of the barrel, this was the first self-contained air device. Freminets invention was a poor one, the inventor died from lack of oxygen after being in his own device for twenty minutes. In 1825, English inventor, William James designed another self-contained breather, a cylindrical iron belt attached to a copper helmet. The belt held about 450 psi of air, enough for a seven-minute dive. In 1876, Englishmen, Henry Fleuss invented a closed circuit, oxygen rebreather. His invention was originally intended to be used in the repair of an iron door of a flooded ships chamber. Fleuss then decided to use his invention for a thirty-foot deep dive underwater. He died from the pure oxygen, which is toxic to humans under pressure. Rigid Diving Suits In 1873, Benoà ®t Rouquayrol and Auguste Denayrouze built a new piece of equipment a rigid diving suit with a safer air supply, however it weighed about 200 pounds. Houdini Suit - 1921 Famous magician and escape artist, Harry Houdini (born Ehrich Weiss in Budapest, Hungary in 1874) was also an inventor. Harry Houdini astonished audiences by escaping from handcuffs, straitjackets, and locked boxes, often doing so underwater. Houdinis invention for a divers suit permitted divers, in case of danger, to quickly divest themselves of the suit while submerged and to safely escape and reach the surface of the water. Jacques Cousteau Emile Gagnan Emile Gagnan and Jacques Cousteau co-invented the modern demand regulator and an improved autonomous diving suit. In 1942, the team redesigned a car regulator and invented a demand regulator that would automatically fresh air when a diver breathed. A year later in 1943, Cousteau and Gagnan began selling the Aqua-Lung.

Imperialism, WWI, and Modernism Coursework Example | Topics and Well Written Essays - 750 words

Imperialism, WWI, and Modernism - Coursework Example As such, it was important at that time that the U.S. did not willingly get involved in any types of skirmishes overseas. The attitude toward the individual in the World War I era was the preceding boondoggle that would eventually cast a pall over the country as the Great Depression later set in. Conrad’s story reflects this pessimism. According to Conrad (2006), â€Å"Between us there was, as I have already said somewhere, the bond of the sea. Besides holding our hearts together through long periods of separation, it had the effect of making us tolerant of each other's yarns—and even convictions† (pgh. 4). Conrad mentions that he is â€Å"tolerant,† but not accepting—which is an even higher form of tolerance that moves beyond just allowing someone or something to exist without deference for the person or thing itself. T.S. Eliot’s poem The Love Song of J. Alfred Prufrock takes an even more pessimistic view on life. Obviously he feels the prob lems that come with getting old, and sounds like a whiny elderly man. He talks about how he’s losing his hair, and how he wants to walk upon the beach, eat a peach, and basically do whatever he wants. However, he feels that he is being constrained by the social duties placed upon him in life. According to Eliot (1917), â€Å"I have measured out my life with coffee spoons† (line 51). ... All three of these writers basically make clear that the World War I era was full of people whose personalities were somewhat diluted because of the fact that people were trying to maintain societal images, while all the time inside themselves, people were wanting to act out and do things their own way. The early 20th century was a time when mobility changed from horse and buggy to the car. The new stressors that came with modern life fully affected people, and life began to go at a faster pace, yet still peoples’ minds slowed down as they tried desperately to maintain social order and good social graces in the face of WWI. Imperialism and the development of colonies all over the world by various European countries compounded this depressive attitude. Modernism in literature definitely mimicked this attitude well, as can be seen from the literature surveyed here. Part Two: Does this more depressed view of humanity and the individual continue to the present? Use your own experi ences to help answer this question. (280 words) This more depressed view of humanity continues to haunt us in present-day America. People are very upset with the fact that there are two wars going on overseas and our national budget is at over $10 trillion dollars—not to mention the U.S. owes a lot of that money to China. Americans are depressed because they can’t get jobs. Americans are depressed because our military budget is overreaching other forms of budgeting that would provide assistance to those Americans who are most needy. In my own experience, we live in a very depressing era because—although the world is becoming much more technologically advanced and

REFLECTIONS ON YOUR JOURNAL AND THE COURSE part 2 Coursework

REFLECTIONS ON YOUR JOURNAL AND THE COURSE part 2 - Coursework Example Discrimination is another problem facing American working citizens. Workers in USA undergo discriminations based on age, gender and physical status. Employees from the global societies of today suffer the same problem of discriminations depicted lowering the quality of performance at the workplace. The government should enact strict policies to protect the working citizens from such exploitation that reduces the quality of service delivery leading to under exploitation of human labor. According to Barboza’s report, Apple Corporation is one company that exposes its workers to hostile working environment. My thinking about exposure to hostile working conditions as a contributing factor to unemployment remains the same after witnessing a reputable corporation like Apple exposing employees to the same conditions. The future of the American citizens is not promising despite the formation of various trade unions and retirement acts. Corrupt government officials embezzle pension scheme funds rendering the systems unreliable for the American

Cultural Significance Of The Reformation During The Renaissance Research Paper

Cultural Significance Of The Reformation During The Renaissance - Research Paper Example This was simply a cultural movement that occurred around the 14th -17th century in Europe. The most remarkable feature about this period is artistic developments. However, there were also some significant cultural reformations that will be discussed in this paper. Initially, Europe had conservative traditions but vital cultural reformations in the renaissance were stimulated by the reformation in music and religious teachings, and the emergence of new artistic ideas. This new culture entailed a lot of freedom and individualism as sparked by the creative works of several musicians and artists during the period. The emergent creativity led to artists abandoning artistic ways of the medieval era which were strict in nature. This led to the development of artistic improvements for example, realism in art. Giottto di Bondone was the first artist in the renaissance period to treat a painting as a widow into space (Bainton, 1952). Renaissance led to renewal of the desire to bring out the be auty of nature and explore the axioms of aesthetics. This motivated artists to come up with new painting techniques which included studying human anatomy, and light and shadow. Leonardo da Vinci’s Mona Liza Painting is a good demonstration of the study of the human anatomy. The artistic culture during the renaissance period can therefore be described as being vibrant and this led to development of naturalism in painting. The renaissance period led to reformations in the music industry for example, secular music gained more popularity. This was stimulated by the development of the printing press which enabled music to be printed and spread faster. These songs mainly dealt with military and romantic themes. The form of the madrigal which was developed in Italy spread fast to Netherlands, England France and Germany (Estep, 1986). The shift to secularism was not only seen in the music industry but the general society as well. This was mainly brought about by the changes that occu rred in religion and humanism. For example, a reformation in humanism led to a shift in the focus of life to individualism. This is where each person was supposed to be his or her own priest with the Bible being the only true authority (Smith, 1920). According to Hillerbrand (1973), renaissance led to a shift in religious inclinations from Catholism to Protestantism. This is because people like Erasmus held to and campaigned on the view that a true religion was an act of inward devotion to God rather than mere outward symbols of ritual and ceremony. The changes were also a result of protest against the evil that people saw in the Catholic Church for example rampant corruption. The people realized that there was a big contrast in the practical lives of the church clergy and the doctrines and teachings they were giving to the people. The result of criticism against the Catholic Church was a loss in its authority and the emergence of new protestant churches and sects. This led to relig ious wars and divisions whose driving force was expressions by the people on the need for freedom of expression and tolerance. The renaissance was therefore a successful weapon for countering the fight against pagan civilization by the Catholic Church. The consequence of the criticisms, new religious focus and stand was secularization of fanatical Catholics and the general society (Euan, 1991). A change in the culture of Christians led to a change in lifestyle from having the church as the center of activity into a materialistic kind of life. In this secular life, the material world became an important part of the life of a person and this encouraged capitalism. People become more concerned with money, worldly pleasures and a general comfort in life. At the same time, religion remained an important part

The Life Of Alexander Pushkin

The Life Of Alexander Pushkin Freedom in Alexander Pushkin’s literary works occupies one of the central positions; however, Pushkin treats freedom from various sides and perspectives. Living in the period of social and political changes, in the era of the Great Patriotic War of 1812 and the revolt of Decembrist of 1825, Pushkin belonged to the generation which was in search of ideal freedom. However, being unable to attain this kind of freedom, Russian poets of the nineteenth century made constant attempts to replace one idea of freedom with another, finally realising that freedom in real life was constantly restricted. Alexander Pushkin went further than other poets of his times in his treatment of freedom, inspiring the formation of new Russian civic poetry and influencing such poets as Nekrasov and Lermontov. As Janko Lavrin points out, â€Å"what the world now understands and admires under the name of Russian literature came with and after Pushkin† (p.65).   Ã‚   At the beginning of Pushkin’s literary career, the issue of freedom in his literary works acquires a strong political tendency. In his early poem Volnost (1817) Pushkin reveals his vision of ideal freedom, opposing the existing absolute power of kings and expressing the idea that true freedom can be achieved only under the constitutional monarchy.   In Pushkin’s poem K Chaadaevy (1818) the political idea of freedom acquires a slightly different direction; in this poetic work Pushkin points at the necessity of defending his native land. For Pushkin, love for homeland is inseparably connected with the struggle for freedom. However, as Pushkin becomes mature, he rejects a pure political treatment of freedom, demonstrating his interest in inner freedom of a person. In this regard, Pushkin implicitly draws a parallel between inner freedom and poetic perception of freedom in his poetic work Derevnja (1819). Such a combination uncovers many possibilities for achieving freedom, but, on the other hand, it evokes inner doubts, which the poet does not dissipate by the end of the poem. The first part of Derevnja reveals the poet’s ecstatic delight of his achieved freedom: In the second part of the poem Pushkin ponders over the destiny of Russian people, feeling that his poems are unable to provide them with long-waited freedom, that they are unable to completely eliminate serfdom which destroys people’s lives and their inner selves. Contrasting beauty of nature with lack of freedom in the village, Pushkin shows that people can acquire happiness only in free society. As Alexander Pushkin claims,    Thus, the poet appeals to the king and asks him to annihilate serfdom, providing people with freedom and knowledge. As the poet, Pushkin has the only tool – his poetry – to strive for universal freedom. But in such poems as K Moryu (1824) and IzPindemonti (1836) Alexander Pushkin continues his discussion of inner freedom, presenting a romantic embodiment of freedom. As the poet realises that he is not able to achieve freedom in real life, he turns to freedom in his dreams, identifying himself with nature. In the poetic work K Moryu Pushkin applies to the image of sea, which symbolises both inner freedom of a person and poetic freedom. For Pushkin, sea is the embodiment of free and rebellious nature, but at the same time through the image of sea Pushkin reveals the poet’s loneliness in his struggle for freedom. However, it is nature that gives necessary power and freedom to Pushkin, saving him from any dependence: These words from Pushkin’s poem IzPindemonti reveal that the poet is in search of new verges of freedom, the verges that overcome the existing reality. This search is especially obvious in his famous poem Uznik (1822), where the appeal for inner freedom is expressed through eagle’s cry. Both the eagle and the prisoner are captives who are deprived of their freedom. Alexander Pushkin creates this poem in exile, where he is deprived of freedom, of close relatives and friends.   However, the eagle is a freedom-loving bird, and its greatest wish is to attain freedom. Alexander Pushkin identifies himself with the eagle, maintaining the idea that a person is also free by nature, thus freedom is crucial for any human being: In this regard, Pushkin implicitly shows that political, outer and poetic freedom stand behind inner freedom. On the other hand, Pushkin realises that it is impossible for the poet to completely reject one aspect of freedom for the sake of another; As Angus Calder points out, â€Å"a man who respects himself as ‘autonomous’ will of course tend to chafe against political tyranny and may well seek a place where he may have ‘independent’ control of his own life† (p.35). Uznik was written when Pushkin was only twenty-three years old, but even at this age the poet realised that society, in which he lived, specifically created invisible barriers and restrictions, wrong ideals and illusions, and Pushkin expressed his longing for real freedom. Deviating from the political treatment of freedom, Pushkin realises that a poet should be free both from people and from authorities; only in this case it is possible to create freedom-loving poetry. In Pesni o veshem Olege Pushkin points out that any literary work should be free and truthful. After the Decembrists’ defeat, Pushkin continues to dream of freedom, hoping to realise this dream. As Pushkin claims in his poem Vo glubine sibirskich rud dedicated to his friends-Decembrists, In the series of Southern Poems Alexander Pushkin introduces the idea that outer freedom can not be attained. In such poems as Zygane (1930) and Fontany Bahchizaraiskogo dvorza (1824) Pushkin portrays certain spheres where freedom of people is strongly confined, but nevertheless, a person is able to develop and preserve inner freedom. Such treatment of freedom coincides with the ideals of Renaissance; Pushkin’s obsession with inner freedom reflects the revival of national consciousness under complex social changes. Thus, Pushkin’s ideas of freedom possess cultural roots rather than political, despite the fact that some of his poetic works, such as Arion, Anchar and Skaski, demonstrate an open protest against the existing political system. But Pushkin’s rebel is of spiritual nature; it is the rebel of a person who is overwhelmed with humanism and who rejects any personal violence. Instead of the existing ideology of the nineteenth century, Alexander Pushkin create s his own ideology of inner freedom in the context of universal freedom (Edmunds, pp.29-32). In his poem Ya pamyatnik sebe vozdvig nerykotvorniy Alexander Pushkin points out that his major life achievement is his freedom-loving poetry:   Ã‚   But Pushkin does not restrict himself only to poetry; he freely experiments with different literary genres, making an attempt to â€Å"explore the possibilities of prose in the same way as he had explored the possibilities of verse† (Lavrin, p.183). However, his ideal of inner freedom remains central to all his literary works. This is especially true in regard to Pushkin’s short stories, novels and tales. In his famous verse novel Evgeniy Onegin Pushkin points at the characters’ inability to achieve inner freedom. Pushkin portrays aristocratic society, which is unable to overcome the existing restrictions (Falen, pp.7-10). Perhaps, the only character who is able to attain inner freedom is Tatiana, a young girl with intelligence and longing for love. Tatiana falls in love with Onegin, the principal character of the play, and she is the first who makes a declaration of love. However, Onegin rejects her in a most inappropriate way, and Tatiana suffers much, loosing her inner freedom. As Tatiana claims: She marries an old gentleman and remains devoted to him, despite the fact that she still loves Onegin. Thus, in Evgeniy Onegin Pushkin uncovers the reality of his life, embodying his own thoughts of inner freedom in the character of Tatiana. In Pushkin’s tale Pikovaya Dama the writer discusses inner freedom in a different context. Introducing the character of Germann, Pushkin reveals the negative consequences of Germann’s wish to achieve freedom. Germann considers that true freedom can be attained only with the help of money, but as he gets more and more entangled in deceits, he destroys himself and other characters. In fact, Germann looses his self and his freedom, as he becomes obsessed with playing cards; in this context, abstract things take full control over Germann’s life, driving him mad by the end of the narration. Comparing his character with Napoleon and Mephistopheles, Pushkin uncovers the essence of Germann who does not acknowledge any moral principle s or laws. As Pushkin claims in regard to his character, The similar portrayal Pushkin utilises towards an old countess, ‘Pikovaya Dama’. The old woman in Pushkin’s tale is identified with an Egyptian mummy; she is a lifeless creature who lacks any freedom and who leads meaningless life within aristocratic society. Alexander Pushkin does not treat old woman’s death as tragedy, because, for Pushkin, life without freedom is empty existence. In this regard, inner freedom in Pikovaya Dama is discussed through freedom of moral choice. Germann and the old woman make a wrong choice, thus loosing the possibility to attain inner freedom. However, in contrast to these characters, Pushkin introduces the character of Lisaveta Ivanovna who greatly values her moral principles that finally save her. In his story Egypetskiye Nochi Pushkin returns to the issue of freedom in the context of poetry. On the example of Charskii, a poet and aristocrat, Pushkin reveals his own suffering, as he makes an attempt to become a freedom-loving poet (Debreczeny, pp.11-13). Similar to Pushkin’s poetry, Egypetskiye Nochi discusses the relations between the poet and society, and these relations reflect the essence of his views on the idea of inner freedom. Although Pushkin demonstrates a close connection between the poet and people, he nevertheless points at the necessity of freedom for the poet. At the beginning of the story Pushkin shows Charskii’s dependence on society: However, further Pushkin demonstrates Charskii’s dissatisfaction with such position and his attempts to preserve his inner freedom. In his conversation with a stranger, Charskii exclaims: Charskii, similar to Pushkin himself, feels loneliness within society in which he lives. In his poem Svobody seyatel pustynniy (1823) Pushkin reveals a notion that a poet lives among people who are not able to perceive his ideas of freedom. On the other hand, in the poem Prorok (1826) Pushkin states that any poet that wants to appeal for freedom should endure many difficulties and pain. Alexander Pushkin suffered throughout his life, and these sufferings were reflected in all his freedom-loving poetry and prose.    Analysing the ideas of freedom in Alexander Pushkin’s poetry and prose, the essay suggests that Pushkin’s treatment of freedom changes throughout his literary career. Starting with an idea of political freedom, Pushkin gradually realises the vainness of his attempts to attain outer freedom. In his further works the poet pays more attention to inner freedom of an individual, applying to symbolical understanding of freedom through understanding of nature. It is this inner freedom that Pushkin values above all other kinds of freedom, implicitly or explicitly referring to inner freedom in almost all his poetic and prose works. This inner freedom in Pushkin’s poetry concerns various issues, such as freedom of choice, freedom from any biases, freedom of religious beliefs and, above all, freedom of creative work. In Pushkin’s prose works inner freedom is inseparable from moral values of people. Overall, freedom-loving poetry and prose of Alexander Pushkin contrib ute to the formation of a characteristic writing style, which is adopted by further generations of Russian poets. Works Cited Calder, Angus. Russia Discovered: Nineteenth-Century Fiction from Pushkin to Chekhov. London: Heinemann, 1976. Debreczeny, Paul.   Introduction, in Alexander Pushkin:Complete Prose Fiction.   Stanford: Stanford University Press, 1983, pp.5-11. Edmunds, Robin. Pushkin: The Man and His Age. New York: St. Martins Press, 1994. Falen, James. Alexander Pushkin. Eugene Onegin. Oxford, New York: Oxford University Press, 1995. Lavrin, Janko. Pushkin and Russian Literature. New York: The Macmillan Company, 1948. ПÃ'Æ'Ã'ˆÐ ºÃ ¸Ã ½, Ð Ã »Ã µÃ ºÃ' Ã °Ã ½Ã ´Ã'€ Ð ¡Ã µÃ'€Ð ³Ã µÃ µÃ ²Ã ¸Ã'‡. ЕÐ ²Ã ³Ã µÃ ½Ã ¸Ã ¹ ОÐ ½Ã µÃ ³Ã ¸Ã ½. Ð ¡Ã ¾Ã ±Ã'€Ð °Ã ½Ã ¸Ã µ Ã' Ã ¾Ã'‡Ð ¸Ã ½Ã µÃ ½Ã ¸Ã ¹ Ð .Ð ¡. ПÃ'Æ'Ã'ˆÐ ºÃ ¸Ã ½Ã ° Ð ² Ð ´Ã µÃ' Ã' Ã'‚Ð ¸ Ã'‚Ð ¾Ã ¼Ã °Ã'…, Ð ¢.4. ÐÅ"Ð ¾Ã' Ã ºÃ ²Ã °: ГÐ ¾Ã' Ã'Æ'Ð ´Ã °Ã'€Ã' Ã'‚Ð ²Ã µÃ ½Ã ½Ã ¾Ã µ Ð ¸Ã ·Ã ´Ã °Ã'‚Ð µÃ »Ã'Å'Ã' Ã'‚Ð ² Ð ¾ Ð ¥Ã'Æ'Ð ´Ã ¾Ã ¶Ã µÃ' Ã'‚Ð ²Ã µÃ ½Ã ½Ã ¾Ã ¹ ЛÐ ¸Ã'‚Ð µÃ'€Ð °Ã'‚Ã'Æ'Ã'€Ã'‹, 1960. ПÃ'Æ'Ã'ˆÐ ºÃ ¸Ã ½, Ð Ã »Ã µÃ ºÃ' Ã °Ã ½Ã ´Ã'€ Ð ¡Ã µÃ'€Ð ³Ã µÃ µÃ ²Ã ¸Ã'‡. ЕÐ ³Ã ¸Ã ¿Ã µÃ'‚Ã' Ã ºÃ ¸Ã µ Ð Ã ¾Ã'‡Ð ¸. Ð  Ã ¾Ã' Ã' Ã ¸Ã' : ИÐ ·Ã ´Ã °Ã'‚Ð µÃ »Ã'Å'Ã' Ã'‚Ð ²Ã ¾ Ð  Ã ¾Ã' Ã ¼Ã' Ã ½-ПÃ'€Ð µÃ' Ã' , 2002. ПÃ'Æ'Ã'ˆÐ ºÃ ¸Ã ½, Ð Ã »Ã µÃ ºÃ' Ã °Ã ½Ã ´Ã'€ Ð ¡Ã µÃ'€Ð ³Ã µÃ µÃ ²Ã ¸Ã'‡. Ð ¡Ã'‚Ð ¸Ã'…Ð ¾Ã'‚Ð ²Ã ¾Ã'€Ð µÃ ½Ã ¸Ã' . ПÐ µÃ'€Ð ¼Ã'Å': ПÐ µÃ'€Ð ¼Ã' Ã ºÃ ¾Ã µ Ð ºÃ ½Ã ¸Ã ¶Ã ½Ã ¾Ã µ Ð ¸Ã ·Ã ´Ã °Ã'‚Ð µÃ »Ã'Å'Ã' Ã'‚Ð ²Ã ¾, 1987.   ПÃ'Æ'Ã'ˆÐ ºÃ ¸Ã ½, Ð Ã »Ã µÃ ºÃ' Ã °Ã ½Ã ´Ã'€ Ð ¡Ã µÃ'€Ð ³Ã µÃ µÃ ²Ã ¸Ã'‡. ПÐ ¸Ã ºÃ ¾Ã ²Ã °Ã'  ДÐ °Ã ¼Ã °. ПÐ ¾Ã »Ã ½Ã ¾Ã µ Ã' Ã ¾Ã ±Ã'€Ð °Ã ½Ã ¸Ã µ Ã' Ã ¾Ã'‡Ð ¸Ã ½Ã µÃ ½Ã ¸Ã ¹ Ð .Ð ¡. ПÃ'Æ'Ã' ˆÐ ºÃ ¸Ã ½Ã ° Ð ² Ð ´Ã µÃ' Ã' Ã'‚Ð ¸ Ã'‚Ð ¾Ã ¼Ã °Ã'…, Ã'‚.6. ЛÐ µÃ ½Ã ¸Ã ½Ã ³Ã'€Ð °Ã ´: Ð Ã °Ã'Æ'Ð ºÃ °, 1978.     

Fairies in Folklore and Literature Essay -- Exploratory Essays Researc

Fairies in Folklore and Literature Fairies have been part of literature, art, and culture for more than fifteen hundred years. With them have come many stories about their interaction with adults and children. These stories have been compiled by men such as Charles Perrault and the Brothers Grimm, who provided the world with a large compilation of fairy tales, which are still told today. Perrault and the Grimms together compiled over six hundred legends that originated from all around Europe. These myths and legends often included imaginary being called fairies, sprites, and nymphs. Fairies are frequently described as tiny human beings. Their clothing, which is usually green, gold, or blue, is thought to have been created from natural elements such as leaves and vines which have been sown together to make their dresses and loin cloths. Many of these magical beings had wings and could change forms and disappear when they had to. There were both male and female fairies, some good and others evil. Evil female fairies were usually associated with female sexuality and abused their magical powers by doing harm (Rose 107-9). They also had two, distinct living groups. One was called the "trooping group," a group of fairies that lived together in a community with governmental authority and laws, usually a monarchy. Most of these "trooping groups" were found in Irish and occasionally in English folklore. The other fairies are simply known as "solitary fairies," the ones that do not live within the community and are associated with outside families, places, or activities. This group would include fairy godmothers (Rose 107). All fairies were said to live in the ground, within a forest. If humans wanted to find the fairie... ... Jane Eyre can been seen in the compilation of Charles Perrault’s work, especially in "Tom Thumb" and "Bluebeard" and "The Fairies." It could also be argued that Charlotte might not have read or heard these stories but was introduced to many of the same themes through gothic novels of the time. Â   Â   Â   Works Cited Bronte, Charlotte. Jane Eyre. Ed. Beth Newman. New York: St. Martin’s, 1996. Fraser, Rebecca. The Brontes: Charlotte Bronte and Her Family. New York: Crown, 1988. Perrault, Charles. Perrault’s Classic French Fairy Tales. Austria: Meredith, 1967. Rose, Carol. Spirits, Fairies, Gnomes and Goblins: An Encyclopedia of the Little People. Denver: ABC-CLIO, 1996. Silver, Carole. Strange and Secret Peoples: Fairies and Victorian Consciousness. New York: Oxford UP, 1999. Â   Â   Â   Â   Â   Â   Â   Â   Â   Â   Â   Â   Â   Â   Â   Â   Â   Â   Â