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The Satire on Learning in Swift's 'Digression o...
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Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1,7 (A-), Johannes Gutenberg University Mainz (Englies Institute), course: Swift and Satire, 14 entries in the bibliography, language: English, abstract: 'Satyr is a sort of Glass, wherein Beholders do generally discover everybody's face but their Own; which is the chief Reason for that kind Reception it meets in the World, and that so few are offended with it' (Swift, see Weiss 1). When Swift wrote this, A Tale of a Tub had not been published yet. If it had been, he might not have characterised satire as something quite inoffensive to the individual reader: A Tale of a Tub made him the subject of massive criticism, mainly because of its supposed blasphemous nature. Not very surprisingly, however, this criticism was mainly issued by the men he had attacked in the digression, which were not about religion but learning (see Storkman xvi). Similarly, although Swift had called his satire 'On the Corruptions in Religion and Learning', and although at least two thirds of it actually deal with learning, most of the public interest has gone into the part of it concerning religion (see Storkman xiv). In this paper, I therefore want to examine Swift's satire on learning in the tenth section of A Tale of a Tub, 'A Digression on Madness'. I will start with some introductory notes on satire, covering its history, its character and its techniques. In a second part I will then analyse 'A Digression of Madness' first from a historical and then from a structural point of view. In the last chapter I will conclude the paper by summarising and discussing the main arguments of the first two chapters.

Anbieter: Orell Fuessli CH
Stand: 12.07.2020
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Children of Hyacinth (Arcana Europa)
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Iulian Dalca is a twenty-one-year-old musical prodigy with big dreams. He's also blessed with a hint of light magic in his blood, a gift that's apparently unique to prodigies and whose purpose appears to be the developing of an extremely strong connection between artist and audience during a performance. Unknown to most, the gift of light magic also allows him a powerful and inexplicable psychic link to someone who remains invisible, a person he's never met in the real world. It's a connection that strengthens over time, a symbiotic bond whose purpose remains a closely guarded secret among the goddesses believed to have created it. Cosmin Vasile is an eighteen-year-old young man living in obscurity and poverty in a rural village in the Wallachian countryside. Gifted in song, he spends his time adding to his parents' meager income by weaving and gathering wool for sale, singing rustic songs he knows by heart as he works. He's also plagued by mysteriously restless sleep lasting a week and occurring once a year since he turned eleven, though he remembers nothing of the dreams or nightmares that may have caused the disturbance. Then out of the blue on two separate occasions, a once-in-a-lifetime chance at fulfilling their dearest dreams suddenly comes along, and youthful hope takes flight... Only to tumble headlong down a nightmarish pit of old magic twisted for a darker purpose, where lines separating reality and decades-long madness blur. Haunting portraits of long gone students, a cursed mirror hiding a terrifying world of corruption and death, a monstrous satyr lurking in the shadows of the mirror's world - time and hope for escape disappear as Iulian and Cosmin suddenly discover the awful price of being marked as the Muses' rare, favored children.

Anbieter: Thalia AT
Stand: 12.07.2020
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The Satire on Learning in Swift's 'Digression o...
4,99 € *
ggf. zzgl. Versand

Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1,7 (A-), Johannes Gutenberg University Mainz (Englies Institute), course: Swift and Satire, 14 entries in the bibliography, language: English, abstract: 'Satyr is a sort of Glass, wherein Beholders do generally discover everybody's face but their Own; which is the chief Reason for that kind Reception it meets in the World, and that so few are offended with it' (Swift, see Weiß 1). When Swift wrote this, A Tale of a Tub had not been published yet. If it had been, he might not have characterised satire as something quite inoffensive to the individual reader: A Tale of a Tub made him the subject of massive criticism, mainly because of its supposed blasphemous nature. Not very surprisingly, however, this criticism was mainly issued by the men he had attacked in the digression, which were not about religion but learning (see Storkman xvi). Similarly, although Swift had called his satire 'On the Corruptions in Religion and Learning', and although at least two thirds of it actually deal with learning, most of the public interest has gone into the part of it concerning religion (see Storkman xiv). In this paper, I therefore want to examine Swift's satire on learning in the tenth section of A Tale of a Tub, 'A Digression on Madness'. I will start with some introductory notes on satire, covering its history, its character and its techniques. In a second part I will then analyse 'A Digression of Madness' first from a historical and then from a structural point of view. In the last chapter I will conclude the paper by summarising and discussing the main arguments of the first two chapters.

Anbieter: Thalia AT
Stand: 12.07.2020
Zum Angebot