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The remark is characteristically intertextual, a rephrasing of Oscar Wilde’s epigraph to , a piece of brief yet incisive commentary on the tension between Realist and avant-garde art: “The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass./ The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass” (Wilde 3). Most scholars contend that Joyce is engaged primarily with Wilde as a fellow, near contemporary Irish writer.
You’ll easily find something suitable for yourself with the list of topics below, arranged for our readers by category.
The topic of education carries a lot of problems and solutions, old ideas conflict new ones.
I also plan to examine the various mentions of linguistic and artistic schematics.
Firstly, the Bloom family unit is uncannily similar to Shakespeare’s Sicilian royalty, most notably in the unspoken grief of both protagonist’s lost sons, and the ways in which the authors address the modes of atonement and recovery.
Indeed, it is not unreasonable to draw connections between Stephen’s cynical discourse on wives in “Scylla and Charybdis” and Bloom’s museum musings in “Lestrygonians” as the King’s competing theories of female sexuality.
Both men think and verbalize permutations of Leontes’ angry ramblings in Act I Scene II, and both scenes are contextualized by discussions of linguistic and artistic control—here, one and the same—and perhaps more importantly, explicit discussions of attaining freedom through those mediums.
The purpose of a proposal essay is to propose an idea and provide evidence or arguments to convince readers why an idea is good or bad.
Consider yourself as a salesperson; your goal is to convince the customer why to buy a car, jewelry, or some product.
While enduringly popular with the American reading public, particularly young people and aspiring writers, the works of J. Salinger have, somewhat perplexingly, failed to generate much in the way of serious scholarship.
Shortly following the near-universal acclaim of , Salinger’s “Franny” and “Zooey” and subsequent installments meditating on the Glass family were met with increasingly critical resentment and weariness of Salinger’s devotion to a set of precocious, misunderstood geniuses, so much so that by the time “Hapworth 16, 1924” appeared in in 1965, it was “greeted with unhappy, even embarrassed silence” (Malcolm).