Murderous Macbeth essays

Dangerous Macbeth articles All through the entirety of history, individuals have executed individuals to excel simply like Macbeth did. Rulers, despots, tyrants, and even ordinary regular residents have murdered each other to attempt to pick up fiscally and attempt to pick up control over every other person. Numerous individuals even slaughter each for adoration. The spouse gets a sweetheart and executes the husband for him thus it goes. This hasnt changed in a long time since Shakespeares time. Macbeth slaughtered for the influence, the cash, and for the love of his better half. Macbeths principle explanation behind slaughtering Duncan was on the grounds that his significant other talked him into it. He bantered about it before she got into it however she was the one that in the long run talked him into it. Macbeth was nearly determined to abandoning the entire thing when his caring spouse stepped in and caused him to proceed with it. This happens frequently in genuine life. As a general rule married couples execute each other in light of the fact that they need them off the beaten path so they can be with the darlings they are having the illicit relationships with. They begin to look all starry eyed at these new darlings and conclude that a separation would be a lot of difficulty they plot to murder the spouse or wives that are standing out. In spite of the fact that Macbeth didnt do it precisely thus, he did it for the love of his better half. She needed to be higher on the stepping stool and they best way to have it done is have her better half Macbeth mu rder Duncan so he and she would turn into the pioneers of the nation and they would have the option to get rid of anybody that held them up. Another integral explanation that Macbeth submitted these homicides was on the grounds that her needed the force. He realized that on the off chance that he murdered King Duncan and pulled off it he would become ruler and have all the control over everybody. In the wake of executing Duncan he began slaughtering everybody that held him up in light of the fact that he discovered how effectively it was to mishandle his new powers. This is an exceptionally basic event and it happens constantly. All the despots and tyrants, for example, Hitler and Castro di... <!

Historical and Theological Context of Byzantine Iconoclasm

     As I stepped on to that British Airways trip to London, England I didn't have the foggiest idea about this would end up being one on the most changing encounters of my life. It began like this after playing a soccer coordinate with certain companions at a nearby school, we started to anticipate what we would do today around evening time. So after we returned home and scrubbed down, we called up a couple of companions and the arrangement for the night was chalked out, as we would go to certain clubs and other night spots London is frequently connected with. At that point in the wake of affirming were we were going to get together, we got spruced up, and left to where we could get a transport, which would take us to the train station, to meet the others. After we got together and boarded the train a few people from the gathering began to talk ... Change Essay - articles research papers      As I stepped on to that British Airways trip to London, England I didn't have the foggiest idea about this would end up being one on the most changing encounters of my life. It began like this after playing a soccer coordinate with certain companions at a neighborhood school, we started to anticipate what we would do today. So after we returned home and cleaned up, we called up a couple of companions and the arrangement for the night was chalked out, as we would go to certain clubs and other night spots London is regularly connected with. At that point in the wake of affirming were we were going to get together, we got spruced up, and left to where we could get a transport, which would take us to the train station, to meet the others. After we got together and boarded the train a few people from the gathering began to talk ...

Is your Bible Holy or full of Holes Essay Example For Students

Is your Bible Holy or loaded with Holes Essay IS YOUR BIBLE HOLY OR JUST FULL OF HOLES?Answer the accompanying inquiries utilizing a NIV BibleMatthew 6:13How does the masters supplication end?Matthew 8:29Who was the evil presences terrified of who might torment them?Matthew 17:21What two things did Jesus say are expected to thrown out a demon?Matthew 18:11Why did Jesus come to earth?Mark 7:16What is expected to hear?Mark 15:28Who was Jesus numbered with?Luke 22:14How numerous Apostles were with Jesus at the Last Supper? Luke 23:38The give up the cross, THIS IS THE KING OF THE JEWS was written in what languages?John 5:4Who disturbed the water?John 7:50What time of day did Nicodemus come to Jesus ?Acts 8:37What should an individual do before they are sanctified through water ?Acts 9:6When Paul got spared what inquiry did he pose to Jesus? Romans 16:24What did Paul petition God for every one of us to have? (It is his mark shutting in every one of his books.)1 Timothy 3:16Who was made show in the flesh?1 John 5:7According to this se ction, who are the three people of the Trinity?Revelation 1:11What does Jesus consider himself that suggests that he is GOD?Now do a similar utilizing the KJV variant. God has not just uncovered His statement (Heb. 1:1,2 ) and propelled His word(II Tim. 3:16,17), yet He likewise vowed to protect and keep His Word unadulterated and impeccable down through every age until the cows come home. This is known as the Doctrine of Divine Bible Preservation. (Romans 4:20,21; Titus 1:2; Hebrews 10:23)1. Songs 12:6,76. Songs 119:1522. Hymns 78:1-87. Hymns 119:1603. Songs 105:88. Axioms 22:20,215. Songs 119:11110. Matthew 5:17,1812. Luke 22:44 (Jesus put his blessing on the Old Testament)13. Matthew 24:35 (Jesus puts his blessing on the New Testament)a. Safeguarding of the GospelsJohn 14:26b. Protection of the Acts..John 15:26,27c. Conservation of the Epistles(letters of the Apostles).John 16:12-13d. Conservation of Revelation..John 16:13b*******************************************Why do they consider it the Received Text or Majority Text ? Since out of the 5,255 all out original copies of the Greek New Testament, 5,210 or (99%) of them concur. Just two genuine ly complete original copies from the second century and 43 halfway sections of sacred writing can't help contradicting the Received Text. Gotten TextWestcott Hort of the N.T. Has 140,521 Greek words in the N.T.Changes 5,604 Passages. Has 217 Greek words for every page. A sum of 9,970 words have been Has 647 pages of text.left out, included or changed ( Thats 7After 2,000 years it still hasof the N.T.- equivalent to the size of the book of674 unaltered pagesRomans). Had 26 new releases in 81 years100% of the Greek words (allthats one new version each 3.1 years!140,521) have been safeguarded by GOD!WHICH DO YOU CARRY, A SWORD OR A BUTTERKNIFE?Bibliography:

Expressionism Free Essays

I headed to SST Louis with two or three companions on a warm day ND when we got to the ml_Assure, everything I could state was ‘WOW’. â€Å"Is this a white house copy sort of a building’ solicited one from my companions. It was so delightful, never observed or have never been in a structure so tremendous like that. We will compose a custom article test on Expressionism or on the other hand any comparable subject just for you Request Now It was a significant respect and would have something to impart to individuals back in Africa. I probably won't have been a major fanatic of craftsmanship yet since that day all has changed. We went in and were given a historical center guide to find explicit regions we needed to visit. Present day workmanship segment was our fundamental need. We took the lift to the upper degree of the historical center where present day craftsmanship painting was shown. We strolled around segments 327, 335, 334 and 333. The artistic creation that generally grabbed my eye was that of Marc Chloral, a French man conceived in 1887 and passed on in 1985. The Temptation painting was painted by Marc the cubist in 1912. He painted Adam and Eve flanking the tree of information. He painted Eve as a green figure holding the taboo organic product that she was going to offer Adam, who presents in delighted obliviousness of the results to come. The cubism idea of split face permits Eve to take a gander at both the apple and its goal. Marc paints this image in relations to what we have consistently been perusing session in the good book. He likewise painted creatures around gazing at them, he did this to truly sharing time how the organic product changed the present reality. Another work of art just on the other divider to my left side as I went to one side, there balanced an astounding bit of workmanship called the blue Mandolin, 1 930 by George Baroque. He was a French man conceived in 1882 yet kicked the bucket in 1963. He utilized oil painting with sand on canvas. This canvas looked so genuine not at all like the ones I found in class on slideshows. He utilized a paint brush that made impersonation wood grain to which he included an overwhelming use of sand so as to set off the eel impacts of surface against fake ones. The utilization of sand here truly gives this work of art a solid surface. I even felt like I could contact it however couldn't do as such. He passes on his adoration for music here by painting the blue mandolin exceptionally closer to the eye. As moved around investigating the excellence Of workmanship, at that point ran over the Picasso painting of his significant other. Pablo was a Spanish cubist conceived in 1881 and he kicked the bucket in 1973. His canvas of a situated lady dated July 1 953 representations his darling Francoise Gilt. He shows of his abilities and outrageous investigation of pubis by utilizing features of smooth grays, whites, pinks, and browns structure mosaic of shading and tone over the assemblage of Francoise. In this artistic creation the youthful woman’s face contains a solid right profile just as a left eye that looks forward. He likewise utilizes a dim foundation to show the watchers precisely what his artistic creation is about. The work of art looks increasingly like 3 dimensional due to the utilization of mosaic idea. It’s extremely probably the best bit of workmanship by Pablo Picasso. As was strolling around I at that point saw this other two works of art that appeared as though I youngster was playing With a paint brush, yet as I gave more consideration to them hen I understood how a few people were gifted. These were works of art by Emil Molded, a German conceived in 1867 yet kicked the bucket in 1956. The most effective method to refer to Expressionism, Papers

Devin Getachew Essays

Devin Getachew Essays Devin Getachew Essay Devin Getachew Essay What watched was that shopping center sees were bound to get hypertension than females. Circulatory strain will in general ascent with age. Around 65 percent of Americans matured 60 or more established have High circulatory strain. One of the most widely recognized types of high blood pres sure in more established grown-ups is incessant hypertension. Interminable hypertension happens when the systolic circulatory strain is high. Around 66. 7% individuals over age 60 with hypertension have Chronic hyper strain. People are similarly liable to create HIP during their lifetimes. In any case, meat re age 45, men re bound to have HIP than ladies (Gibbons). Smoking, being overweight HTH or weight, absence of physical movement, an excessive amount of salt in the eating regimen, a lot of liquor utilization on, stress, more seasoned age, and hereditary qualities. An individual with ceaseless hypertension are bound to grow pop heart and vein malady. This expands your danger of a respiratory failure, stroke, cardiovascular breakdown, or kidney ailment. There was an article that identified with my speculation, and demonstrated my theory to be exact somewhat. The article said that men before the age of 55 are metal normal to contract interminable hypertension than ladies, anyway after age 55 ladies are get constant hypertension. The purposes behind sex contrasts in blood press ere are not known and a few labs are as yet investigating. A few examinations showed that t ladies will in general have higher heart siphon yield and lower vein obstruction, accordingly mi missing vein injury (Chosen). Anyway my speculation is as yet acknowledged. My exploration I s legitimate on the grounds that I gathered the information of 10 ladies and 10 men from the site www. Image. Com . Subsequently my tat is substantial somewhat in light of the fact that its been taken from the site, however its n tot genuine live information from 10 subjects that know. That is 1 shortcoming of my information. Another would b e the way that my histogram looks deceiving. Assessment Factor Effect on Experiment Improvement Subjects were PC created didnt get wellbeing information from real subjects. It is smarter to arbitrarily choose 10 subjects in the more established age run.

How to Make the Most of Your Illinois Visit

How to Make the Most of Your Illinois Visit You’ve signed up for your Illinois visit! Well done. If you and your Aunt Sue are heading all the way over to Champaign-Urbana, you’re going to want to make the most of your time there. Here’s how. How to Dress In general, most parts of our tours involve being outside. Before you come, check the weather, and then don’t trust it. You’ll never know whatMr. Blue Skywill have in store for you, so come prepared! Maybe 45 degrees doesn’t sound too cold (here in the Midwest we’d laugh at such a suggestion), but even the mildest temperatures start to feel extreme when you’re spending an hour trekking all over campus. Here’s a short list of what you might want to wear: SunglassesBaseball hat or sun hatComfortable walking shoesWeather-appropriate coat (even if it’s late spring, bring a light jacket in case)Gloves, scarf, and winter hat if it looks chilly What to Bring You don’t have to bring much for the tour, but we’ve still listed a few items. The first is an absolute must, the second would be nice, and the rest are suggestions. Your awesome selfA good attitudeA small notepad and penA water bottleSunscreenAn umbrella (you can leave it in the car if you don’t need it)Snacks (a bag of candy never goes amiss) Questions to Ask When you’re on campus, you’re going to want to think about howyoulike it. The best way to do that is to live in the moment and focus on what’s around you; you’re only there for a short amount of time and can think of the larger picture later, when you’re at home. Ask your tour guide anything you want to know about campus. Some examples are: Do most students live in the residence halls?Where do students usually hang out?How do students get around campus? Do they need cars or bikes? If you’re looking for more ideas, check out our College Visit Guide. You can print it out and bring it along on the tour. How to Take Charge of Your Visit If you have more questions than you think your tour guide can answer (“Who am I?” “What is time?”), never fear. There are ways you can personalize your Illinois visit to make your experience more advantageous to you. Here are just a few of them: Meet with an admissions counselor. The Office of Undergraduate Admissions has walk-in hours on weekdays from 8:30 a.m. to 5:00 p.m., and visiting students are always welcome. Come in, ask about the application process, or just say hi! Meet with your intended college or department. When you register for your Illinois visit, there will be a section called “College Meeting Information” where you can sign up for one or several sessions with your intended department or college. If a college or department you’re interested in isn’t on the list, feel free type it in the box underneath the list, and we’ll try to make it happen!Note: We need at least 5 days’ notice to schedule a meeting with a department not on the list. Visit a class. We have a number of classes that you and your family are invited to sit in on when you visit Illinois.It might just change your life. Be sure to email the professor beforehand in case the class has an exam or quiz that day (who besides teachers wants to spend 50 minutes watching other people take a test?). Explore! Feel free to check out the buildings and locations related to your intended major, like the Siebel Center for Computer Science or the English Building. Look up your intended major’s webpage (this can be found under the additional resources section of your major or through a simple Google search) and check out what their department’s address is; that’s the building where you’ll probably have some of your classes! What to Do During Downtime You might have some downtime during your visit. One way to spend it is all of you sitting in your car and getting in a big fight. But while you’re here in Champaign-Urbana, you might want to check out some of the things campustown has to offer. There’s a particularly interesting garbage can near the Union. Or, if dining is more your thing, head on over to Green Street. There are some great restaurants there, especially on the strip between 4th Street and Wright Street. They’re right on campus, so they’re an easy stop for lunch and a good way to scope out the types of stores available for students. After all, Champaign-Urbana is the #1 Midwest Food Town, according toMidwest Living. While you’re by Green Street, why don’t you take a photo with Alma? It’s a tradition for students to take a picture right after graduation, and those who have planned ahead enjoy comparing pictures from their first tour with ones from their graduation day! If you’re wiped out from your busy day, you can always go the Union, Krannert Center, or even one of the restaurants on campus to chill out. You don’t need to go crazy over trying to see everything. Just make sure that you spend your extra time in a way that makes the day better for you. What to Do on the Way Home Once you’re done with your visit, you’ll be able to think about what you saw with some perspective. How much of your excitement (or apprehension) might’ve been because of the tour guide you had, or the people who you went with, or the weather, or that menacing squirrel that wouldn’t leave you alone? Can you separate your feelings about the college itself from factors that don’t really relate to the school? This is difficult to do, but you can at least get a start by thinking over these questions: Positives What point during the visit was the most fun?What impressed you about the college?If you could relive one part of your visit, what would it be?Did you see or hear anything that made you excited about college? Negatives What point during the visit was the hardest?Did anything disappoint you about the college?Did anything you learn immediately put you off?Did you see or hear anything that made you anxious about college? Big Picture How does Illinois compare to other colleges you’ve seen so far?Consider both the vibes (positive or negative) that you got from the college as well as the school’s location, size, and cost.Consider filling out our College Visit Guide now that you have a fresh perspective. We can’t wait to see you on campus! Whatever you do, don’t forget to wear those comfortable shoes. And of course, don’t forget to enjoy your time here at Illinois. You might just fall in love. planning visit Illinois Admissions We're here for you as you prepare for college. Whether you're looking for guidance on the college search process or have questions about Illinois, we hope our blogs will help!

The Political, Social and Philosophical Analysis of 19th Century American Gothic Literature - Literature Essay Samples

The highly innovative studies of Russian philosopher Sveltana Boym, which explore the human psyche and its relationship to the past, argue that ‘nostalgia has historically coincided with revolution’, (Askenaizer, 2016). Boym refers to the French and Russian revolutions’ influence on cultural nostalgia; a Romanic revival flourished throughout the fashion of France following the nation’s revolt, as the toga became a symbol of liberty and the red bonnet an expression of political radicalism, notably worn through the streets of London by the Romantic poet William Blake. In England, earlier that century, a cultural nostalgia began and coincided with the country’s own state of political upheaval, foremost with architecture: the Gothic revival. This ran concurrent with the Jacobite uprisings and Civil War of the 1740’s, as the Catholic monarchy reared back from its defeat in the 1600s with desire to reclaim the throne. English literature began its contribution to the culture of Gothic revival in 1764 with Horace Walpole’s incredibly influential novel The Castle of Otranto, which, whilst can be read as sensationalizing Protestant suspicions of Catholicism and its repressed debauchery, employs a medieval nostalgia as a reaction to a new revolution, which began earlier that decade: the Industrial. From its very origins, we can see that the Gothic literary genre is fundamentally reflective of the political, social and philosophical attitudes of its time, as its purpose of communicating terror and horror allow modern critics and readers a telling glimpse into the ‘oldest and strongest emotion of mankind’, as seminal Gothic horror author H.P. Lovecraft proposes in his essay Supernatural Horror in Literature; that emotion is ‘fear’ (1927). American Gothic writing began in the 19th century as a reaction the transcendentalist movement which was established early in the century. Authors such as Nathaniel Hawthorne and Washington Irving introduced the concept of American Gothicism through their utilization of superstition and fear that was specific to their nation; Hawthorne’s terrifying portrayal of Puritanical life in The Minister’s Black Veil and The Scarlet Letter and Irving’s headless ghost of a Hessian soldier, evoking post-American-Revolution paranoia, in The Legend of Sleepy Hollow. Edgar Allan Poe; arguably the finest writer of the American Gothic genre in the 19th century and one of the most influential authors of the nation’s literary history. Poe’s macabre tales initiated an evolution in the Gothic genre and horror writing, emphasizing the psychological over the supernatural; moving from the mysteries of archaic medieval castles to the mysteries lurking within the common domestic home; highlighting the terror and horror that humans inflict upon other humans, as opposed to otherworldly beasts or antagonistic creatures; essentially progressing away from the fantastical and metaphorical to horrific realism, whilst still maintaining the fundamental tone and characteristics of the Gothic genre and its myriad of motifs, brought to a level that better related to the audience contemporary to the author’s historical and geographical context. Despite never achieving much economic success throughout his career, the writer captured the imagination o f readers of the time, the 1845 poem The Raven catapulting the author to national fame. For these reasons, Poe is an incredibly revealing author in regards to his context, for within the strange and grisly works there undoubtedly lies indications of the national Zeitgeist and political landscape of the time. Poe’s short-story The Black Cat, published in 1843, can be read as a racial allegory and a critique on the severe Southern household in its relation to slavery. Whilst the seeking of allegory within a text frequently risks appearing forced and more reflective of a critic’s own philosophies, there is, in fact, substantial historical and textual evidence to suggest Poe was ‘aware of market trends’ and ‘capitalized on the conventions of slavery in his sensationalist fiction’ (Goddu, 2002). The literary critics Leland Person and Lesley Ginsberg view the Nat Turner Rebellion as a clear point of inspiration to The Black Cat, referenced in Hannah Walker’s inspired essay â€Å"The Black Cat:† A Reflection of Pre-Civil War Slavery, which proposes that the tale offers a more general damnation of Southern politics and the manner in which slavery taints and haunts the South (n.d.). The allegorical reading of the narrative, on a rudimentary le vel, is distinguished through the interpretation of the narrator as the slave master and Pluto as the slave. The opening line of the tale bears significance to this reading, as the narrator describes a ‘most wild, yet most homely narrative’, which signifies the Gothic through its ‘wild’ yet ‘homely’ setting, adjectives that evoke Freud’s theory of the ‘unheimlich’ or ‘uncanny’, a key sensation to Gothic literature and contemporary examinations of the slave narrative (Poe, 1843). The described setting also illustrates the juxtaposed space of the Southern plantation, which would function dually as proud monument to Southern domesticity and economy, through its boastful white mansions, and spotlight upon the most savage corners of humanity, in its great agricultural expanses, in which blood was regularly spilled, torture was regularly exercised, rebellion sporadically attempted and a ‘wild’ atmosphere of persistent conflict and distress prevailed. The focal symbol of this interpretation is, naturally, the character of Pluto and its treatment. Firstly, the color, execution and hierarchical role of this character holds significance, as to depict a black victim lynched by an abusive domestic authority during the turbulent political climate in which The Black Cat was published, suggests evidence that there is a clear subtext of racial commentary flowing through the narrative. In addition to this, there is importance in the relationship between the two characters being established as ‘man’ and ‘animal’; this drives the abolitionist argument of the time that slaveholders did not treat slaves as if they were human, but more akin to livestock. One aspect of Pluto’s treatment that demands exploration is the mutilation of the eye; ‘I took from my waistcoat-pocket a pen-knife, opened it, grasped the poor beast by the throat, and deliberately cut one of its eyes from the socket!’ (Poe, 2008, p. 231). Poe’s tales are full of psychologically confused, traumatized and complicated individuals, many of whom feature as narrators and this creates the potential for psychoanalytical criticism of the work. In addition, Poe’s narratives, despite existing before the publishing of Sigmund Freud’s unprecedented theories on human psychology, exhibit many examples of Freudian symbolism, notably the phenomena of the ‘uncanny’ and the prolific emphasis on damage to ‘eyes’. Freud claims that a violent removal of eyes in art, literature or our dreams is symbolic of the ‘punishment of castration’ (1919). This strengthens the notion that The Black Cat mirrors the concurrent slave narrative, as the castration of African American males was a common occurrence for those accused of the rape or attempted rape of a white woman; and, of course, there is the more metaphorical castration of the slaves, stereotypical concepts of masculinity deem the su bordinate position of slave as inherently emasculating, but also the incessant rape of both male and female slaves lead to what historian Nell Irvin Painter describes as ‘soul murder’ (Rooks, 2004). Teresa A. Goddu proposes in her essay The African American Slave Narrative and the Gothic that there is an inherent connection between Gothic literature and slavery, ‘the spectre of slavery haunts the American Gothic’, and even that ‘there is a structural affinity between the discourse of slavery and the conventions of the Gothic’ (2013). Goddu also notes ways in which the abolitionist movement adopted the Gothic literary form as a means to convey the institution of slavery as a ‘diabolical system of merciless horrors and the slaveholder as a relentless demon or a monster in human shape (2013). Arguably the most well known slave narrative author of the 18th century was Frederick Douglass, a former slave whose autobiographical depiction of the slave experience, Narrative of the Life of Frederick Douglass, An American Slave, published in 1845, functioned as a significant proponent in the anti-slavery movement. Douglass employs tropes of the Gothic in the opening chapter of the narrative whilst describing the first acts of violence presented to the reader in the plot. By using elements of the Gothic in his writing of the gory punishments and vicious treatment of the slaves, Douglass highlights the inherent ‘horror’ in slavery and communicates this to the white American audience, who better understand through its Gothic packaging and, therefore, more likely to be persuaded towards abolitionist politics. Douglass sets up the character of the master to us by describing him as a ‘cruel man, hardened by a long life of slaveholding’, showcasing a subtle proposition of abolition to the reader, suggesting the master’s transformation into the bloodthirsty Gothic villain Douglass goes on to illustrate is a consequence of his direct involvement in slavery (Douglass, 1845). Interestingly, much of the violence in the narrative is directed at women, and whilst this was representative of the actual atrocities on the plantations, it can be interpreted that Douglass emphasizes the ‘damsel in distress’ trope of the Gothic, as this would prove more effective in its stirring of emotion in white audiences. Furthermore, Douglass even draws in the Gothic theme of sexual power, a trope that, as Professor John Bowen states, is fascinated with ‘obscene patriarchal figures, who seem to be able to have no restraint whatsoever on their desire’ (Bowen, 2014). These conventions of Gothic literature are exercised through the treatment of the character of Aunt Hester, a rebellious slave, who is also strikingly attractive, as Douglass details how she has ‘very few equals, and fewer superiors, in personal appearance, among the colored or white women of our neighborhood’ (1845, p. 5-6). It is hinted that the master possesses a desire for Aunt Hester and this is what fuels his motivations to torture her in such a degrading, bloody and sexual manner; it is noted that he would ‘take great pleasure’ in the whipping and that Douglass ‘often’ would wake to the ‘heart-rending shrieks’ of his Aunt (Douglass, 1845, p. 6). This establishes Aunt Hester as the ‘damsel in distress’ character and the master Anthony as the patriarchal tyrant overcome with his own perverse desire, manifesting into violent villainy, as, ‘No words, no tears, no prayers, from his gory victim, seemed to move hi s iron heart from its bloody purpose’ (Douglass, 1845, p.6). Douglass displays fantastic persuasive use of the Gothic in this sentence, employing the ‘power of three’ nouns to highlight the master’s rejection of language, emotion and religion as he whips the slave, demonizing him and removing the audience’s empathy for the character. The master is also firmly placed in a predatory position, abusing his power, as Aunt Hester is illustrated as ‘his gory victim’. Lastly, Douglass cements the dehumanization of the character through the image of the ‘iron heart’, which, in the commencing years of the popularity of transcendental philosophy, capitalized on the suspicion of dictators and rejecting the natural. Douglass uses anaphora through the repetition of the adjective ‘whip’ and the noun ‘blood’ that occurs across the ten-line description of Aunt Hester’s torture, to drive the connection between the two, to draw some pathos from the reader, to emphasize the consequence of slavery; when cold, patriarchal, monstrous whips are cracked, human blood is spilled. Arguably the most Gothic referential line of the narrative is written within this chapter, ‘It was the blood-stained gate, the entrance to the hell of slavery, through which I was about to pass’, conjuring images of the supernatural and explicit Gothic horror, simultaneously connoting slavery to sin and religious evil; which, to many 19th century American readers, who practiced devout Christianity, would have been a shocking and potentially emotion-stirring comparison, in favour of the abolition movement (Douglass, 1845, p.5). The Gothic genre was also put to political use in the 19th century to assist in the promotion of a new agenda: feminism. In reference to Edgar Allan Poe, a man who experienced the tragic loss of many of the most important and beloved women, and the hatred of authoritative patriarchal figures throughout his years, the 1843 short-story The Tell-Tale Heart can be read through a feminist lens. We can interpret the erratic nature of the narrator as reflective of the contextual concept of women as emotionally and mentally volatile, which is also presented through the narration of Gilman’s The Yellow Wallpaper. Further evidence to support a feminist reading suggests that no gender is specified to the narrator, the relationship between the narrator and the ‘old man’ is not given and considering that they appear to live in the same house, we can see this as potentially marital, romantic or sexual. In addition, some critics, such as Mary J. Couzelis, argue that narratorâ₠¬â„¢s hatred of the old man’s ‘vulture’ eye is symbolic of the objectifying ‘patriarchal gaze’ (2012). Charlotte Perkins Gilman employs the Gothic literary genre in the 1892 short-story The Yellow Wallpaper, in which she applies a plethora of Gothic tropes to the objective of conveying an early feminist agenda. As well as a writer of fiction, Gilman published many innovative non-fiction meditations on the subject of feminism, notably Women and Economics (1898), her philosophical and political ideologies inspired by her experience with post-partum depression and a divorce; her poor treatment during the troubled period served as the primary incentive for writing The Yellow Wallpaper (Radcliffe Institute for Advanced Study, 2011). Depression in women was widely dismissed in the 19th century as ‘female hysteria’, which contextual physicians regarded as a symptom of the womb and the stereotypical notion of women as uncontrollably emotional (Joshi, 2017). Gilman expresses her disdain for male insolence and arrogance when concerned with female mental health through the Gothic li terary genre, communicating the terror of untreated mental illness and the patriarchal oppression of women through a manner which many readers of the time could more easily be shocked by, empathise with and comprehend. Notably, in conjunction with Douglass, the narrative opens with the Gothic trope of the ‘imprisoning†¦ violently archaic’ setting, which profoundly comments on racial oppression and arguably draws a link between colonial slavery and the oppressive treatment of women in the 19th century (Bowen, 2014). The narrative is set within a ‘colonial mansion, a hereditary estate’, which the narrator personally believes to be a ‘haunted house’ (Gilman, 1892, p. 1). As the United States were barren of the medieval architecture that many of the Victorian Gothic novels would employ to ‘see the relationship between the modern world and the past – not as one of evolution or development – but of sudden juxtaposition and often violent conflict’, it is interesting that Gilman chooses to present a ‘colonial mansion’, in which it is heavily suggested represents the horrors of the past through its allusion to being haunted (Bowen, 2014). Professor John Bowen proposes that this Gothic trope is used to exhibit ways in which ‘the past erupts within the present and deranges it’, a phenomena which in the early 20th century would be theorized as psychologically symbolic of repression in the mind and the resurfacing of undealt with trauma in Freud’s essay The Uncanny (1919). Through this scope, we can interpret Gilman’s placement of the haunted colonial mansion as a comment on the patriarchal, Eurocentric obsession with power that fueled the colonial empire of the 17th and 18th centuries and the birth of the United States as a nation. There is an unequivocal influence of Charlotte Bronte’s Jane Eyre through Gilman’s association of mentally ill women trapped within domestic confines and colonial oppression. Additionally, the contextual stereotype of black women’s sexual promiscuity and unruly nature coexisting with the narrative’s depiction of the colonia l mansion’s ‘ghosts’ as rebellious yet entrapped females further drives the subtext of racial commentary, it’s concurrence with female oppression and their connection to the ‘terror’ that could be explored through the Gothic genre. Whilst the presence of the supernatural is ambiguous with Gilman’s narrative, arguably deliberately so, as a means to convey the destructive force of depression and isolation, still many critics do choose to interpret the hallucinatory aspects of the text as a more literal usage of the supernatural. Alan Ryan considers it’s potential to be a ‘ghost story’ (1988) and the innovative Gothic horror author H.P Lovecraft suggests that, in theme with a colonial interpretation, the narrator is driven mad through a possession of the ‘madwoman’ who ‘was once confined’ within the yellow room (1927). In addition, it is important to notice that Gilman also relates the oppression to issues of class, as the narrator informs us it is a ‘hereditary estate’, and, therefore, in similar vein to Poe’s The Fall of the House of Usher, this setting functions as a critique of the politics and ideologies that are inherited down within the families of authority which maintains the imposition of tyranny upon women, former slaves, non-white ethnic groups and the lower classes in the USA throughout the 19th century. However, the primary focus of Gilman’s narrative is the appliance of the Gothic literary form as a vehicle to drive a subtext of feminist ideology accessible to the average reader of the time. The wallpaper is a symbol for the shallow male reassurance and feeble decoration of the confining walls of domesticity, a ‘revolting’ yellow, the color of happiness, a patronizing dictation to abide by the social expectations of women set by the patriarchy of the nation during the 19th century. Interestingly, there is in fact some neurological merit to Gilman’s text, Carlton Wagner, the director of the Wagner Institute for Colour Research, proposes that yellow walls ‘activates the anxiety centre of the brain’, (Van de Water, 1992). The room can be seen as a social immurement, making resource of the ‘buried alive’ trope of American Gothic fiction, popularized by Edgar Allan Poe, to effectively push the notion of female isolation from any sort of societal progression. In conclusion, from its very roots, Gothic literature mirrors the issues of the society in which it is conceived, and therefore it comes as no surprise that the American authors of the 19th century adopted the genre to comment on their own nation’s social issues. Most interesting, however, is the manner in which these authors progressed the Gothic form out of the medieval nostalgia conventional to the works of British writers and, through the profound influence of Edgar Allan Poe’s experimental and ground-breaking canon, propelled the genre into new explorations of the human psyche and social critique. The United States is a nation that was born from the genocide of a Native people, began its civilization enshrouded in Puritanical paranoia and patriarchal oppression, enslaved and traded the people of Africa to brutally empower its capitalist foundation, underwent insatiable political turmoil and social conflict throughout its development and fought against the very countries that first colonised its soil with European blood. Its establishment has consistently been experimental in its approach, which, arguably, has exhibited both the most inspiring and progressive accomplishments of humanity and some of the most inhumane atrocities to occur in our history. America is truly a nation of revolution and this is prolifically reflected in the work of its artists. As we conceivably enter a new age of revolution, that of the digital and the internet, we can expect with confidence and hope for a new abundance of artistic terror, nostalgia and the next progressive step in the genre of the American Gothic. Bibliography Askenaizer, A. (2016). Why Are We So Nostalgic?. Available at: https://www.youtube.com/watch?v=DQz8DGEZSQM [Accessed 2 Dec. 2017]. Bowen, J. (2014). The Gothic. Available at: https://www.youtube.com/watch?v=gNohDegnaOQt=153s [Accessed 2 Dec. 2017]. Couzelis M.J. (2012) What Can â€Å"The Tell-Tale Heart† Tell about Gender?. In: Perry D.R., Sederholm C.H. (eds) Adapting Poe. 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