Guide Carnivorous Avenues: Literary and Visual poems by Stark Hunter

Free download. Book file PDF easily for everyone and every device. You can download and read online Carnivorous Avenues: Literary and Visual poems by Stark Hunter file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Carnivorous Avenues: Literary and Visual poems by Stark Hunter book. Happy reading Carnivorous Avenues: Literary and Visual poems by Stark Hunter Bookeveryone. Download file Free Book PDF Carnivorous Avenues: Literary and Visual poems by Stark Hunter at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Carnivorous Avenues: Literary and Visual poems by Stark Hunter Pocket Guide.
Literary and Visual Poems by Stark Hunter Stark Hunter. CARNIVOROUS AVENUES Literary and Visualpoems by Stark Hunter Stark Hunter Copyright ©
Table of contents

The necessity for armament becomes apparent in the multiple occurrences of battle.

POETRY AND RESOURCES IN EMAIL FORM

First, Belinda engages in a tense card game called ombre. After nearly securing a victory over two lords, Belinda takes part in the feast after a battle, which in this case is a luxurious cup of coffee. Unlike the weapons found in other epic battles, the men are equipped with their wits and the women must fight using their eyes or mouths.

Scholars have offered numerous possible explanations. I contend that Pope uses the mock-epic style in order to show the utter inferiority of women. Epic poetry traditionally featured a hyper-masculine hero in a setting of warfare and male competition, and Pope juxtaposes these masculine elements by placing a feminine character in the role of protagonist. However, Belinda ultimately fails in this role, and Pope blames the failure on the fact that her femininity makes her unable to function in a traditionally masculine world. This masculine world was accentuated even further with the growth of trade.

The eighteenth century signaled a drastic revolution in the British economy as an increased mercantilism led to a more extravagant standard of living. This expansion of trade was manifested in both higher earnings for many of the elite and the prevalence of luxury items, such as imported fabrics, coffee, and spices. Women were granted more purchasing power, and many females spent their newfound wealth on elaborate costumes and imported makeup.

The changes in economy resulted in similar changes in the English society. However, as with many social and economic changes, there is often a backlash. In an effort to reinforce their dominance, men focused upon the most obvious signs of progress, and women were blamed as being the primary cause for this move towards excessive consumption. As a result, women were continually criticized for their vain nature and lack of self-control. They were seen as the embodiment of the evils associated with commercialism, and their almost ridiculous fixation on fashion became a common topic for satire.

The association of women with the products of trade is a strong cultural motif in this period, and the concern with female adornment. At first glance, it appears as though Pope uses Clarissa as a vehicle to inspire a change in the society which forces women to value their appearance. However, the conclusion of her speech reinforces the necessity of marriage, negating any progress towards empowerment.

THE ADVISORY COUNCIL

Also, the reaction which her speech receives from the other women in the poem indicates its effectiveness. He also mocks the female system of values, saying that Belinda can not distinguish between what is truly important and what is mere frivolity. Pope employs Belinda to represent not simply a single greedy woman but rather the belief that all women equally as ostentatious.

By representing all women in Belinda, Pope uses her fall from arrogance in order to humble all of womankind. This toilet scene, which was a common literary convention in the eighteenth century, is used to specifically tie women to mercantilism. This explicit association of women with trade reinforces the propensity to blame women for the problems linked to the increased commercialism, essentially placing men in a permanently elevated status.

While Belinda as a whole personifies the feminine habit of excessive consumption, her vanity is most obviously encompassed in her locks of hair.

Poetry and Pedagogy across the Lifespan

In this instance, the beauty of the lock is negated by the amount of superficial effort placed into maintaining its appearance. A woman was seen as the property of her father until she became married, and then the father transferred her rights to her husband. This objectification was widely accepted in the traditionally patriarchal society as women were thought to be unable to take care of themselves. Few women owned property, and the occupations available to women were extremely low-paying.

Therefore, females were taught from an early age that their goal was to find a husband who could support them. Marriage was rarely viewed as a loving union, but rather one of economic security. Although wives were expected to be submissive to their husbands, women began to exhibit more control over their own destinies.

As a result, Pope uses Belinda as a model of the consequences for defying the social constraints placed on love. Women in the age of Pope were repeatedly praised for their wit and the ability to balance intelligence with the proper deference to their male counterparts. However, Pope portrays Belinda as possessing neither of the two. Also, Belinda does not recognize the perceived impropriety of a woman appearing more intelligent than a man.

Diana M. Consequently, instead of the expected acquiescence, Belinda displays an unexpected desire for power and comes dangerously close to winning the game. I contend that Pope uses this social transgression to symbolize the agency which real women were gaining and utilizes her as a means to punish all women for their attempts at empowerment. Women in the eighteenth century were also expected to follow certain standards for courtship.

Allen Ginsberg - Wikipedia

They should be playful and engaging but not to the point of giving men false hopes. Women should always maintain the appearance of propriety, while still remaining flirtatious in order to attract a suitable husband. However, Pope portrays Belinda as unable to find any sort of middle ground; she is either characterized as a tease or a prude.

She is protected by the Sylphs, the guardians of all coquettes. Her care is then transferred to the gnomes, who protect those who never act upon their romantic feelings. That is, a woman can be a coquette or a prude; she can not have characteristics of each. Next, Pope implies that the spirits not only guard the women, they dictate their thoughts and actions. These depictions of the Sylphs imply that they exhibit control over Belinda and other coquettes, which effectively confiscates any agency held by Belinda or other women. Eighteenth century society was no different from our own in that romantic relationships were still unavoidably linked to sexuality.

The expression of sexuality was a relatively new phenomenon, instigated in rebellion against the Puritan lifestyle previously forced upon the English citizens.


  • Penguin Persons & Peppermints;
  • Life, Love, Joy: A Story: Humanitys origins, the polarity of present choices & our unrealized potential.
  • Table of contents?
  • Follow the Author!
  • NAPLES (NAPOLI), ITALY -: Treasures in the Shin of the Boot (Carols Worldwide Cruise Port Itineraries Book 1).
  • Toolbox Tales Issue 6: Conversation and Cogworks;
  • Portraits of the Artist in Nineteenth- and Twentieth-Century Culture!

However, as with many conventions of the time, sex carried with it a gendered double standard. Although men were encouraged to openly practice their sexuality, women were taught that virginity was their most important asset. However, as many critics have explained, innocence was often not valued as much as the appearance of innocence.

While Belinda is constantly lauded for her virgin status, Pope fills the poem with sexual innuendos to illustrate her deceptively virtuous nature. Throughout the remainder of the poem, the dog is consistently worshipped as if he were human.

Yesterday(s) - A Visual Poem

The implication. The implication is that the lock of her was representative of her virginity, and by stealing it, the Baron has doomed Belinda to a life of shame. Thalestris tells Belinda that society will likely label her a whore for giving away her hair to the Baron. Initially, the dedication letter subtly insults Arabella Fermor, patronizing her intelligence based simply on the fact that she is a woman.

Next, the style of the poem points out the inability of women to function within the masculine world of epic poetry. Finally, Pope uses Belinda to embody all of the aspects which the British associated with femininity, and then he systematically destroys these characteristics. The poem is the ultimate humbling experience for women, emphasizing the consequences for a woman who attempts to escape from the social constraints of femininity. IV Among the vast army of personae attacked by Pope in The Dunciad, two characters, Dr Busby and Richard Bentley are satirised at some length and as such, are held as the arch propagators of academic Dulness.

This idea of textual Dulness as repressive, burdensome, and imprisoning has also been presented earlier to the reader: Beneath her footstool, Science groans in chains, And Wit dreads exile, penalties, and pains. In it, there is also a tendency for routine objects to be invested with almost religious significance and to be registered as precious or attractive. The same method is employed in The Dunciad, but the transitions which the objects experience are different.

Pope offers a criticism of tourists which has with time become commonplace enough: that they are likely to visit places simply for the joy of having been there, rather than because they are particularly well equipped to get anything out of what they see. Alexander Pope is known for his scathing but intelligent critiques of high English society.

In many aspects Belinda is infantilized; her judgment and intelligence reduced to that of a child and subject to an authority figure of some sort. Women, however, are not above believing in the machinery because they are nave as children are. Later, she is depicted as juvenile and unreasonable during her crying fit, while the Baron is heroic, surpassing even Aeneas in steadfastness for his refusal to return the lock of hair ROTL 5.

By defining Ariel as a man, Pope places Belinda under the care of yet another virile figure.