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Rhetorical Analysis Mary Oliver

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In this very lyrical excerpt, Mary Oliver has a great attraction to nature because of its paradoxical yet balancing form. By being both terrifying and beautiful, nature fills the world with contrasting entities that can be “death-bringers” or bring “immobilizing happiness. ” Oliver uses imagery, parallelism, and contrasting to express her swaying emotions of fear, awe, and happiness towards nature. The imagery creates a very distinct contrast between terrifying and beautiful parts of nature.

The frightening great horned owl has “razor-tipped toes” that “rasp the limb” and a “hooked beak” that makes a “heavy, crisp, breathy snapping. ” The physical form is rough and rugged, reminiscent of a terrifying being. The owl is presented with characteristics of the “night” and “blackness,” The flowers, on the other hand, are like “red and pink and white tents. ” The color contrast reinforces the complete oppositeness of the flowers and the owl. Contrasting continues throughout the excerpt to display the conflicting character of nature. Nature is so complex that even very similar animals have very differing aspects.

Oliver can “imagine the screech owl on her wrist” and she can learn from the snowy owl, but the great horned owl will cause her to “fall” if it “should touch her. ” Even though this great horned owl is terrifying, Oliver still is in amazement of it. She says it would become the “center of her life. ” While “the scream of the rabbit” in “pain and hopelessness” is terrible, it is not comparable with the “scream of the owl” which is of “sheer rollicking glory. ” Nature has extremes, and the owl is the extreme of terror. The flowers, however, represent the extreme of happiness.

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Through parallelism, Oliver exemplifies the happiness given by the fields of flowers. The flowers have “sweetness, so palpable” that it overwhelms Oliver. She uses phrases continually beginning with “I’m” and then a verb, to show how the fields engulf her like a “river. ” She is then “replete, supine, finished, and filled” with an “immobilizing happiness. ” The continual use of adjectives reinforces how the field is so vast and “excessive” that it creates an almost surreal feeling of satisfaction. Parallelism is also used to describe the great horned owl. The merciless elentlessness of the owl is so great that it hunts “even skunks, and even cats thinking peaceful thoughts. ” Its “insatiable craving for the taste of brains” is so excessive that the owl is “endlessly hungry and endlessly on the hunt. ” The uncontrollable, terrifying nature of the great horned owl further emphasized because “if it could, it would eat the whole world. ” The owl causes so much terror that soon enough the terror becomes “naturally and abundantly part of life,” any life of any world. The terror even fills the “most becalmed, intelligent sunny life” that Oliver lives in.

Despite the massive contrast between the two extremes of nature, there is still a universal concept of nature. Both the owl and the field of flowers are overwhelming, vast and “excessive. ” The owl is so overpowering that “if it could, it would eat the whole world. ” The fields “increase in manifold” creating an “immutable force. ” Oliver asks two rhetorical questions, “And is this not also terrible? ” and “Is this not also frightening,” to describe the excessiveness of the fields and also the owl. But, even though Oliver is frightened, she is also amazed.

While continuously describing the owl as terrifying, Oliver still acknowledges that the owl is “perfect” and “swift. ” Even though the fields of roses seemingly engulf in a terrifying manner, it still creates a feeling “full of dreaming and idleness. ” The combination of opposites, the owl and the field of roses, shows how nature can be seemingly paradoxical by being both cruel and sweet at the same time. By being so complex, nature also requires a complex response. Oliver’s emotional and sensuous response is filled with conflicting feelings of fear, happiness, and amazement to show her attachment to nature.

AP Language Rhetorical Analysis

AP Language Rhetorical Analysis In Jennifer Price’s critical essay, “The Plastic Pink Flamingo: A Natural History,” she assesses the irony in the popularity of the iconic plastic flamingo in American culture in the 1950s. Price illustrates her irony and negative attitude towards the way Americans destroy the lives of the flamingo and replaced it with an obnoxious, inanimate, over celebrated Floridian souvenir with adverse diction juxtaposed with positive word choice and through factual history of early symbols of the flamingo to show the superficiality of Americans post WWII[a].

In her essay[b], Price assesses the irony of the “pizzazz” and “boldness” the flamboyant lawn ornaments bring even though the flamingo has been hunted to almost complete extinction by Americans in Florida. The materialistic ways and egos of Americans shone with pride as the fad of the replicas of flamingos rose with the superficiality of the American mind. Saying this with a sardonic attitude, the comical impression she portrays is intertwined within the lines of her factual information of the flamingo’s history.

The trend seemingly innocent to the peo[c]ple with these beautiful, shiny, hard creatures sitting in front of their trailer they call home are blind to realize the preeminent meaning of the flamingo to others, as p[d]rice reveals, “Early Christians associated it with the red phoenix. In ancient Egypt, it symbolized the sun god Ra. In Mexico and the Caribbean, it remains as a major motifs in art, dance, and literature.”

Price expresses that not only did the flamingo hold religious symbols, it continues to embody the arts for other cultures. She shows Americans fail to see the history and true symbolism of the flamingo behind the egocentrism and “sassy pink hue” the plastic flamingo seems to bring. Price uses contrasting diction to bring out the negatives seen with the American symbolism of the vivacious color the plastic flamingo brings[e].

First starting out as simply hot pink, Price illustrates that Americans were living by “the bigger, the better” rule; one shade of pink is not enough to represent the American boldness in the “nifty fifties. ” Along came “broiling magenta, livid pink, and methyl green. ” Broiling, livid, and methyl all having a negative connotation paired with these vibrant colors all directly translated to boldness, showing the irony Price expresses of the demolishing of flamingos habitats, but Americans taking pride in the fact that we can just replicate these small creatures.

The recreation becoming such a popular trend, instead of having to take a week long trip to a subtropical area to obtain this plastic prize, the pizzazz became more achievable as it moved into our everyday lives with all shades of pink being slapped on our cars and kitchen decor leaving the Americans with more of an ignorance than they previously had. Price’s purpose is more to poke fun at the culture to the point of making a mockery of such foolishness.

Price seems to express a negative and sardonic attitude towards American ignorance and irrationality of their thinking. Price writing with overall adverse juxtaposed diction she mocks the Americans, yet they fail to see the flamingos role in art and literature. We drive them to the point of almost being completely non existent. But no matter, our replicas will take their place[f].

Art Interpretation

An artist’s personal history can be a visual roadmap into their past, subconscious, and their personal reality. The purpose of this paper is to explore these idioms in the work of Gerard Ter Borch and its historical relevance to art. Gerard Ter Borch had an established rapport with his uncle Robert van Voerst, a relationship that enabled the artist to claim his niche as one of Europe’s leading court portraitists. Robert van Voerst’s ties with Charles I began Borch’s career and launched him into his fame and status.

With royal backing it is no wonder that Borch kept much of his subject matter dealing with the rich and wealthy instead of the typical Dutch preclusion to the drab or mundane of human life. It is this significant turn of events that lead this discussion to Borch’s sophisticated representation of contemporary life (62). Such representations into modernity of Dutch life can be witnessed in Borch’s painting Curiosity (c. 1660). Since Borch’s family was so closely tied to an aristocratic lifestyle, it is no wonder that the artist’s work would reflect what he so intimately knew.

Although the composition of the work is best seen through the use of rich fabrics (as is most of Borch’s work) what should be taken note of is his use of diagonals to illustrate the inner psychology of the characters in his work. The moment of a letter arriving has each woman in the painting ‘curious’ as to its contents, but this curiosity is best exemplified by the woman on the left leaning over the other young woman’s shoulder in order to gain a better view of the letter’s contents. This leaning of the young woman gives the painting an enigmatic feel that is not present in other of Borch’s work.

A high profile woman that is a woman of so obvious a rich birth (as can be seen by her clothing) indulges in a dalliance of childish movement making the moment both entertaining and whimsical. This whimsical nature is given further emphasis by the vast background surrounding the young ladies. That this one woman would allow herself the indulgence of something so trivial as a childish leaning forward among all that tradition and overbearing space (notice the columns in the background as well as the ornate fixture of the diagonally placed mirror) is what is so appealing about this piece of work.

The reason for the letter writing with this trio of women is that Borch had a very close relationship with his half sisters, “[which] surely contributed to his affectionate sensitivity to how young women might behave on such an occasion” (76). With Borch’s obvious eye for the smallest detail a closer examination of the painting must be given, including symbolism for such objects. Of note in such objects is the watch key which precariously dangles over the edge of the table.

The symbolism of such a state for a watch winding key could mean for the viewer to take special note of temperance which would make sense with Borch having been raised in the Eastern Netherlands and privy to that regions Protestant upbringing. Since the objects on the table are of such small stature, from the candlestick to the watch winding key to even the letter itself, the viewer may imagine that the symbolism of such objects do not have equal weight as the characters themselves; therefore, motive for the letter takes precedence over any idea of temperance.

However, with Borch’s style leaning toward developing and understanding human behavior it may be worthwhile to ask Why did the artist choose to include a moral lesson in such small objects if not to make a point? Indeed, this curiosity of The Curiosity is the reason why the painting is known as a conversatiestuk or conversation piece. With such small detail making an impact on critiques and viewers alike what becomes predominately clear in studying Borch is that he continually uses small objects to emphasize his study of human behavior.

Upon first looking at The Curiosity a viewer is not completely aware of all of the objects in the composition. The element of light is what makes these objects more noticeable; such as the winding key on the table’s ledge that gives off a golden hue and is further emphasized by the piel’s body language pointing to the key. If the element of light is to be discussed in The Curiosity then most notably the woman on the right shimmers with luminescence – her costume as well as her countenance.

With such brilliance transposing the portrait it is a wonder that the woman stands at such a distance from the main action of the painting. This distance is only emphasized by Borch’s use of light on her. This leads the viewer to wonder the cause of the distance and to become enraptured by the back story of the moment of the painting and the relationship among these three women. Thus, by the use of light, Borch has made the viewer not only appreciate a fine painting but to become engrossed in the psychology of the characters and their reasons for standing the way he has painted them.

In this psychological history of the women, the viewer becomes aware of something else; a voyeuristic tone to the painting. The intimate moment of a woman opening a letter that may (by the stance of the women surrounding her) be from a lover or gentleman caller makes the viewer realize that the painter is a man, and that the interest of all of the women is of a man. Thus, the painter through these psychological stances becomes the object of the viewer’s scrutiny (76).

Upon revisiting the painter as the background object of the painting, the viewer must once again re-examine the objects on the table and their significance to the painter’s life. The time piece once again must be examined not as an abstract composition of temperance but as a revelation to the viewer of the artist’s own timeframe. Time is often associated with death, thereby; the death of the painter’s uncle during this time is significant. It is the uncle who allowed him his introduction to Charles I and which thereby gained him his entrance into the art world.

It seems that Borch is writing his own life history in the small objects on the table. The death of Borch’s mother Anna Bufkens would perhaps be also realistically attached to the significance to the time piece. The complex nature of the painting is revealed; the women gathering around the letter are anxious to find out the lover’s intentions but the objects on the table tell of lives and lovers past. Love quickly follows death for the viewers in Borch’s painting.

With so much psychology behind the small objects involved in Borch’s painting The Curiosity it cannot be said that the painting is for mere visual enjoyment that is most definitely not a conversatiestuk –it is far more than just a simple conversation piece. Without the use of light, of lines, and of composition such nuisances of Borch’s style would be lost on the viewer. Thus, the importance of these artistic styles is what ultimately makes the painter so interesting to the art world. If Borch desired to make a moralizing message it would be to enjoy the love letters when they are coming and in time to allow for the moments of death.

Rhetorical Analysis Model of Christian Charity

In John Winthrop?s sermon, “Model of Christian Charity,” Winthrop uses persuasive diction and ?gures of speech to reinforce his idea of a “city upon a hill,” which is having absolute unity and conformity in able for the colony to prosper, in which others will look to as an example for guidance.

His entire sermon is in a ?rst person plural to refer to the Puritans that he is speaking to and saying that they are a group that is not diverse. Winthrop states that they must be “knit together, in this work, as one man,” which means that every individual is meant to make a commitment to the group; that those individuals are meant to work together as common destiny. By referring that the Puritans must follow the ideas of being the city upon a hill, suggesting that they all come together no matter what their differences are to become a much larger entity, in which others around them will follow for guidance. Not only does John Winthrop insist on the unity between and among the individual Puritans, he also searches in a unity between God and humans.

Winthrop talks about the deep bond that the Puritans have with God; he is not only binding them together, but he is also showing the higher purpose that God intends to have. Winthrop states that is order to keep the bond with God they must follow his ways and keep their “Covenant with Him,” so they will be able to prosper. Winthrop is combing politics with religion that foreshadows this type of theocracy to come and also dramatically setting this as an example of a spiritual and physical unity that Winthrop seems to impulse on among his people and between his people and God.

Winthrop shows his desire for his city upon a hill through his motivational speaking to the Puritans and suggesting them to have this sense of community to succeed their goal and to have faith in God and in his ways, to succeed in this pride of accomplishment.

University Museum Case Analysis

Thomas Molteni MGMT 587 02/07/2013 University Art Museum Case Analysis I. Summary of Facts The Art museum is a classical building housing the art collection of a university. The building endowment was given to the university by an alumnus around 1912. (81) The wealthy son of the university's first president served as the museum's unpaid director until his death. During his service he brought a few additional collections to the museum. (81) While serving as unpaid director, none of the collections was ever shown to anybody except a few members of the university's art history faculty.

After the founders death, the university handed off the position to amateur enthusiast Miss Kirkoff. Miss KIrkoff cataloged the collections and pursued new gifts. (82)The museum was remodeled to include an auditorium, library, and classrooms. September 1981 directorship is passed on. The New director attempts to make the museum a community resource, but it becomes too popular. (82) Classes and exhibitions lose interest with the students, and the Pd. D. is let go after three years of service. II. Statement of the Problem The university's problems spur from their lack of management and authority.

The museum is not flourishing with the school as well as it has in the past, and the direction of the university is being questioned. III. Causes of the problem The museum gained notoriety during its use as an academic resource, but the later director wanted it to be a community resource. The building was designed by Miss Kirkoff to aid academia in their pursuit of knowledge; therefor, it failed to support the university and the public. The museum expects to hire a director and allow them to mold the museum in any way they see fit.

The university needs to identify the direction they want the museum to head in and create guidelines for a director to fallow. IV. Possible Solutions Possible solutions for the museum include: forming a more cohesive board to decide the future direction of the museum, hire new manager who can get the job done, or allow the students to decide the future of the establishment. The current art history board is made up of staff who have built up a snobby and stubborn attitude, and without cohesion they will never agree.

Hiring a new director is a possible solution but the university must form guidelines to aid the manager. The students having a voice in the situation is a great decision or a horrible decision depending on their involvement and understanding. V. Solution and Its Implementation To properly organize and manage the museum, an intelligent and modest group of enthusiast must decide direction of the establishment. The stubbornness built up by the current staff is disabling any productive movement.

Once the group is formed they will brainstorm the future of the program and find balance between the public and exclusive. The decision and agreement will then trigger the search for possible management directors whom aligns with the university goals. VI. Justification Implementing the board will work because it contains the same passion and elements which brought the museum to its present glory. Miss Kirkoff intended for the museum to be a resource but maintain its position as a part of the university. With the help of bright minds and focus, the museum should be able to realign with the goals of the past.

Rhetorical Analysis Mary Oliver essay

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