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Character Analysis Essay On The Crucible, K E Essays And Dis
Speaking of whitewashing, the great absence of historical fictions that are only recently being addressed by working authors involve the world where most people are not white. Take Africa, as an example: For centuries empires rose and fell immune to the influences of Europeans. So much of what happened to shape the modern world happened in Africa in cultures and communities that most of my countrymen couldn’t find on a map. Timbuktu was the cradle of science and culture for hundreds of years. The great Christian thinkers that have gone on to shape all Christian theology take as their foundation stone an African, St. Augustine of Hippo. Things that we take for granted, now, like wheat and coffee and cotton, were cultivated and developed by brilliant African farmers for thousands of years and we reap the bounty of their genetic breeding efforts. There is plenty of work being done on ancient Egypt, but once Greece and Rome rise in the world, the story of Africa is hard to find. This is true of everywhere in the world where the Colonial story is the dominant one in history books and fictions.
Even such Ur-texts as The Illiad, The Odessey, and The Epic of Gilgamesh seem to be acts of historical invention in their own time. Telling the story of “where we came from” is one of the fundamental stories that drives narrative forms, because it seems to speak to where we ought to go, and who we ought to be. The past tense is a standard mode. Nearly all fiction is driven by a sense of the past, hopefully one that bridges to a future.
Essays on the salem witch trials
An author that embodies this is a fantasy author, but he is as close to a historical fictionist as it is possible to be, while still being solidly a fantasist. Guy Gavriel Kay writes meticulously researched historical fantasies that use the tools of the fantasist to make beliefs and folktales and miraculous wonders physically present inside the history books, and to hide our own prejudgments about terms and cultures behind a veil of the unreal. Thus, no one is allowed to look down upon these historical figures as believers in foolishness when the shambling mound appears and the warhammer is sacrificed to appease the spirit of the old forest. The magical beliefs are physically present. And, when that forest of magic is pushed back over time, becoming a quotidian place more resonant of modern life, the reader physically feels the shift in known reality that emerged in human consciousness out of the beliefs of the old world passing away. (This was in The Last Light of the Sun, by the way, which was an excellent look at the Norman raids of England, and the rise of the culture of mounted knight.)
One of my favorite writers of historical fiction often wrote specifically about his island nation among the volcanoes and the ice. Haldor Laxness won a Nobel Prize for his astonishing fictions, that take as a backdrop life among the shepherds and peasants of historical Iceland. Two books that stand out as potentially very interesting to readers and writers of genre fiction are Iceland’s Bell, a dark comedy and pastoral story about a wife-beating shepherd, a beautiful, elfin woman, and the pages of books that were stuffed in the shoes and the walls of the starving common folk. The sheperd’s peripatetic comic pastoral becomes this far-ranging journey across Europe in a period of time where the modern world isn’t even close to coming together, and could fall apart at any moment, and the identity of a people is being lost to poverty and indifference. Another amazing work by Laxness that contains multitudes is Independent People, that begins with the curse of a witch and ends with the curse of a witch, and in between a stoic shepherd pushes back against the brutal elements with his own sense of right and wrong, a morality that consumes his family and his future worse than the witch’s curse. These tales are structured like Icelandic epics mashed with modern novels. They carry a past and a future simultaneously, a history of Iceland and an argument about what the little island nation had better learn before its too late – what all of us had better learn about love and interdependence and a darkly comic cosmic indifference.
The images for -- Arthur Miller The Crucible
When I was an undergraduate at the University of Houston, I minored in history. My professor of the history of the Old South explained the difference between an antiquarian and a historian thus: An antiquarian will know lots of facts and figures and data; a historian will interpret the information to seek what it means. For this reason, I have always considered historical fiction inextricably linked to the work of historians. As historians are inextricably linked to the work of fantasists, the transitive property holds that historical fiction is an important part of the world of fantasy fiction. The past is a ripe field for the imagination, and full of stories.
Our relationship to history is a fraught one. We carry our preconceived notions of reality, as readers and writers, inside of our judgment of books and characters. History doesn’t have to be plausible, but fiction does. To truly study history, we almost have to abandon those ideas, and embrace ways of thinking that are not natural to us. One of the limitations of historical fictions versus non-realist work is that we don’t really approach the characters as intellectual equals, when we should. When the villagers in The Scarlet Letter demand the A upon Hester Prynne, we are pre-made as modern individuals to see her as the noble martyr, and them as morally repugnant hypocrites, without even understanding the sense of helplessness against a harsh universe that drove their fear of such misbehaviors, even into the horrors that they committed. We simply don’t empathize with the villagers. But, to bring to life, and to comprehend, history and where we came from, we must challenge ourselves to take people seriously, even when they are on the wrong side of our version of history.
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john proctor essay essay on value value of moral education e
The race war at the heart of American history, the pulsing, wicked ooze that wraps its tendrils around the story of our Republic, began early. Also, at the heart of our country’s foundation was a great spiritual revival, like a madness that sweeps in occasional waves across our lonely plains. Susan Stinson wrote beautifully about race and faith in her novel Spider in a Tree. One of the great advantages of fiction versus other, drier forms of history, is how the different elements that a historian like to discuss will intersect into the lives of the characters. Slavery, the sacred, the challenge of survival, and the insular, occasionally spiteful community of early America is all wrapped up in the life and lives of the family and house slaves of Jonathan Edwards, a powerful fire and brimstone preacher from American history. At once a man of God, and an owner of living men and women, balancing the aspiration to the holy with the difficult and often horrid reality of life among the hypocritical Puritans is well-wrought, and carries many complex ideas wrapped in beautiful, symbolic prose.
How is the crucible an allegory for mccarthyism essay Essa
In terms of my own academic fields, there are some great strides being made in addressing the lack of research on the effects of African thought on Christian theology. Some great works here include by Thomas Oden and Justo Gonzalez’s two volume history of Christianity also emphasizes the benefits of Africa upon this religion.
Reading Guide Questions The Crucible - twoj doktor
Great selection of the crucible essay topics for high school and college students. Cellent resource of essay topics for academic writing assignments. The Crucible Theme Analysis Essay
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