English epic poetry

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One distinctive characteristic of Old English Literature is the role of heroic epic poetry. According to wikipedia.org, epic poetry is defined as "a broadly defined genre of poetry, which retells in a continuous narrative the life and works of a heroic person or group of heroic persons either historical or mythical." In Medieval literature, the role of the hero has played a constant role in the works surfacing from that time period. The hero role is a man or woman who usually possesses powers far beyond that of a standard human being. In most cases, one of the ongoing themes from the work is the struggle between Man vs. Evil. An excellent example of an epic piece that includes the role of the hero is the literary work, Beowulf.

The Anglo-Saxon epic, Beowulf is probably the most important work of Old English Literature. It tells the story of a hero named Beowulf and his exploits fighting the evil Grendel's mother and a Dragon. The storyteller uses many elements to build a certain depth to the characters. According to studyworld.com, a few of the important character elements in Beowulf are "wealth and honor, biblical and paganistic, and man vs. wild themes."

In Medieval Literature, the mentality shared by many Anglo-Saxons can be inferred by its literature. In Anglo-Saxon culture, one can assume that wealth and status was also measured in terms of accomplishments. These characteristics were used as the barometer of who was good and who was evil. Therefore, these qualities show who are the heroes and villains. For instance, Beowulf, the hero-prince, proves his true wealth and status by defending the Danes. After his fight and defeat of Grendel, Beowulf earns the fame, wealth, and honor that he deserves; hence, depicting Beowulf as the true hero. On the other hand, Grendel has no money, honor, and murderous. As a result, he is the obvious villain EVIL.

The use of heroic epic poetry probably defines Old English Literature. According to studyworld.com, another example of Beowulf as a hero can be evidenced by his unnatural powers for a human being. Beowulf, by being simply pure and good, can overcome his enemy without any armor or weaponry. This example also ties in the role of Christianity, which was an influence on the literature that emerged from the era.

In conclusion, the role of heroic epic poetry in Old English Literature is illustrated in Beowulf. This particular epic is a wonderful example of depicting the role of the hero, Man vs. Evil, and religious influences. As a result, this allows one to distinguish Old English Literature from the rest.

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Movie- "Being There"

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ʑIn the film Being There, Director Hal Ashby very effectively makes a satirical comment on

the effect of television's impact on society. Chance, the central character in the spoof, is a mentally

challenged man who has lived his entire life enclosed by the walls of his rich master's luxurious

townhouse that isolate him from the actualities of the real world. He passes his days in a totally

routine manner, tending the master's garden, watching television and being fed by a black servant.

Any need to go beyond these daily rituals is precluded by his content state of mind and lack of

knowledge and interest in anything exceeding the boundaries of gardening and television. His habitual

means of living, however, comes to an end when his master is found dead in bed. Forced to leave

home for the first time in his life, he dresses himself in his master's elegant, specially tailored, 10s

apparel, and abandons the townhouse's shielding walls. While walking the streets of Washington, he

is awed by what to an average citizen would be mundane occurrences, for example kids playing

basketball. To him this fascinating phenomenon had been previously depicted only on the television

screen. Early in his induction into society he is struck by a limousine whose owner, Eve Rand, is the

wife of multimillionaire Benjamin Rand, an industrialist whose lofty connections tie him even to the

President of the United States. Chauncey Gardiner, the name Eve mistakenly interprets from Chance

the Gardener, is welcomed into her home to receive medical attention from her husband's personal

physician. Ben, Eve's husband, quickly becomes fond of Chance, mistaking his garden references,

such as "spring is a time for planting," for metaphorical axioms in relation to politics. Unable to

distinguish that Chance, who comports himself and is dressed in a manner that suggests he is a man

of prestige, is the simple-minded person he truly is, even the president takes his perceived symbolic

garden metaphors and quotes them on national television. Soon the media is stirred to action, trying

to determine just who this intellectual is. Audiences are captivated by the insightful messages they see

him present on television, and Washington considers him a candidate for presidency.

Being There, through the character of Chance, poignantly depicts the power that television

holds. Growing up Chance attained all his knowledge first through the radio and then through the

televison, once that means of communication was introduced. Chance in a sense did see the

television as a, "tiny box into which people are crowed and must live" (Carpenter 6).

Because of this reliance on the television, he was so overwhelming immersed in the medium that he

was unable to relate on a personal level to anything that occurred in reality. An example of this is

when the servant tells Chance his master has died. Upon hearing the news, Chance continues

watching television unable to express any emotion because his routine living has never called for it.

The television plays its purpose wonderfully by capturing Chance's attention with numerous images

flashing on the screen. He reacts to these images with interest and awe just as the first audience did

with the onset of the television. For them, it did not matter the quality of the programming but

rather the novelty of the technology. For Chance it did not matter the quality of the program

because of his lack of discerning judgement. The problem with the television in the case of

Chance, however, is that it is unable to provide the interaction necessary to develop intimate and

emotion filled relationships.

Other than television, the only event Chance takes part in during the day, other than eating,

is working in the garden. Even when working in the garden, however, he still lacks any interaction

that would foster his development to the point of allowing meaningful communication with others.

This complete lack of interaction is heightened when he leaves his deceased master's home

and wanders around the streets of Washington. When Chance is faced with a scene that causes him

discomfort, such as a gang of street kids antagonizing him, he reaches for his remote and tries to

switch the channel to a more pleasing prospect, not able to distinguish the difference between

television and reality.

It is ironic that something so detrimental to his personal and social development as the

television could in fact help him become respected and renowned in Washington. When Chance

arrives at the Rands' house, it is the mannerisms he mimics from the televison such as shaking hands

and looking pleasant that provide him with a semblance of normalcy. His inability to interact

intelligently manifests itself as a kind of quiet wisdom. Chance's garden references are mistaken by

Washington's elite for political metaphors. As a result, his status as a sagacious innovator takes hold

and grows to the extent that he is quoted by the president of the United States on national television.

Following his televison appearance on a talk show comparable to Leno, where once again his

simplistic gardening advice is misinterpreted, his credibility is enhanced and his celebrity status is

established. A media frenzy ensues, because like in the movie Quiz Show, where seeing is believing

and the audience is deceived by the suggestive power of televison, so too is the audience deceived

by Chance's naive innocence. After the broadcast, the nation is charmed and impressed and begins

to develop its own opinions and views on Chance, the latest televison dignitary. Miss Hayes, a lawyer

who at the beginning of the movie sees Chance as an anomalous inconvenience, labels him a man of

brilliance following the telecast. Miss Hayes' co-worker, Mr. Franklin, believes himself to have been

fooled by the act Chance put on at their meeting, thinking Chance fabricated his oblivious state of

mind. After seeing Chance on television he believes he, "must have been involved on some major

financial level with the deceased." Because Chance had no background, for reasons that are

unmentioned in the movie, the public begins to think that the information has been suppressed. One

man quotes, "No telling what he could be involved in. Could be extremely confidential matters."

There is even a heated debate as to whether it was the FBI or the CIA that destroyed the documents,

surely a parody of what happened in regard to Lee Harvey Oswald, the alleged assassin of President

John F. Kennedy. These examples exemplify satirically man's acceptance of television's assertions.

No sooner had Chance left the televison studio than the American public move to action, starting

conflicts with one another, diversely labeling a man no one knew hardly anything about, and basically

blowing things out of proportion. When watching the movie it is humorous to see the chaos that the

fictional character Chance causes, but what Ashby is daring to say with ridicule, is that there is in fact

truth in the plot. That we as a society do place tremendous importance on the televison, believing

what we see on nonfiction programs to be creditable.

Ashby's most powerful scene unfolds in the last minute of the movie, leaving the audience

stunned. While watching the movie I thought I had Chance figured out-- his character, his abilities

and his limitations Unlike the gullible and television-duped characters in the movie, I thought I had

totally discerned Chance's background and character and was feeling quite complacently smug about

it. The ultimate irony then occurs when Chance decides to walk across river, and he does just that,

walk across the river. This of course leaves the audience breathless realizing that they too did not

know just who Chance really was. Because we, this movie's audience had seen Chance at the

beginning of the movie we believed we understood who he really was and were not fooled by his

supposed metaphorical garden analogizes. When Chance took his stroll atop the river, submerging

his umbrella into it, it heightened Ashby's tacit contention that the audience just like the characters

in the movie began to see Chance as something deeper and we are now the umbrella trying to

penetrate the hidden depths.

Being There is a film with few limitations. The main drawback of the film is after the

extremely philosophical ending when the viewer is still searching for meaning the credits appear with

out takes that ruin the mood of reflection. Another limitation of the movie would be its audience.

Because of the complex content, it would only appeal to more mature viewers falling short of a

diverse market audience.

The cast for the movie come together to wonderfully pull off the spoof that Ashby masterfully

puts together. Peter Sellers whose acting credits are usually more of a boisterous and undignified

nature, Captain Clouseau from the Pink Panther for example, plays the lead role of Chance the

complete antithesis of The Pink Panther. In Being There, Sellers successfully fulfills the necessary

character traits of Chance such as his expressionless facial features, unawareness of the events

enfolding around him, and dignified overall appearance that makes Chance believable. Shirley

MacLaine who plays Eve Rand preforms her part as the wife of a dying husband depicting flawlessly,

the desire for sex that comes after months without being intimate with her husband. Melvyn Douglas,

who in fact won best supporting actor for his part as Benjamin Rand, most spectacularly portrays a

loveable, dying billionaire who is first to form the misconceptions of Chance that flourish into a

country wide debacle.

The sound in the movie is most prominent in relation to the televison. Any time Chance is in

the room watching television the viewers can clearly hear what he has tuned into regardless of the

conversation that is taking place foreground. It can be said that Ashby uses this method to reveal to

the viewers exactly what Chance hears. Although Chance is taking place in the conservation his main

focus is always the televison thus the sound of the television must always be in focus.

To be outright honest, this film should not have a sequel, prequel or be made into a televison

version. What makes this film so exceptional is the mystery of who Chance the gardener really is. To

have a sequel or prequel the answer would have to be unfolded thus ruining the Ashby's angle. The

ending if the movie can be taken in many forms. When Chance walks atop the water some could

compare it to the Jesus story and try and find a parallel there. Others may think that he walked upon

the water because in his lifetime nobody told him he couldn't. What I think Ashby did was make

Chance walk on the water just because he could knowing that people would search for the meaning,

such as some of the reasons mentioned above. I know after I saw the end I sat for hours trying to

figure out just what was the point Ashby was trying too make about Chance. The fact of the matter

is, in my opinion he is not trying to make any real point about Chance rather highlight his satire on

televison yet again.

However, not having a sequel, prequel, or television version is not an option to the successful

completion of this paper, so if I had to choose I would make a sequel where Chance learned to accept

and comprehend the other communication mediums. In the sequel, eventually people are going to find

out that Chance's metaphorical speeches are not in fact that but rather advice in how to maintain a

heathy garden. Eve Rand would be the one to help Chance adapt to the communication era since by

this point she had already fallen in love with him and her dead husband had left Chance his fortune.

In the movie, every communication medium would be explored by Chance. He would even have to

start right from the beginning with verbal communication learning how to maintain and participate

in a formal conversation. Next would com the telephone where he would learn the basics such as

actually picking it up when it is ringing, not hanging up without saying goodbye and saying hello,

rather than waiting for the person on the receiving end to do so. Finally he would learn how to read

and write. By its very absence from Chance's life promoting and sustaining Chance's celebrity status,

the all powerful print media is thereby ridiculed in Ashby's movie. Chance has risen to top celebrity

status without influence from the print media. Nieve simplicity

We don't watch TV; it watches us it guides us." Carpenter 65 (top right)

Television, it was said, would bring the family ever closer... Spigel 70 (top right)

"It keeps us together more." Spigel 7 (very bottom right)

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Title:A comparison of "Wind" by Ted Hughes and "Lines Composed in a Wood on a Windy Day" by Anne Bronte.

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The poems I will be comparing are Wind by Ted Hughes and Lines Composed in a Wood on a Windy Day by Anne Bronte.In Anne Brontes poem she describes how the wind is affecting her by using religious words like soul, spirit.The religious words help to build atmosphere.She also uses many verbs like soaring ,dancing and dashing these give a sense of action to the poem and helps us imagine the storm in more detail.Also in the poem there are euphoric words like awakend and soaring which also add a sense of action to the poem.Throughout the poem she describes the effect the storm is having on her which is that it has awakend her soul and allowed her spirit to soar she is implying that the storm has put her in touch with nature.

In Ted Hughess poem Wind he uses a metaphor,describing his house as though it is a boat on the sea not land.He uses many verbs and adverbs like rose and flexing this is to bring the poem to life.Also in the poem he uses onomatopoeia; crashing,booming,stampeding, this also helps bring the poem to life and give it a sense of credibility.Also he uses these to give us a clear image of the storm including the sound of the storm destroying things and it helps us to identify with the person experiencing the storm.

The theme of both poems is similar they both describe the wind however Ted Hughes describes the effect of the wind on him his house and his family.Anne Bronte describes the effect the storm has on her, the earth and the ocean.She also conveys the power of the elements as does Ted Hughes.

The mood of Wind is action filled, loud and chaotic in the first stanza and then the mood changes to calm in the second stanza.He sugests that the landscape has been rearanged as a coseqense of the storm.Then in the third stanza he starts describing the storm again so the mood reurns to as it was in the first stanza and remains the same throughout the rest of the poem which is loud chaotic and eventfull.The mood in Anne Brontes poem is fast paced ,action filled my spirit is soaring. She uses words and descriptions to create atmosphere. The action filled mood is constant throughout the poem therefore contributing to a clear visualisation of a persistant and chaotic storm.The storm triggers many of her emotions like euphoria also she is in awe of the storm.

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The stucture of Anne Brontes poem is with costant rhyme of abab, and eleven or twelve syllables in each line. Ted Hughess poem has six stanzas with four lines in each stanza however it has an irregular rhythm much like its irregular which co exists with the irregular movement of the wind.

There are no similies in Anne Brontes poem, however she uses lots of verbs and adjectives which help us envision the storm. In Wind Ted Hughes uses onomatopoeia and verbs to describe the wind like booming as does Anne Bronte in her poem .He also uses adjectives like orange this is to ensure the credibility of the situation.

I found Anne Brontes poem more effective, she uses effective descriptions to personify the storm and help us envision the storm in detail the poem has a reggular rhythm that helps the storm to flow effectivly.She appropriatly describes how the storm has put her in touch with nature.The poem shows she clearly appreciates nature as she uses words like rapture and arousing which is different to the way Ted Hughes conveys nature he implies that it is frightening and wild by using adjectives like quivering and tremble .And onomatopoeia like stampeding and booming this also emphasises the loudness , power and intimidation of the storm. I appreciate how Ted Hughes uses onomatopoeia and verbs to create the storm and to help us appreciate the power of the storm.In TedHughess

poem he also uses similes ; Flexing like the lens of a mad eye and bent like an iron bar slowly these are to help us visualise the storm in greater detail in my opinion he is sucsessful in doing this, there are no similes in Anne Brontes poem however she uses descriptions that are positive and also descriptions that convey the power of the storm for example ; wild wind, ocean is lashing,wild roar,merily dancing,my soul is awakened these are effective in my opinion because they show that she is giving a positive description of the storm withought taking anything away from the power of the storm.

Please note that this sample paper on Title:A comparison of "Wind" by Ted Hughes and "Lines Composed in a Wood on a Windy Day" by Anne Bronte. is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Title:A comparison of "Wind" by Ted Hughes and "Lines Composed in a Wood on a Windy Day" by Anne Bronte., we are here to assist you. Your persuasive essayon Title:A comparison of "Wind" by Ted Hughes and "Lines Composed in a Wood on a Windy Day" by Anne Bronte. will be written from scratch, so you do not have to worry about its originality.

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I Have A Dream Summary

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"I Have A Dream" is a speech written by Martin Luther King Jr. in order to influence and inspire the oppressed negro population of North America. Its vivid imagery and frequently metaphorical language delivered the audience unprecedented hope and determination despite their dire circumstances, which lead eventually to the liberation of the Negroes, and, to a degree, the dissolving of racial injustices across the nation.

King frequently makes use of repetition throughout the speech, emphasising his points and shaping the rhythm of his dialog. The repetition of phrases such as "I have a dream" and "Go back to…" gives the text a certain balance, symmetry and lucidity, making it more appropriate as a speech. This repetition also contributes to the imperative nature of his statements, therefore subtending a greater influence upon the audience and making the speech more memorable.

One of the techniques employed by King to give his speech credibility and make his key points more comprehensible is imagery. His imaginative and creative use of metaphors, such as

"This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality"

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and

"…staggered by the winds of police brutality"

make his assertions more explicit and accessible, an important element considering the low standard of education predominant among those in the audience. This contributes significantly to the effectiveness of the speech, and maintains the audience's engagement.

At the time of writing the speech, King was also a Reverend, which gives him credibility as a speaker. This is evident through his use of phrases originating from the bible. His statement

"Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred"

is clearly drawn from

"You cannot drink from the cup of the Lord and from the cup of demons, too."

1 Corinthians 10, 6

He also uses phrases sourced explicitly and directly from the bible, including

"…and the glory of the Lord shall be revealed"

This religious derivation enhances the appeal of the speech particularly to those with an affinity to Christianity, and promotes the integrity of the content. This augments the responder's willingness to concede the validity of the composer's opinion.

These techniques and others are all used to promote the integrity and sincerity of King's opinions and consequently inspire, enlighten, and convince his audience.

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An Edgar Allan Poe Analysis

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Edgar Allan Poe's morbid fascination with death has always intrigued the public since his untimely death at age forty. Death has always been a theme in Poe's works because of his turbulent past and the death of ones he cared for the most. Poe's views on this subject are seen throughout his many publicized novels, short stories, and essays. Two such stories, "The Tell-Tale Heart" and "The Masque of the Red Death," both encompass Poe's interests on death. Why was the theme of death ever prevalent in so much of his works? Poe's enigmatic writings leave the general public of today to ponder this elusive question.

"The Tell-Tale Heart" tells the story of a misguided, nervous man who has just committed a hideous murder of this old man and apparently has buried him under the floorboards of the old man's room. The most striking thing is the narrator and his admittance of his sanity. This seems evident when he claims that "the disease had sharpened my senses-not destroyed-not dulled them" (Appelbaum 75). This narrator gives the reader a glimpse of the confused mind of Poe. The narrator almost parallel Poe in certain actions due to the fact that he realizes that he has a problem and is willing to show it to the audience. In Poe's life, the certainty of his alcoholism is mostly known. However, Poe himself knew that he had a problem but whatever he did, he could not escape the depths of the bottle. Death followed Poe wherever he went, whether it was the death of his mother or his wife. To reflect his pains, Poe constructed this fictitious yet similar character of his life to carry out a grizzly murder yet through guilt, was forced to give himself up for committing the crime. Poe probably thought about murdering people for the misfortunes that he had to live through but like the his character in "The Tell-Tale Heart," had enough sense to realize his sanity and put his 'murders' on paper instead of carrying them out in real life.

In most of his tales, Poe recalled his theme of death to enlighten and also to frighten his readers and critics. In "The Masque of the Red Death" Poe drew a horrendous portrait about the disease that was running rampant at the time, tuberculosis. In the story, Poe stated, "No pestilence had ever been so fatal, or so hideous" (Appelbaum 57). The 'red death' that he wrote about was and still is, of course, this terrible disease that has plagued and eluded him at the same time. From the death of his mother Elizabeth to the death of his wife Virginia who died in 1847 (Encyclopædia), Poe saw first accounts of what this disease could do. To articulate his feelings about the disease, he wrote a story encapsulating it as a character that brought death wherever it went. The hideous descriptions of the 'red death' showed his audience the ingenuous pains of what Poe were facing everyday of his short-lived existence. This story, as with "The Tell-Tale Heart," expressed his theme of death as a calculating pseudo-character always with the intent of murder. However, in this story, Poe's life is again mirrored in a sort of way as in "The Tell-Tale Heart." The way he pictured tuberculosis as a character gives the reader an avid account into Poe's personal life yet at the same time, offers the critical distance required to write apiece so clever and insightful.

Poe's bi-polar lifestyle made him a harsh critic yet at the same time he was an insightful listener. "The same duality is evinced in his art. He was capable of writing angelic or weird poetry, with a supreme sense of rhythm and word appeal, or prose of sumptuous beauty and suggestiveness, with the apparent abandon of compelling inspiration; yet he would write down a problem of morbid psychology or the outlines of an unrelenting plot in a hard and dry style" (Encyclopædia). Such were the case of "The Tell-Tale Heart" and "The Masque of the Red Death." His turbulent way of living and his appetite for liquor fueled his senses of death and he became this wholly new person that would write appalling and sometime outrageous tales of death and murder. Yet, he still seemed to hold on to his sanity whenever he was writing or with his companions.

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In all practicality, Edgar Allan Poe's lurid tales of the occult and death served to temporarily create a kind of surreal world in which Poe could live out his thoughts and fantasies to great extent. These tales, including "The Tell-Tale Heart" and the "The Masque of the Red Death," showed his audience the real nature of Poe. His creative banter fueled with the demons of his life spewed this unique creative genius that cannot be replicated today. His theme of death best symbolized in his short stories paints out a more frightening picture, however, and the audience is left with all sorts of questions surrounding Poe and his fascination with this theme.

Poe, Edgar Allan. Encyclopædia Britannica 00 Encyclopædia Britannica Online.

4 Feb, 00 http//search.eb.com/eb/article?eu=6058.

Appelbaum, Stanley, ed. Edgar Allan Poe The Gold-Bug and Other Tales. New York

Mineola, 11.

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Explore the Psychological Landscape Represented in The Turn of the Screw.

What is the relation between the psychological concerns and the literary conventions of realism and/or modernism?

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One of the various interpretations of The Turn of the Screw could be overtly concerned with psychological factors. You could class it as a realist novel simply about ghosts. However the representation of the characters, and particularly the governess, suggests that there are psychological elements to the novella.

For years after The Turn of the Screw was first published, it was largely dismissed as a simple ghost story. Critics repeatedly thought of the governess's character as that of a benevolent woman, protecting the lives of Miles and Flora. As the years passed, several critics hinted at the governess's madness and eventually Edna Kenton published an essay in 14, placing the theme of madness over ghosts and the children.

It is highly likely that James put psychological elements into the novella. His own sister, Alice, was mentally disturbed and his brother, William a renowned psychologist. This also means that James possibly read Freud, or if he didn't he may have been informed of the psychologist by his brother. The Case of Miss Lucy R. is often claimed as an influence. Lucy R. was one of Freud's patients who also happened to be a governess. Several critics believe this to be an influence and Oscar Cargill even went as far as to say,

James' dependence on his personal knowledge of hysteria and on 'The Case of Miss Lucy R.' make it clear that there are no ghosts in the story and that the phantoms are creations of a hysterical mindonly hallucinations.

Whether this is true or not, is in doubt and depends on how you choose to read the novella. In The Turn of the Screw there are various examples that suggest madness. For example the closeness of the governess to the children,

I was there to protect and defend the little creatures in the world the most bereaved and the most lovable…They had nothing but me, and Iwell, I had THEM. (Chapter 6)

The extent of which the governess values her duties towards the children is particularly excessive and could be seen as a little disturbing. If you are to believe this then you could say that this emphasises her benevolence. However it could also be seen as an unhealthy dependence that she cannot live without.

The governess may be particularly close to the children earlier on in the novella and be stunned by their innocence and beauty. However, as it goes on, she becomes increasingly paranoid that they are communicating with the ghosts. It is also very possible that the governess killed Miles,

I caught him, yes, I held himit may be imagined with what a passion; but at the end of a minute I began to feel what it truly was that I held. We were alone with the quiet day, and his little heart, dispossessed, had stopped. (Chapter 4)

Unless you believe that the ghost exists and Miles simply had a heart attack, it must surely be the governess who killed him. Her madness has finally drawn her over the edge and she has taken her anger out on Miles for a number of reasons.

As well as his death in the final chapter, there are also some revelations on why he was expelled from his school. They are put across in a very ambiguous way and it is still a little unclear as to what he did. As Miles puts it himself, he just 'said things'. Several critics have suggested that Miles' 'things' that he said were of a homosexual nature and there are also hints in the novella that he was either abused or told 'things' by Quint.

The homosexual connotations come from the fact that Miles' comments were 'too bad' by his own admission and he only told 'Those I liked'. It is true that sexual connotations are evident throughout the text. In Victorian 'polite society', sexual matters were very rarely discussed, as it was not particularly socially acceptable. Therefore Victorians tended to read into things as being sexual more than the modern society would.

In 14, Edmund Wilson wrote what is regarded as a particularly influential essay that drew heavily on Freudian theory. In that he stated,

The governess who is made to tell the story is a neurotic case of sex repression

This statement is very possible and explains why she hallucinates and sees ghosts. Sexual misconduct was often suggested where governesses are concerned in Victorian times, particularly in novels in the gothic genre. If you believe in the sexual connotations to a great extent, then you could say that The Turn of the Screw is a parody of the sexual anxieties of the Victorian society.

If you were to look at the novella as a realist text, then most of the sexual references could be completely ignored or disregarded. It is true that despite his background being associated with psychological influences, James also had an interest in ghosts, or was at least surrounded by people with an interest. William James conducted research in the field of spirits and his father was also interested in the subject.

Rob Pope defines realism as,

Specific aesthetic movements which at various times have claimed to represent that reality accurately (p. 8)

So therefore to take The Turn of the Screw as a realist text you have to take certain things for granted. The first thing that you have to do is to trust the governess's story. You then have to take on board conventions that you are familiar with from other texts, in this case there are many recognisable conventions from the gothic genre and in particular ghost stories.

The whole setting of the novel is very gothic; the tower where Quint is first seen, the misty lake and the narrow corridors are certainly not revolutionary ideas. The scenes are always dark and candle lit and the garden outside is also typical of ghost stories. The way that Quint is described is particularly stereotypical of the genre. The fact that he looks 'like nobody' with a 'pale face' and 'sharp, strange' eyes (Chapter 5) paint him out to be a particular chilling, fearful character. This description to Mrs Grose works in defence of the governess' madness as the description is so close to that of Peter Quint that it would have had to be some great coincidence for it to be a hallucination.

The governess is also a fan of the gothic novel,

Was there a' secret' at Bly-a mystery of Udolpho or an insane, an unmentionable relative kept in unsuspected confinement? (Chapter 4)

These are allusions to the gothic texts, Udolpho and Jane Eyre. The fact that she read texts such as this could be a reason for her seeing ghosts and for going mad. The fact that she goes mad could be a combination of her fascination with gothic novels and the surroundings that she has found herself in. It is rather like the character of Jack in Stephen King's, The Shining.

Whether the text, ghost sightings et al, can be described as a realist text is debatable. If you were to compare it to another realist text, such as Dickens' Oliver Twist, you could argue that it is not one. In Dickens' novel he relies on a setting that is very accurate to London and doesn't touch on such issues as the supernatural, however it does have some ideas that could be seen as being unrealistic, for example where Mr Brownlow talks about Oliver after he has taken him in,

(Oliver) was cast in my way by a stronger hand than fate (Chapter 4)

This shows that other realist texts contain things that are not entirely realistic. However in Victorian times, there was more emphasis or belief in religion and all things spiritual,

The use of the narrative in the novella is particularly interesting and contributes to the ambiguity. The story is actually told by an un-named narrator. His story is transcribed from the governess's manuscript, which was read out by Douglas several years earlier. Therefore, the story that we read is not the actual manuscript.

This could mean an awful lot of things. The story could certainly have been embellished, as ghost stories often are. This would support the fact that the novella is a realist text, as some of the details that suggest the governess's madness could have been made up or exaggerated. The un-named narrator could have changed any detail that he wanted to put his own slant on the text or make it more interesting for his audience.

I think that is why James has put so much emphasis on storytelling in the text. Of course, a story teller hasn't actually embellished any facts, as it is all one big story, written by Henry James. What I earlier stated about having to trust the governess to take the text as a realist one, is of even greater importance in The Turn of the Screw as you also have to trust Douglas and the un-named narrator.

As well as looking at The Turn of the Screw with realism and psychology in mind, you can also consider modernism and new criticism. Some modernists believe that we should ignore historical and social context, where as others believe it is of great importance. The latter often believe that texts do not reflect the world, but help shape it. They also often involve psychological elements and closure in their texts is very rare. Henry James did share a couple of these beliefs, despite being around before the First World War, the period most generally accepted as the start of modernism.

It is particularly interesting that Henry James has taken elements from all three of the movements that I have discussed to produce a text that could be talked about for hours on end, without ever finding the one, clear cut meaning behind it. He, himself wrote in a preface to his novel The Portrait of a Lady,

The house of fiction has in short not one window, but a million a number of possible windows not to be reckoned, rather, every one of which has been pierced, or is still pierceable, in its vast front, by the need of the individual vision and by the pressure of the individual will.

This statement, made by the author himself, sums up the reading of The Turn of the Screw. It basically states that it is up to the reader to take what they want from a text. It also means that the reader will read absolutely anything into his texts, every one of which has been pierced, or is still pierceable. Regardless of the intentionalist fallacy, the reader will take what s/he want from a text, a fact that James seems to be perfectly fine with.

In The Turn of the Screw, the literary conventions of realism and modernism only further the psychological concerns. The governess's and, to a certain extent, Miles's madness are induced by their environment and things the have happened to them in the past. The governess has a fondness for gothic novels and is in her first job of this kind. Miles has been abused, mentally and/or physically by Peter Quint.

The novel is a ghost story and therefore, you have to take on board certain facts about the genre to accept it. On the other hand, it is a story incorporating the psychology of the mind. The three issues that I have discussed work hand in hand and only enhance each other.

Bibliography

Primary Material

James, Henry, The Turn of the Screw (London Penguin, 14)

Pope, Rob, The English Studies Book Second Edition (London Routledge, 00)

Secondary Material

The Turn of the Screw A Ghost Story or a Delve into a Neurotic Mind (online) available at URLhttp//www.nku.edu/~emily/rauch.html (accessed 15th Nov. 00)

The Turn of the Screw, a History of its Critical Interpretations 188-17, Edward J. Parkinson PhD (online) available at URLhttp/www.turnofthescrew.com (accessed 15th Nov. 00)

James, Henry, 'Preface,' The Portrait of a Lady' (1881; Boston Houghton Mifflin, 16), p.7

Wilson, Edmund, 'The Ambiguity of Henry James' (14)

Dickens, Charles, Oliver Twist (London Penguin, 14)

Cargill, Oscar, 'The Turn of the Screw and Alice James' in The Turn of the Screw (New York W.W, Norton & Company Inc., 166)

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Business ethics, role of accountants in policiing and assessment process of social accounting, ethical issues faced by organisations and accountants, development of social accounting issues within organisations

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Social accounting is not another system to be imposed on an organisation it is more an approach, providing a framework which permits the organisation to report on its social performance in the fullest and most effective way possible. Social accounts make use of information which an organisation already gathers, reports which already have to be prepared, and consultations which are already carried out. Gaps in existing documentation and information systems will be identified and new methods of capturing information and gathering stakeholder views developed.

No organisation starts with a clean sheet. All organisations keep records about what they do, abOur staff and volunteers, about their members, about their clients and customers, about training organised, about their members etc. All organisations have records of meetings and produce various reports. This is valuable raw material which can be used in the social accounts. Usually there is much more in the bag than you realise, sometimes tucked away in different departments or different computers and not brought together or only used for one purpose when it could be usefully used to inform others as a part of the social accounting process.

The Five Stages of Social Accounting and Audit

Stage One Introducing Social Accounting and Audit

•What is it?

•Why do a social audit?

•What are the key principles?

•Understanding the jargon

•What do we already do towards a social audit?

•What do others do? history and current practice in different sectors

•Do we want to do it?

•Managing the Social Audit

Stage Two The foundations

•Clarify the social Objectives and the Activities undertaken to achieve them.

•State the Values which underpin the purpose and work of the organisation.

•Prepare a Stakeholder map of the organisation, and

•Identify the Key Stakeholders

•Determine the Scope of the social audit

Stage Three The nuts and bolts Social Book-keeping

•Agree the indicators which will allow performance to be assessed

•Identify what existing records and data can be used

•Decide what new, additional data will be collected and how

•Agree how and when to consult which stakeholders, and about what

•Organise the resources needed to carry out the social book-keeping and the stakeholder consultation

•Produce a Social Accounting Plan and time-table

•Implement the Plan and monitor progress

Stage Four Preparing and Using the Social Accounts

•Draft the Social Accounts using existing information, the data collected and the views of the stakeholders

•Identify the key issues on which the organisation should act

•Review the Objectives and Activities, and the Values

•Set targets for the future

•Review the social accounting process and make necessary adjustments

•Plan dialogue and discussion with stakeholders

•Review the social accounting process and make necessary adjustments

•Plan how to publish (a summary of) the audited Social Accounts to all stakeholders

Stage Five The Social Audit

•Appoint the members of the Social Audit Panel

•Present the social accounts to the Social Audit Panel

•The Panel arranges to verify a sample of the data used;

•Assesses the interpretations given in the accounts; and

•Comments on the quality of the social accounting and reporting

•The Social Accounts are revised in accordance with the Panels recommendations, and

•The Social Audit Statement is issued.

•Publish (a summary of) the audited accounts to all stakeholders

•Continue with the next cycle of social accounting

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