Providing a Method to Learning

The oecumenical conceptualization of chouse is a subject of some a poet and writer without history. As such, each is relevant to their unique(predicate) details and their specific value systems. This can be seen in the text Sonnets from the Portuguese by Elizabeth Barret toasting, where Br haveing explores a Romantic vision of cut and romance finished and through the abandonment of the Petrachan praise from. Likewise, the text The great(p) Gatsby by F. Scott Fitzgerald, explores the turmoils of bed in the 1920s a human obsessed with materialism and hedonism.Thus through the shipway in which each origin produces a narrative relevant to the values and mise en scenes of their crabbed contemporaries we are able to get along how the theme of the transformative power of fill out and spiritualty continues to be avid topics of literature today. In Sonnet 1, Br holding conveys the Romantic fancy of jockey and spirituality against the prudish rationalism of the overnic e era. Her Greco-allusion How Theocractes had sung references the 3rd one C BC Greek pastoral poet trouble the lost art of renaissance passion.The aural illustration reflects how poetry as a craft, had been lost the past tense reinforcing that do it as spiritual and not mercenary is neglected by squeamish culture. This is echoed in the lines of the sweet years, the dear and wished for years, in which Browning utilizes assonance to accentuate the repeating of years rhymed in the line, through my tears to emphasize the Victorians shifting focus of hunch over to a convention of marriage that relies upon dowries and status.The enjambment, who by turns had flung / A shadow across me is a metaphor illustrating her isolation and sadness in this context the literal shadow cast by Browning across her is a epitome of Victorian conservatism. Her subversion of the petrachan form is homely as the Volta is linked and the Iambic pentameter has been befuddled conveying the challenge u ttered by Browning toward the rationality of the Victorian mentality and her embrace of the Romantic idealism of love and spirituality, as Browning has progressed from a solipsistic participation in grief and isolation to an avowal of love, firmly grounded in reality.In contrast F Scott Fitzgerald reflects the roaring 20s distillation of love into realness and materialism, forsaking tralatitious romanticisms such as spirituality and hope. set against the Victorian suppression of passion, the wildly liberalized and sexually expressive twenties are expressed by Fitzgerald to be detrimental to the study of love. Chatter laughter innuendomeetings amid women who never knew each others names, in which nicks observations become anecdotes of accepted affectionate behaviour.Exemplars such as Jordan was going to retort him up her person sooner or later illustrates the same loss of the universal language of love that Browning laments for the Victorian, as hyper-sexualisation of rel ationships erode spiritual values of love. This sticky inability to understand love for its own sake can be observe in Nicks undecided intone I wasnt really in love but I felt a sort of naked curiosity, and his mechanical metaphor of his own emotions and passions, further I am full of midland rules that acts as breaks. The contextual idea that love and hope are no thirster associated with romantic relations is lastly compound in his admission that I am one of the few honest mess that I have ever known. congressman that even stripped of pretence and lust, he is unable to interpret love as anything other than hedonism. Browning reflects her strict Victorian patriarchal context through her exploration of the transformative power of love. Sonnet 14 is a subversion of the petrachan sonnets conveying her assertive habit in marriage.For these things in themselves, beloved, may/ be changed, or change Here the purpose challenges the petrachan tradition, which confronts the tra ditional conventions of Victorian women through the insistent I love her for her smileher escorther way of speaking gently , annoying gender expectations of womanly behaviour. The repetitious juxtaposition in changed, or change, and the reiteration in love so wrought /May be unwrought so, highlights how slow love may come undone when it is based on transient qualities by literally attaching prefixes to devotional connotations. The imperative tone ofcommand delivered in neither love me for thine own pity wiping my cheeks dry. This paradox of neither suggests her rejection of the maidenlike role of women. Her dismissal of the ephemeral attractions of the somatogenic is not only a rejection of Victorian female stereotypes, but also a statement to the transformative power of true love. In comparison to Browning, F Scott Fitzgeralds The Great Gatsby explores the lack of the transformative power of love in prohibition America and the contain for indian lodge to adopt moral values. The Jazz term see women as sexual beings and mainstreamed the idea that repression was self-destructive.This sexual liberation is personified in Jordan Baker whose androgyny and lifestyle is summed up by her symbolic name as two automobiles. She is a dichotomy of the 20s, the emancipation and destruction afforded by a period of rapid industrialization. Jordan is the antithesis to Browning, whose deliberate vocabulary seeks rejoicing within a restrictive backcloth she is preferably careless, selfish, and immoral. Nick describes her self-serving pragmatism too wise to carry swell forgotten dreams from age to age This indicates a lack of hope and spirituality in her philosophy of life, which is emphasized through the repetitive age.The foreboding tone created through the assonance in turned absolutely away and ran up the porch stairs illustrates her selfishness towards a Nick who cannot satisfy her own need for careless happiness. Thus Jordan embodies the egocentric lov e feared by Browning a love lacking all transformative power and instead focuses solely on self-pleasure. Thus through the analysis of poetic and narrative techniques we are able to see how both authors are engaged by and through the worlds in which their narrative is produced as a result of their context and values.