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Example research essay topic: N 1 2 C - 1,711 words

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The Grotesque Machinery of the Dubliners Joyce describes the spiritual poverty of the people of Dublin in the industrial age, with powerful images of mechanized humans and animated machines. In "After the Race" and "Counterparts" he delineates characters with appropriate portraits of human automation. Machines seize human attributes and vitality in opposition to the vacuous citizens of Ireland's capitalist city. Joyce's use of metaphorical language brings to life the despair of his country. In Winesburg, Ohio, Sherwood Anderson writes an allegorical account of the failure of mankind (1919).

Although Anderson depicts rural life in the "New World, " his understanding of human nature and descriptive terminology provide a valuable framework for examining Joyce's rendition of urban misery in the "Old World. "The Book of the Grotesque, " the opening piece of Anderson's short story collection, animates the thoughts of a dying old man: It was his notion that the moment one of the people took one of the truths to himself, called it his truth, and tried to live his life by it, he became a grotesque and the truth he embraced became a falsehood. (24, Penguin Edition). This notion, that belief in a single truth or paradigm distorts people such that they become warped and can no longer function as human, is central to Joyce's characterizations of the Dubliners. Twentieth Century Homo sapiens can be distinguished from machines by their potential to think openly and consider myriad ideas without being paralyzed by a singular absolute. When people clutch an idea and transform it into an ideal, the separation between man and machine becomes blurred.

Human automatons mechanically follow the programming of their truth. In "After the Race, " the Irish are consumed with the Continent as a superior place of affluence and culture. They seek an escape from the dreariness of Dublin, but mistakenly idealize mainland Europe as a vessel for their dreams of transcending the ordinary. With this idea of a utopia across the ocean, people loose interest in every day life and become stagnant. Belief in this myth transforms humans, reducing them to a state of mechanized paralysis without identity.

Joyce animates the racing machines in the opening of the story, describing how they "came scudding in towards Dublin, " and each blue car "received a double round of welcome" (52). The spectators are dull masses in contrast to the vehicles: Sightseers had gathered in clumps to watch the cars careening homeward and through this channel of poverty and inaction the Continent sped its wealth and industry. (52). People here are inanimate "clumps" -- mere obsolete hardware juxtaposed with the new line of refined technology from the Continent. The central character of "After the Race" is riding in one of these french cars and he is electrified by its performance. Jimmy -- a Dubliner -- has taken the truth of the Continent's promise as his own, and has thus been disfigured himself into a machine. He pursues a business venture with several Continentals, driven by the falsehood of escape and prosperity that he and his father embrace.

As a passive traveller in the car, Jimmy is aroused because "rapid motion through space elates one" (54). He mechanically responds to the stimulus from an embodiment of his truth: The journey laid a magical finger in the genuine pulse of life and gallantly the machinery of human nerves strove to answer the bounding courses of the swift blue animal. (55). Jimmy is reduced to a network of wires and circuits by Joyce's innovative use of language, and the car is animated as a vigorous biological entity. The "chiastic inversion" (Professor Brian Stonehill, 1 / 22 / 96) of organic and synthetic continues: "A little knot of people collected on the footpath to pay homage to the snorting motor" (55). The abiotic tangle of people are worshiping a living and breathing car, which "steer[s]" out through them (55). Jimmy follows the commands of his truth and assumes his place as a cog in the social contrivance of his associates after the race. "Jimmy took his part" and participated mechanically in the festivities of the evening, making a token speech of little value and loosing handsomely at cards (57).

Joyce's character is metamorphosed into a grotesque by his platonic belief in the Continent. In After the Race Jimmy, an intellectual nouveau-riche who has studied law at an English university, deceives himself trying to climb the ladder of success and reach emancipation on international standards. Because he has trained himself to rely solely on his eyes, he has acquired such a distorted perspective that when he is involved in a crucial game of cards, ironically, he misreads them ("he frequently mistook his cards" (46) ) and therefore loses a fortune. The epiphanic punch line at the end of the story: "Daybreak, gentlemen!" is uttered by Villa, a pianist (who stands for the auditory frame of reference).

With this acoustic message, Jimmy becomes aware of his folly, an unwanted truth that he had tried to avoid confronting to the very end. Scud: [I+adv / prep ] lit: (esp. of clouds and ships) to move along quickly pellet n 1 [ (of) ] a small ball of any soft substance made (as if) by rolling between the fingers: hens fed on pellets of food 2 a small ball of metal made to be fired from a gun groove n 1 a long narrow usu. regular path or track made in a surface, esp. to guide the movement of something: The needle is stuck in the groove of the record, so it keeps repeating the same bit of music. | The door fits into this metal groove and slides shut. 2 a track made by repeated movement; RUT: (fig. ) My parents don't like change; they " re happy to stay in the same old groove. clump 1 n 1 [C (of) ] a group of trees, bushes, plants, etc. , growing together: a little clump of reeds 2 [C (of) ] a heavy solid lump or mass of something, such as soil or mud: sticky clumps of earth on his boots 3 [S] a heavy slow sound, such as that made by slow footsteps virtual / adj [A no comp. ] almost what is stated; in fact though not officially: The president was so much under the influence of his wife that she was the virtual ruler of the country. | a virtual certainty hilarious adj full of or causing wild laughter: The party got quite hilarious after they brought more wine. | a hilarious joke -~ly adv -~ness n [U] establishment n 1 [U (of) ] the act of establishing or state of being established: The government must encourage the establishment of new industry. | The club has grown rapidly since its establishment three years ago. 2 [C] a place run as a business or for a special purpose: The hotel is a well-run establishment. | a research establishment allude to say. /she.

phr v [T] fml to speak about (someone or something), but in an indirect way: She didn't mention Mr Smith by name, but it was clear she was alluding to him. earnest 1 adj determined and serious, esp. too serious: We made an earnest endeavour to persuade her. | an earnest young man who never laughs -~ly adv -~ness n [U]: I say this in all earnestness. take to say. /she. phr v [T] 1 to feel a liking for, esp.

at once: I took to Paul as soon as we met. | I'm not sure if he " ll take to the idea. 2 to begin as a practice, habit, etc. : All this gloomy news is enough to make you take to drink. [+v-ing] Just lately he's taken to hiding his socks under the carpet. 3 to go to for rest, hiding, escape, etc. : Father's ill, so he's taken to his bed. | The criminals took to the hills to escape from the police. remonstrate /n-/ v [I (against, with) ] fml to complain; express disapproval: I remonstrated against his behaviour. | She remonstrated with him ( = complained to him) about his behaviour. covert 1 /adj secret or hidden; not openly shown or admitted: covert dislike | covert activity by the CIA to undermine their government -opposite overt -~ly adv reputed: adj generally supposed or considered (to be), but with some doubt: the reputed father of her baby [F+to-v] She is reputed to be extremely wealthy. cargo [C; U] (one load of) the goods (FREIGHT) carried by a ship, plane, or vehicle: We sailed from Newcastle with a cargo of coal. | cargo vessel / plane bass 1 /be Is/ n 1 [C] (a man with) the lowest male singing voice, below BARITONE 2 [U] the lower half of the whole range of musical notes -compare TREBLE (2) 3 [C] a BASS GUITAR: He's formed a new band with his brother on bass / playing bass. 4 [C] a DOUBLE BASS -bass adj, adv: a bass saxophone / drum | to sing bass deft: adj effortlessly skilful; ADROIT: deft fingers | a deft performance -~ly adv -~ness n [U] in the teeth of: against the strength of; in spite of opposition from: The government persisted in introducing the new measures in the teeth of public opinion.

swarthy (adj) (of a person or their skin) rather dark-coloured profane 1 /pr E'fe In/ adj 1 showing disrespect for God or for holy things: To smoke in a church or mosque would be a profane act. 2 (esp. of language) socially shocking, esp. because of improper use of religious words -compare OBSCENE 3 fml not religious or holy; concerned with human life in this world; SECULAR: profane art -opposite sacred -~ly adv nudge v 1 [T] to push gently, usu. with one's elbow, esp. in order to call a person's attention: He nudged his friend to let him know it was time to leave. 2 [I+adv / prep ; T] to move by gently pushing: He nudged me out of the way. | a ship nudging (its way) through the ice | (fig. ) During the meeting we tried to nudge them towards ( = gently help them to find) a practical solution. 3 nudge, nudge, (wink, wink) info hum...


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Research essay sample on N 1 2 C

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