ROMANTICISM
~Romantic in english and romantique in french were both in common use as adjectives of praise for natural phenomena such as views and sunsets, in a sense close to modern english usage but without implied sexual element
~ the free expression of the feelings of the artist
~ it comes from the imagination of the artist

DON QUIXOTE - Miguel Cervantes

 

Part 1

The First Sally

Alonso Quijano, the protagonist of the novel, is a retired country gentleman nearing fifty years of age, living in an unnamed section of La Mancha with his niece and housekeeper. While mostly a rational man of sound reason, his reading of books of chivalry in excess has had a profound effect on him, leading to the distortion of his perception and the wavering of his mental faculties. In essence, he believes every word of these books of chivalry to be true though, for the most part, the content of these books is clearly fiction. Otherwise, his wits are intact. He decides to go out as a knight-errant in search of adventure. He dons an old suit of armour, renames himself "Don Quixote de la Mancha," and names his skinny horse "Rocinante". He designates a neighboring farm girl as his lady love, renaming her Dulcinea del Toboso, while she knows nothing about this. He sets out in the early morning and ends up at an inn, which he believes to be a castle. He asks the innkeeper, whom he thinks to be the lord of the castle, to dub him a knight. He spends the night holding vigil over his armor, where he becomes involved in a fight with muleteers who try to remove his armor from the horse trough so that they can water their mules. The innkeeper then dubs him a knight to be rid of him, and sends him on his way. Don Quixote next "frees" a young boy who is tied to a tree and beaten by his master by making his master swear on the chivalric code to treat the boy fairly. The boy's beating is continued as soon as Quixote leaves. Don Quixote has a run-in with traders from Toledo, who "insult" the imaginary Dulcinea, one of whom severely beats Don Quixote and leaves him on the side of the road. Don Quixote is found and returned to his home by a neighboring peasant.

The Second Sally

While Don Quixote is unconscious in his bed, his niece, the housekeeper, the parish curate, and the local barber secretly burn most of the books of chivalry, and seal up his library pretending that a magician has carried it off. After a short period of feigning health, Don Quixote approaches his neighbor, Sancho Panza, and asks him to be his squire, promising him governorship of an island. The uneducated Sancho agrees, and the pair sneak off in the early dawn. It is here that their series of famous adventures begin, starting with Don Quixote's attack on windmills that he believes to be ferocious giants. The two next encounter a group of friars accompanying a lady in a carriage. They are heavily cloaked, as is the lady, to protect themselves from the hot climate and dust on the road. Don Quixote takes the friars to be enchanters who hold the lady captive. He knocks a friar from his horse, and is immediately challenged by an armed Basque traveling with the company. As he has no shield, the Basque uses a pillow to protect himself, which saves him when Don Quixote strikes him. The combat ends with the lady leaving her carriage and demanding those traveling with her to "surrender" to Don Quixote.

The Pastoral Wanderings

Sancho and Don Quixote go on, and fall in with a group of goatherds. Don Quixote tells Sancho and the goatherds about the "Golden Age" of man, reminiscent of both Ovid and the later Rousseau in which property does not exist, and men live in peace. The goatherds invite the Knight and Sancho to the funeral of Grisóstomo, once a student who left his studies to become a shepherd after reading Pastoral novels, seeking the shepherdess Marcela. At the funeral Marcela appears, delivering a long speech vindicating herself from the bitter verses written about her by Grisóstomo, claiming her own autonomy and freedom from expectations put on her by Pastoral clichés. She disappears into the woods, and Don Quixote and Sancho follow. Ultimately giving up, the two stop and dismount by a pond to rest. Some Galicians arrive to water their ponies, and Rocinante (Don Quixote's horse) attempts to mate with the ponies. The Galicians hit Rocinante with clubs to dissuade him, which Don Quixote takes as a threat and runs to defend Rocinante. The Galicians beat Don Quixote and Sancho leaving them in great pain.

The Adventures with Cardenio and Dorotea

After Don Quixote frees a group of galley slaves, The Knight and Sancho wander into the Sierra Morena, and there encounter the dejected Cardenio. Cardenio relates the first part of his story, in which he falls deeply in love with his childhood friend Luscinda, and is hired as the companion to the Duke's son, leading to his friendship with the Duke's younger son, Don Fernando. Cardenio confides in Don Fernando his love for Luscinda and the delays in their engagement, caused by Cardenio's desire to keep with tradition. After reading Cardenio's poems praising Luscinda, Don Fernando falls in love with her. Don Quixote interrupts when Cardenio suggests that his beloved may have become unfaithful after the formulaic stories of spurned lovers in Chivalric novels.

Don Quixote de la Mancha and Sancho Panza, 1863, by Gustave Doré

In the course of their travels, the protagonists meet innkeepers, prostitutes, goatherds, soldiers, priests, escaped convicts, and scorned lovers. These encounters are magnified by Don Quixote’s imagination into chivalrous quests. Don Quixote’s tendency to intervene violently in matters which do not concern him, and his habit of not paying his debts, result in many privations, injuries, and humiliations (with Sancho often getting the worst of it). Finally, Don Quixote is persuaded to return to his home village. The author hints that there was a third quest, but says that records of it have been lost.

Part 2

The Third Sally

Although the two parts are now published as a single work, Don Quixote, Part Two was a sequel published ten years after the original novel. While Part One was mostly farcical, the second half is more serious and philosophical about the theme of deception.
As Part Two begins, it is assumed that the literate classes of Spain have all read the first part of the history of Don Quixote and his squire. Cervantes's meta-fictional device was to make even the characters in the story familiar with the publication of Part One, as well as with an actually published fraudulent Part Two. When strangers encounter the duo in person, they already know their famous history. A Duke and Duchess, and others, deceive Don Quixote for entertainment, setting forth a string of imagined adventures resulting in a series of practical jokes. Some of them are quite sadistic, and they put Don Quixote's sense of chivalry and his devotion to Dulcinea through many tests.
Even Sancho deceives him at one point. Pressured into finding Dulcinea, Sancho brings back three dirty and ragged peasant girls, and tells Don Quixote that they are Dulcinea and her ladies-in-waiting. When Don Quixote only sees the peasant girls, Sancho pretends that their derelict appearance results from an enchantment. Sancho later gets his comeuppance for this when, as part of one of the duke and duchess's pranks, the two are led to believe that the only method to release Dulcinea from her spell is for Sancho to give himself a surplus of three thousand lashes. Sancho naturally resists this course of action, leading to friction with his master. Under the duke's patronage, Sancho eventually gets a governorship, though it is false, and proves to be a wise and practical ruler; though this ends in humiliation as well.
Near the end, Don Quixote reluctantly sways towards sanity: an inn is just an inn, not a castle.
The lengthy untold "history" of Don Quixote's adventures in knight-errantry comes to a close after his battle with the Knight of the White Moon, in which we the readers find him conquered. Bound by the rules of chivalry, Don Quixote submits to prearranged terms that the vanquished is to obey the will of the conqueror, which in this case, is that Don Quixote is to lay down his arms and cease his acts of chivalry for the period of one year (a duration in which he may be cured of his madness). Defeated and dejected, he and Sancho start their journey home.
Part Two of Don Quixote is often regarded as the birth of modern literature, as it explores the concept of a character understanding that he is being written about. This is a theme much explored in writings of the 20th Century.
Upon returning to his village, Don Quixote announces his plan to retire to the countryside and live the pastoral existence of shepherd, although his housekeeper, who has a more realistic view of the hard life of a shepherd, urges him to stay home and tend to his own affairs. Soon after, he retires to his bed with a deathly illness, possibly brought on by melancholy over his defeats and humiliations. One day, he awakes from a dream having fully recovered his sanity. Sancho tries to restore his faith, but Alonso Quixano, for that is his true name, can only renounce his previous existence and apologize for the harm he has caused. He dictates his will, which includes a provision that his niece will be disinherited if she marries a man who reads books of chivalry. After Alonso Quixano dies, the author emphasizes that there are no more adventures to relate, and that any further books about Don Quixote would be spurious.

CRITICISM:
The novel had revealed how the imagination of the author worked. The novel takes place over a long period of time, including many adventures all united by common themes of the nature of reality, reading, and dialogue in general. It also include the chivalric romance.

AMERICAN PRAGMATISM
~ Pragmatism is a philosophical tradition centered on the linking of practice and theory. It describes a process where theory is extracted from practice, and applied back to practice to form what is called intelligent practice. A practical approach to problems and affairs.
~ Collaboration of science, beliefs, ideas and technology
~ there is no point of conflicting the author because all the factors are related.

THE ONE (FILM) 



A superhuman criminal named Gabriel YuLaw (Jet Li), once an officer of the "Multiverse Authority" (MVA) that polices interdimensional travel (via detecting wormhole openings, which can be predicted like the weather), seeks to hunt down and kill all other variations of himself in alternate universes. By killing all of his other selves, (and thus becoming the last version of himself) and absorbing their life energies into himself, he believes he will become "The One", a godlike being. YuLaw is briefly captured by MVA agents Rodecker (Delroy Lindo) and Funsch (Jason Statham), only to escape from captivity during the final phase of his sentence to life in a penal colony.
The last known alternate, Gabriel (Gabe) Law, works in the Los Angeles County Sheriff's Department. For two years he has been experiencing increases in strength, speed and mental ability but neither he nor his wife, T.K. Law (TK) (Carla Gugino), can understand why. While transporting a snitching prisoner for the Sheriff's Department, Gabe "feels" Yulaw's presence just before he attempts to kill Gabriel Law. Yulaw escapes, with Gabe giving chase and leaping a very high wall – which is humanly impossible. Upon landing on the other side Yulaw faces Gabe and shoots him, but not fatally. Going in for the kill, Yulaw is interrupted by Rodecker and Funsch.
Gabe Law sees Yulaw, who is identical to him in every way. Being unfamiliar with interdimensional travel between universes, Yulaw's appearance is incomprehensible. At the hospital again Gabe feels Yulaw's presence. There is another fight and Rodecker and Funsch again intervene. Yulaw deters them from shooting him because if he is killed, then Gabe will pose a problem because he would then be left as the only "One". Dressed alike and identical in every way, Gabe and Yulaw's battle confuse Gabe's Sheriff Department colleagues. Both Gabe and Yulaw manage to escape the hospital.
Rodecker is faced with a dilemma: they are chasing two superhumans, they cannot kill either one. Funsch insists that YuLaw, as the instigator, must be dealt with in a more aggressive manner. Rodecker makes a fateful decision to "go way off procedure" and split the team. Rodecker pursues Yu Law and is killed. Funsch catches up with Gabe and tells him about the multiverse and why he has become stronger. Yulaw finds Gabe's residence where TK, believing it is Gabe, attempts to protect him, but she senses he is not really Gabe. Gabe arrives only to have Yulaw force him to watch while he kills her. Funsch finds Gabe and they team up to find Yulaw at the next occurrence of a wormhole – an industrial plant.
Yulaw, Gabe Law and Funsch arrive at the industrial plant, where the final battle between Gabe and Yulaw takes place. where Gabe is ultimately victorious, but all three are caught in the wormhole and travel back to the MVA headquarters in the Alpha Universe. YuLaw is transported immediately to the prison colony universe after a last-ditch attempt to switch places with Gabe. The MVA then prepares to send Gabriel back to his own universe where he will be arrested and put in prison for the murders Yulaw committed, but Agent Funsch instead sends him to a universe similar to Gabe's past via another wormhole, after Gabe told him about the events which led up to him meeting his wife. Yulaw, now in the penal colony, declares his intent to still become the one; standing at the top of a Ziggurat in the Hades universe, in order to prove his capability of becoming the one, YuLaw commences to battle oncoming waves of hundreds of provoked fighters approaching the Ziggurat as the credits roll.

CRITICISM:
Though when watch at the first time, may get confused but as you thoroughly watch it and really understand it, you can see that every detail is included that is why there is no reason for the watchers to be confused.
The movie contains a belief this when Yu law believes that when he kill all of his look alike he will be THE ONE (as in god). so believing this ideas he killed one by one all his look alike. He'd done it using a worm hole. In the part why Yu law had other variations of himself you don't have to be confused because it is also included that Yu Law came from an alternate universe.
The climax in the movie is that Gabe, the only one left alternate, feels the presence of Yu Law he decided to help the agents to help them captured Yu Law.
In the end, they have captured Yu Law and sent him to the Kingdom of Hades while Gabe sent to the universe similar to Gabe's past via the wormhole. 
It is really confusing at first watch but as you watch it again and again you may find it pretty awesome.

HUMANISM
~the focus of the Humanist Theory is MAn
~As Protagoras stated, "Man is the measure of all things."
~the reader or teacher or critic more or less "requires" that the piece present man as essentially rational; that is endowed with intellect and free will.

NIGHT AT THE MUSEUM (FILM) - Based on the book The Night at the Museum Milan Trenc





A newly recruited night security guard at the Museum of Natural History discovers that an ancient curse causes the animals and exhibits on display to come to life and wreak havoc. 
Larry Daley (Ben Stiller) is divorced, unable to keep a stable job, and has failed at many business ventures. He also has failed in his dream job to be an inventor because The Clapper light switch has "stolen his thunder" for his similar invention "The Snapper." His ex-wife (Kim Raver) believes that he is a bad example to their eleven year-old son Nick (Jake Cherry), and Larry fears that Nick respects his future stepfather, bond trader Don (Paul Rudd), more than him.
Cecil (Dick Van Dyke), an elderly night security guard about to retire from the American Museum of Natural History, hires Larry despite his unpromising résumé. Because of recent financial troubles, the museum plans to replace Cecil and his two colleagues Gus (Mickey Rooney) and Reginald (Bill Cobbs) with one guard. They advise Larry to leave some of the lights on and warn him not to let anything "in...or out".
Once night comes, Larry discovers that the exhibits come to life, including a living Tyrannosaurus skeleton nicknamed "Rexy" who behaves like a dog (who fetches one of his ribs); a mischievous capuchin monkey named Dexter (Crystal) which always steals Larry's keys (and also urinates on him and tears up his instruction manual); rival miniature civilizations led by Old West cowboy Jedediah (Owen Wilson) and Roman general Octavius (Steve Coogan); an Easter Island Moai (Brad Garrett) who calls Larry dum-dum and loves gum-gum; and wax models of the likes of Theodore Roosevelt (Robin Williams) and Attila the Hun (Patrick Gallagher), who makes a habit of chasing Larry wildly through the museum with his Huns.
Roosevelt explains that since an Egyptian artifact—the Golden Tablet of Pharaoh Akhmenrah—came to the museum in 1952, all of the exhibits come to life each night. If the exhibits are outside of the museum during sunrise, however, they turn to dust. Roosevelt helps Larry by restoring order, and he decides to remain as a guard.
On Cecil's advice, Larry studies history to prepare himself better. He also learns from a museum docent, Rebecca Hutman (Carla Gugino), who is writing a dissertation on Sacagawea (Mizuo Peck) but does not feel she knows enough about her subject.
The next night, Larry uses what he has learned to better control the exhibits (helping solve the Neanderthals' quest for fire by tossing them a cigarette lighter; giving the Easter Island head a wad of chewing gum (which causes him to blow a big bubble that pops); tricking Dexter with a set of toy keys; and making a truce between the dioramas). However, things go awry when his attempt at winning over Atilla with cheap magic tricks fails, the dioramas continue fighting despite their agreement with Larry, and Dexter is able to steal Larry's keys again and let out all of the animal exhibits. The Neanderthal then set fire to a display and one turns to dust when he leaves the museum at dawn (his ashes are promptly swept up by a street sweeper). The incident with the Neanderthal display causes the museum director Dr. McPhee (Ricky Gervais) to almost fire Larry. Nick in the meanwhile overhears this conversation along with his friends. The same day Larry offers Rebecca a meeting with Sacagawea, but she believes that he is mocking her and the museum, and leaves him.
Larry brings Nick to the museum to show him the exhibits, but none are alive. They investigate and catch Cecil, Gus, and Reginald in the act of stealing the tablet and other valuable objects. Like the exhibits, the guards receive enhanced vitality from the artifact; wishing to retain their health and fund their retirements, the three plan to frame Larry for the thefts, and disabled the tablet to stop the exhibits from interfering. Nick reactivates the tablet, but Cecil locks him and his father in the Egyptian room and flees with the tablet.
Larry releases the Akhmenrah's (Rami Malek) mummy from his sarcophagus. The pharaoh speaks English from many years as an exhibit at Cambridge, and helps Larry and Nick escape. The three find the other exhibits fighting all over the lobby, and Larry convinces them to work together. Although some of the exhibits capture Gus and Reginald without difficulty, Cecil escapes by stagecoach with Larry, Nick, Akmenrah, Jedediah, Octavius, and Atilla the Hun in pursuit in Central Park, where they stop him and regain the tablet. While in a taxicab, Rebecca sees the exhibits return to the museum before sunrise and realizes that Larry was telling the truth; so she enters the museum, and he introduces her to Sacagawea.
Dr. McPhee fires Larry due to the chaos during the night, but rehires him when news reports of the strange events around the museum—such as cave paintings in the museum's subway station, dinosaur footprints in Central Park, and cavemen sightings—raise attendance. Larry, Nick, and the exhibits celebrate, while Cecil, Gus, and Reginald are forced to become museum janitors to evade being sent to jail for their crimes. As an epilogue Larry uses his invention the snapper to shut off his flashlight.

CRITICISM:
Humanist because it shows how Larry decided to solved his problems. Though divorced Larry show his love in his son. He employed as a night security guard in the museum and turns out that all the exhibits a come to life every night. But of course Larry still decide that he will stay on his job and with the help of the wax-like Theodore Roosevelt.
and when Larry discovered the true intentions of the three former guards he uses his intellect and still decided that he should help regain the tablet that was taken by the three guard. And Finally when he was fired by the Museum's director the movie of course showed how he acted.
By the end of the Movie the Director hired Larry again and he accepted it knowing how to handle the museum already. He, as a man, showed his intellect and his freewill by deciding how to overcome his problems and the troubles in the museum.

DECONSTRUCTION
~ is a method of reading which is based on the assumption that language is unreliable.
~ philosophy applied to literary criticism, as well as to criticism of the other arts, which began to gain popularity in the 1980s.
~ the goal of a deconstructionist reading is to seek out the contradictions in the text to prove that the text lacks unity and coherence.

KAY STELLA ZEEHANDELAAR - (sanaysay) salin ni Ruth Elynia S. Mabanglo
Isa itong sanaysay na naglalaman ng liham ng isang babae, si Raden Adhin Cartini isang Javanese na nangarap na maabot ang kalayaan para sa mga babaeng tulad niya na bahagi na ng kanilang kultura. Sinasabi sa liham na labis niyang kinaiingitan ang mga babaeng kanluranin sapagkat sila ay malaya at nakakamit ang kanilang kalayaan samantalang siya at nakatali sa kanilang lumang tradisyon kung saan ay naniniwala siyang balang araw ay luluwag ang pagkataling iyon. Nabanggit din niya ang tungkol sa mga kapatid niyang mga lalaki na kung sann ay nakapag-aral at nagtrabaho sa kanluran samantala silang mga babae ay walang pagkkataong makapagaral dahil na rin sa kahigpitan ng kanilang lumang trdisyon. Labag sa kanilang tradisyong na pagaralin ang mga babae, lalo't na ang paglabas ng bahay.
Sa kalagitnaan ng kanyang liham sa pamamagitang ng pagbanggit kuna papaano ay sa wakas nakamit din niya ang pinaka aasam na kalayaan. Ngunit hindi rin siya lubos na nasiyahan sapagkat ang gusto niya ay makalayo upang makatayo ng mag-isa, makapagaral, at higit sa lahat ay hindi pagasawahin ng sapilitan. Natapos ang kanyang liham sa kanyang pagtatanong na At paano nga ba hindi magkakaganoon, kung tila ginawa lamang para sa lalaki ang mga batas, kung pabor para sa mga lalaki at hindi para sa mga babae ang batas at kumbensyon; kung lahat ng kaluwaga's para lamang sa kanya?

CRITICISM  
 In the view of a deconstructionist, the meaning of a text depends upon the reader. The meaning of a text resides upon the author while he or she is writing it but the it changes once the reader begin reading it.
Stella Zeehandelaar is a kind of essay in which the writer (Raden Adhin Cartini) wanted to say her grievances about not experiencing freedom unlike other girls. She was also trying to let the reader know how she finally achieve the freedom she had been longing ever since. But in between told her story and how she had felt during her imprisonment inside the house because of their old custom.
This essay is an example of a deconstruction because the author wanted to tell something to the reader through her works but once the reader read the text it will now be depended upon his or her interpretation, there'll be no exact meaning.

STRUCTURALISM
~ has the signifier + the signified. Signifier stands for the symbol while the signified is the intended meaning of that  particular signifier.

THE CHRONICLES OF NARNIA: The Lion, The Witch, and The Wardrobe (FILM)- based on the book by Clive Staples Lewis



In 1940, in the London suburb of Finchley, the Pevensie children, Peter, Susan, Edmund and Lucy, are endangered by an attack of numerous German Heinkel He 111 bombers. When running to the shelter, Edmund runs back to the house to get a photograph of his father for which Peter scolds him. The next morning, they are evacuated to the country home of Professor Digory Kirke, who is not accustomed to having children in his house, as Ms. Macready, the strict housekeeper, explains.
While the Pevensies are getting used to the house and playing hide-and-seek out of boredom, Lucy discovers a wardrobe and enters a wintry fantasy world called Narnia to her surprise. Lucy shortly encounters and befriends the faun, Mr. Tumnus, who explains about the land she has just entered and invites her back to his home to which she accepts. There, he puts Lucy to sleep by playing a Narnian Lullaby on his flute. However, when she wakes up, Lucy finds Tumnus grieving, and he explains that Jadis, the White Witch, has cursed Narnia, and it has been winter for one hundred years. If a human is ever encountered, they were to be brought to her. Tumnus takes a huge liking to Lucy and cannot bring himself to kidnap her, so he sends her home. When she returns, hardly any time has passed in the normal world, and her siblings do not believe her story since that when they look in the wardrobe, it has a normal wooden back. Peter then scolds Edmund when he jokes about believing Lucy, to which Edmund responds by yelling at Peter and storms out of the room, believing that Peter is trying to be a father figure (presumably showing us that Edmund's bad behavior began when his father was forced to fight in the war).
One night, Edmund follows Lucy into the wardrobe, presumably to tease her about the country he thinks she has made up. However, he enters Narnia as well, and shortly after searching for Lucy, he meets the White Witch who claims to be "The Queen of Narnia" and her dwarf Ginarrbrik. She offers him Turkish Delight as well as the prospect of becoming king and having power over his siblings if he brings them to her house. After she departs, Edmund and Lucy meet again and return; Lucy tells Peter and Susan about the experience, but Edmund lies about it. The Professor talks with Peter and Susan; he does not understand why they do not believe Lucy's story and gives them three possible logical explanations of Lucy's behaviour — madness, dishonesty and sincerity — the others know she is neither mad nor dishonest, so she must be telling the truth. However, they are still not convinced.
While running away from Ms. Macready after accidentally breaking a window while playing cricket, the four siblings retreat to the wardrobe and enter Narnia. There, they apologize to Lucy. They discover Mr. Tumnus has been taken by the Witch's secret police, and meet Mr. and Mrs. Beaver, who tell them about Aslan. According to the beavers, Aslan is on the move to take control of Narnia from the Witch. The four must help Aslan and his supporters; it has been prophesied that if two sons of Adam and two daughters of Eve sit in the four thrones, the White Witch's reign would end.
Edmund sneaks off to visit the Witch, where Mr. Beaver explains the witch's motive and that the siblings now must resort to reaching Aslan to save him. When he arrives at her castle, she is angry that he did not deliver his siblings. The Witch sends wolves to hunt down the children and the beavers, who barely escape with the help of a fox. Edmund is chained in the Witch's dungeon where he meets Tumnus. The Witch demands that Edmund reveal where his siblings are because her police could not find them; Edmund then tells her about Aslan and the witch demands to know where Aslan is. Edmund hesitates when Tumnus claims that Edmund does not know anything and Edmund tells the Witch that he heard no further information regarding Aslan. Seeing that Tumnus is hindering the information, the Witch tells Mr. Tumnus that Edmund betrayed him (by talking about him at Edmund's first visit), then turns Tumnus to stone.
While Peter, Lucy, Susan and the beavers travel to the Stone Table, they see what they believe to be the White Witch chasing after them, so they hide. It is really Father Christmas, a sign that the Witch's reign is ending. Father Christmas gives Lucy a healing cordial and a dagger to defend herself with. Susan, a bow and arrows and a magical horn that will summon help when blown, and Peter a sword and shield.
Pursued by wolves led by Maugrim, the group crosses a thawing river, leaving the Witch unable to reach them. The Witch's wolves who then appear had captured the fox that helped the Pevensies escape. The Witch then demands that the fox reveals the Pevensies destination. After the fox refuses to comply, the Witch is about to turn him to stone when Edmund reveals that the Pevensies are heading to the Stone Table and that Aslan is already assembling his army. The Witch however still turns the fox to stone and slaps Edmund in the face for hiding information from her. Arriving at Aslan's camp, the group encounters Aslan, who is revealed as a huge and noble lion. Aslan promises to help Edmund in any way he can. Later, two wolves ambush Lucy and Susan while they are frolicking by the river. When Peter intervenes, Maugrim attacks him, and Peter kills him with his sword. After some of Aslan's troops follow the other wolf to the witch's camp and rescue Edmund, Peter is knighted by Aslan.
After Edmund and his siblings reunite, The White Witch journeys to Aslan's camp and asserts her claim to the traitor Edmund, but Aslan secretly offers to sacrifice himself instead. That night, as Lucy and Susan covertly watch, Aslan is killed by the White Witch at the Stone Table with a crowd of creatures watching. In the morning he is resurrected because "there is a magic deeper still the Witch does not know". Aslan takes Susan and Lucy to the Witch's castle, where he frees the prisoners that the White Witch turned to stone, forming reinforcements for Aslan's army.
Edmund persuades Peter to lead Aslan's army to fight the White Witch's forces. Though Aslan's army begins to have a winning streak, the White Witch's huge army is much larger than Aslan's (that is, Peter's), so it soon begins to lose. To stop the Witch from attacking and killing Peter, Edmund attacks the White Witch and destroys her wand, but is gravely wounded by the Witch in return. Peter, angered at what the Witch did, fights her. As the Witch fights Peter, Aslan arrives with reinforcements and kills her. After Edmund is revived by Lucy's cordial, the Pevensies become Kings and Queens, staying in Narnia until they are adults.
Fifteen years later, while chasing a white stag through the forest, they come to the same forest clearing where there is a lamppost that Lucy saw on her first trip to Narnia. Lucy begins to remember, and with Edmund, Susan and Peter following, fights through the trees, where they begin to tumble through the coats and finally out of the wardrobe and return to England, becoming children again. The Professor enters the room and asks what they were doing. Peter replies, "You wouldn't believe us if we told you, sir." The Professor tosses him the ball that broke the window and replies, "Try me." Lucy later attempts to return to Narnia via the wardrobe, but the Professor tells her he has been trying for many years, and they will probably return to Narnia when they least expect to return.

CRITICISM: 
First is Aslan, the lion who is the king of Narnia symbolizes a just and a fair ruler.
Jadis is an evil queen of Narnia who cursed the place by making it winter for a hundred years.
The movie signifies Aslan the lion king of Narnia who we know is a very humble king and doesn't want anything but the just and fair ruling under his empire. And comes in the scene the Pevensie children who acts accordingly by Aslan will. The movie also showed that Narnia was already came at last into the spring time again after wintering for hundred years when Aslan is already beginning to defeat Jadis. Then it ended Aslan defeating Jadis the evil queen. Structuralism, through the signifier can give its meaning. Aslan he just and fair king defeated the evil queen. and the Pevensie Children who have a good hearts became the king and queen of Narnia. So all in all This shows that whoever possess a bad desire will never win and those who desire good not only to him or herself will surely wins. Though the movie is for children you can get moral lessons and children will surely understands it because of the different symbols used.

 

FEMINISM
~Feminist literary criticism is the term for criticizing literary works through the examination of female points of view, concerns, and values. Feminist literary criticism encompasses not only female literary works but also male literary works, leaving men to be held accountable for their portrayal of women as well as men in their literary works
 
KESA AT MORITO - Ryunosuke Akutagawa

This brilliant short story, called Kesa and Morito, is perhaps one of the best deconstructions on love written by this great Japanese writer. It is an atmospheric story, everything here is in the atmosphere, indeed this story cannot exist without its location, its place or locus. Divided in two parts, it is in the form of two monologues by the only two characters called Kesa and Morito. I am attempting to give a step by step account of their respective monologues and in the process attempt to clarify their psychological states, so crucial to any understanding of what is happening here. We begin with Morito.

We are told that the moon is pensive, and before Morito begins his soliloquy, he is walking on fallen leaves outside his house. Morito is horrified by the moon, its brightness. Morito is contemplating murder, he plans to kill a man whom he does not hate. The man is kesa's husband, Morito's lover, towards whom he feels no anger now, but kill him he must. But does Morito love Kesa really, he questions himself ? His love for Kesa is divisible, before and after she got married and yet Morito thinks his love was a sentimental embellishment, resembling the motive that drove Adam to Eve. Through a break in contact, Morito remembered Kesa vividly and tortured with discontent, he asks of himself...........Do I really love her?

It was Morito's idea to kill Kesa's lover, a decision that he thinks was rash. And it dawns on Morito that he actually despises and hates Kesa and her husband's murder would only disgrace her, for Kesa only professed to love her husband. After persistently prevailing on Kesa, she agrees to be a party to her husband's murder, though Morito repents it now, unsure of why he must do it, even allowing for a supernatural explanation for his decision. However, Kesa's agreeing makes Morito think of her in a new light, as a ready adulteress, and he feels disappointed. And this new realization is not unknown to Kesa, who sees right through his heart. Morito's failure to carry out this murderous act will bring revenge from Kesa, and he fears for his life. At this stage, Kesa's eyes are crying but tearless. The hour draws near, Morito must act, a great power impels him, he hates her, fears her, and yet loves her.We leave Morito pacing, and a song can be heard out of the night. The human mind is in the dark, with not a light to shine upon.

We meet Kesa, under a lamp, lost in thought, biting her sleeve. Kesa wonders whether Morito will keep his word, because if he does not, she will have to live in shame, like a prostitute. However Kesa is sure he will. Kesa is thinking of when and how she met Morito, and she remembers being ugly, seeing her ugliness mirrored in his eyes, and thinking that the lurid uneasiness of the eclipse of the moon was better compared to the hour when she saw her ugliness, her loneliness as she gave her flesh to a man she hated and despised. Was Kesa moved then by desire alone? Kesa remembers the precise moment of her own decision to help in her husband's murder, and yet sees it as an act of love towards her husband, because she has decided to die for him, to kill herself to atone for having slept with another man.

Or is this a revenge only, for she has discovered Morito's contempt towards her and his wicked lust. Kesa must die for herself, not for her husband. She must die to punish her lover's having hurt her heart and for having sullied her body. Kesa tells us that tomorrow will not fail to shed its cold light on my headless body. She can only love one man, and that very man will kill her.

We find Kesa blowing out the light, as the opening of a shutter is heard, pale moonlight flooding in.That is how we leave the scene. This story is a remarkable psychological account of two people who do actually love each other. I felt that the doubts and hindrances, the self loathing is part of an intricate process of understanding this strange love, if love can be called that. The hatred and fear are part of this strange feeling, for living together is impossible, living apart is not possible either. Is love here thus a desire alone or is an attempt to revivify in and after death? Is this love not more stronger than their combined hate of everything and each other, stronger because they both desire to kill and destroy what they hate and love simultaneously? There are moments of reflection, of honest testament, of allowing an understanding of their own thoughts in private, of running through the events, of laying bare their emotions. Is not love possible without envy, without jealousy, without honesty?

This is a brilliantly written story, ready material for a short play. It has charm of a sinister kind, of mystery, of passion, of love and drama and lust and wickedness. The moon is another character, bright and horrible for Morito, and pale, pale for Kesa. I am not sure what happens to Kesa and Morito. They end in killing each other. 

CRITICISM:
Feminism because the story involves Kesa and her weaknesses and strength. In the story showed how Kesa do her plan on how to make revenge on her husband. Morito, Kesa's lover, and Kesa had met one day and in between their meeting Morito had the chance to have an intercourse with her. And after what they had done, Morito now realized how ugly and distorted Kesa became after marrying her husband. In this part Morito suggested that they should kill Kesa's Husband but suddenly rejected what he had said because he thought Kesa would reject it. But in Morito's surprised Kesa agreed to kill her husband so that she could do her revenge.
On the night that they would do their plan in killing Kesa's Husband, Kesa was wondering if Morito would come to fulfill his promised to kill her husband, she also thought that if Morito would not come it means that she would feel ashamed and would have to live like a prostitute because of what happened between her and Morito when her husband had gone only one night.
The story is so feminist because it centers Kesa as a woman, how her husband had caused her stressed that is why she bacame ugly and how Morito had used her after knowing that she already had a husband who had just left for one night.
Morito, I Think gave Kesa a shame because of what he had done to her. Kesa now would no longer be able to face her husband and that is why she decided that her husband should be killed and if he would not be killed, Kesa would suffer too much shame and forever she would feel like a prostitute.She hadn't got a choice after what happened between her and Morito.

MARXISM
MARXIST LITERARY THEORY
~ A form of critique or discourse for interrogating all societies and their texts in terms of specific issues - including the race, class, and the attitudes shared within the given culture.

THE ROCKING HORSE WINNER - D.H Lawrence



The story describes a young middle-class Englishwoman who "had no luck." Though outwardly successful, she is haunted by a sense of failure; her husband is a ne'er-do-well and her work as a commercial artist doesn't earn as much as she'd like. The family's lifestyle exceeds its income and unspoken anxiety about money permeates the household. Her children, a son Paul and his two sisters, sense this anxiety, and Paul even claims he can hear the house "whispering" There must be more money.
Paul tells his Uncle Oscar Cresswell about betting on horse races with Bassett, the gardener. He's been placing bets using his pocket money and has won and saved three hundred twenty pounds. Sometimes he says he is "sure" of a winner for an upcoming race, and the horses he names do in fact win, sometimes at remarkable odds. Uncle Oscar and Bassett both place large bets on the horses Paul names.
After further winning, Paul and Oscar arrange to give the mother a gift of five thousand pounds, but the gift only lets her spend more. Disappointed, Paul tries harder than ever to be "lucky". As the Derby approaches, Paul is determined to learn the winner. Concerned about his health, his mother rushes home from a party and discovers his secret. He has been spending hours riding his rocking horse, sometimes all night long, until he "gets there", into a clairvoyant state where he can be sure of the winner's name.
Paul remains ill through the day of the Derby. Informed by Cresswell, Bassett has placed Paul's bet on Malabar, at fourteen to one. When he is informed by Bassett that he now has 80,000 pounds, Paul says to his mother:

"I never told you, mother, that if I can ride my horse, and get there, then I'm absolutely sure – oh absolutely! Mother, did I ever tell you? I am lucky!"

"No, you never did," said his mother.

The boy dies in the night and his mother hears her brother say, “My God, Hester, you’re eighty-odd thousand to the good, and a poor devil of a son to the bad. But, poor devil, poor devil, he’s best gone out of a life where he rides his rocking horse to find a winner.”

CRITICISM
As I can picture out in the story, the The Rocking Horse Winner pictures out, as I can say, the state-of-life of the characters which belong to the middle level class family. Hester in the story is the mother of Paul who became very disappointed in the life she had after she had married her husband. Paul, her son, after receiving a rocking horse as a Christmas present to him felt that he can tell what racing horse could win and that he decided in betting horses in the race. And whatever horses he names were the horses that actually win.
Why did Paul decided on betting horses? that is because her mother, Hester, though her desired lifestyle exceeds their family income, still decide that she gets what she wanted, so just as to satisfy her mother, Paul think of anyways how to fulfill her mother's desire.
So here in the story, the main character Paul, and his mother Hester belong to a middle level class family. Hester here decided to fulfill her desired lifestyle though the family income doesn't meet this. She became disappointed to whatever her life become. The short story obviously revealed the attitude of Hester on how she worked with her life being a poor woman. While Paul her son, acted accordingly on how to make money for her mother to become satisfied until he gets sick.
So therefore I conclude that Hester came from a rich family, so when she married and discover that her husband cannot make enough money for her to get her desired lifeless became disappointed. That I think is the culture Hester used to be that is why she acted like the story.

READER - RESPONSE
~ A literary criticism that focuses primarily on the reader's reaction to a text.
~ It recognizes the reader as an active agent who imparts "real existence" to the work and completes its meaning through interpretation.
~ It redefines the role of the text from an independent object into something that can only exist when it is read and interacts with the mind of the reader.

A LIFE - Sylvia Plath

Touch it: it won't shrink like an eyeball,
This egg-shaped bailiwick, clear as a tear.
Here's yesterday, last year ---
Palm-spear and lily distinct as flora in the vast
Windless thread work of a tapestry.

Flick the glass with your fingernail:
It will ping like a Chinese chime in the slightest air stir
Though nobody in there looks up or bothers to answer.
The inhabitants are light as cork,
Every one of them permanently busy.

At their feet, the sea waves bow in single file.
Never trespassing in bad temper:
Stalling in midair, 
Short-reined, pawing like parade ground horses.
Overhead, the clouds sit tasseled and fancy

As Victorian cushions. This family
Of valentine faces might please a collector:
They ring true, like good china.

Elsewhere the landscape is more frank.
The light falls without letup, blindingly.

A woman is dragging her shadow in a circle
About a bald hospital saucer.
It resembles the moon, or a sheet of blank paper
And appears to have suffered a sort of private blitzkrieg.
She lives quietly

With no attachments, like a foetus in a bottle,
The obsolete house, the sea, flattened to a picture
She has one too many dimensions to enter.
Grief and anger, exorcised,
Leave her alone now.

The future is a grey seagull
Tattling in its cat-voice of departure.
Age and terror, like nurses, attend her,
And a drowned man, complaining of the great cold,
Crawls up out of the sea.

CRITICISM 

As stated above, in the reader response theory, the reader is the one who gives meaning to what they have 

read through his or her interpretations. In this poem A life, the speaker here is asking to touch something. It 

could be a picture or something else but due to the very large scale of different views I therefore conclude

that the speaker was referring to a painting. The speaker want us to touch the painting that has different 

beautiful views of nature, based on what i have understood. So here I can infer that the while the speaker is 

describing the surroundings, she may be felling happy and relaxed, but at the last part of the poem, the 

speaker suddenly changed her subject. the speaker already involved different people, a man and a woman, 

who is both suferring I think in depression.They cannot appreciate or they are not somehow related to their

outside world. The woman that was mentioned in the poem was in the hospital so it is obviously that she 

cannot the beautiful views. Same with the man in the poem. 

So to Sum up, I can infer that the poem was all about how people always enjoy views of nature without even 

realizing that some poeple are suffering from many factors and cannot enjoy what others enjoy.

So This is it! This is how I interpreted the poem, but as another reader read the poem, he or she may

have a different interpretation regarding on what they read. That will explain how reader response 

theory works.       

The poem itself is very deep in meaning it will depend upon the reader on how she or he will interpret it.