VOLUME 1 | ISSUE 1 | SPRING 2025
Copyrights remain with the artists and authors. The responsibility for the content in this publication remains with the artists and authors. The content does not reflect the opinions of the Arts and Humanities Students’ Council (AHSC) or the University Students’ Council (USC)
About Apprentice
The Apprentice is a new publication from the Arts and Humanities Students’ Council at Western University. This publication highlights the excellence of first-year students, accepting academic papers marked above 75% in Arts & Humanities courses as well as creative visual and written work from first-year Arts & Humanities students.
For more information and to view our other publications, please contact us at the AHSC Council Office in room 2135 at University College. Publications can also be viewed virtually at issuu.com/ahscpubs.
Managing Editor and AVP: Jade Dunn
VP: Chahat Ghuman
Layout Editor: Zoe Port
Copy Editor: Asher Gris
Cover Designer: Ryane Gillespie
Consulting Cover Designer: Emma Hardy
It is my pleasure to present the first ever volume of The Apprentice! All AHSC publications aim to highlight the academic and creative excellence of our students, and this publication does so with a special focus on the work of first-year students. I am incredibly proud of all the students who bravely shared their work with us and the team behind this publication who put them together The goal of this publication was twofold: give first-year students more opportunities to get published on-campus, and provide them with peer mentorship to improve their university-level writing Each writer was paired with an upper-year student who gave in-depth explanations of their edits for the learning benefit of the first-years
Starting university is a huge life change, and first-year students can feel intimidated by all the opportunities suddenly available to them I know I was! With this new endeavour from Pubs, we wanted to give students a stepping stone to getting involved and customize the experience to each individual so they felt supp celebrated for their talents.
Before you flip the page to enjoy the work of talented first-years, I want to acknowledge t made this publication possible To Allison, Kari Yasmin, Avery, Hania, Tiana, Marie, Antonia, Eli, thank you for trusting us with your words art Thank you to Asher, our copy editor who ample time, care, and skill to this project; wonderful layout designer who brought this pub life; and Emma, the cover designer for AHS publications who offered mentorship during th A special thank you goes to first-year stud Gillespie, whose beautiful artwork adorns our back covers. Finally, I owe my gratitude to my V who encouraged my vision for this new public supported me throughout the process.
Enjoy The Apprentice!
Jade Dunn Editor’s Letter
Table of Contents
Rethinking Rosch: A Critical Examination of Gender Categorization
Allison Shephard, She/Her
The Dystopian Visions Within William Blake and Archibald Lampman’s Poetry
Karina Dhalla, She/Her
Octopus of Insecurity
Teryn Romanick, She/Her
Here is History
Yasmin Hadizad, She/Her
Control, Manipulation, and Domination in Robert Browning’s “My Last Duchess”
Avery Moschee, She/Her
Jane Eyre
The Power of Voice: Challenging Patriarchy in Jane Eyre and “In an Artist’s Studio”
Hania Murtaza, She/Her
die saad en die skaapie
Tiana Terblanche, She/Her
The Enduring Strength of Satire in Swift’s “A Modest Proposal”
Marie Johnson, She/Her
Antonia Smith, She/Her
Zoe Li, She/Her
Eli Devine, They/Them
Allison Shephard, She/Her ARTHUM 1020E
Laurence de Looze
Rethinking Rosch: A Critical Examination of Gender Categorization
leanor Rosch’s prototype theory revolutionized understandings of categorization by introducing fluidity and challenging classical views of fixed categories In “Principles of Categorization,” Rosch argued that categories have ‘prototypes’ that best represent them, while other members fall at varying degrees from this exemplar. While Rosch’s approach provides greater flexibility, it does not account for how power shapes membership or excludes those who deviate from social normatives. The reliance on prototypical representations can obscure complex, intersecting identities. Kimberlé Crenshaw’s theories on intersectionality and Judith Butler’s ideas on performativity offer
tools for addressing gaps in prototype theory, and reflecting on how hegemony influences categorization
Prototype theory proposes defining categories by resemblance to an “ideal” member, rather than strict inclusion criteria (Rosch 36). Classical classification theories often assume that categories have precise sets of defining features and exclude any object that does not meet all of the criteria. Rosch’s model allows for additional nuance when categorizing human traits and behaviours. For instance, within Rosch’s framework, a “bird” does not possess all the classic features typically required for categorization Traditional classification theories often define a bird based on the ability to fly, having feathers, laying eggs, and being warm-blooded While certain species do not meet all these criteria, such as penguins, which cannot fly, they are nonetheless categorized as birds due to other features that they share with more prototypical birds, such as robins The inclusion of both penguins and robins within this category, despite differing characteristics, reflects the flexibility of Rosch’s prototype theory This flexibility appears useful for categorizing identities and accounting for variety within a category, such as including diverse gender expressions or biological traits within “women ” However, despite some fluidity, prototypes limit categorization
Kimberlé Crenshaw's theory of intersectionality challenges the notion of a single prototype representing complex categories. Intersectionality posits that individuals experience life at the intersections of multiple identities, such as race, gender, and class (Crenshaw 140) These intersecting identities cannot be reduced to a single representation without erasing crucial experience; identity is fundamental to the way through which individuals experience life and must be acknowledged in its full context Intersectionality contradicts Rosch’s theory, demonstrating that categories like “women” are not homogenous, but encompass a wide range of intersecting identities For instance, the category “women” often evokes an image of a white, middle-class, feminine, passive, nurturing individual Women who do not conform to this ideal whether due to race, sexuality, class, or personal expression are perceived as less representative of “womanhood ” The potential for exclusion reveals the dangers of prototype theory when applied to socially constructed categories; indeed, prototype thinking may reproduce the biases it seeks to avoid in its treatment of some experiences as central and others as peripheral (Crenshaw 52) Thus, while Rosch’s theory aims to mirror human perception, it can reinforce existing oppressive structures unless categories account for a full range of identities
Judith Butler’s theory of performativity further critiques the static nature of prototypes, suggesting that categories like gender are not fixed In Gender Trouble, Butler argues that gender is not an inherent attribute, but rather an ongoing set of performances catering to social expectations People “perform” gender through behaviours associated with masculinity or femininity Gender lacks a stable essence as it is constructed through social actions and norms Butler’s perspective challenges Rosch’s notion of prototypes, proposing that categories like “man” or “woman” are not unified entities, but fluid identities shaped contextually to social practices Butler’s performativity suggests that categories like gender resist prototypical representation; if masculinity and femininity are enacted through behaviour, rather than biology or essence, then the idea of a central “man” or “woman” becomes
problematic gender categories become less about static prototypes, and more about dynamic processes. Individuals may perform masculinity in one context and femininity in another, adapting their identities based on specific social circumstances. Rosch’s model risks erasing intersectional variability, creating rigid definitions of masculinity and femininity that fail to capture the diversity of gender expression. Rethinking Rosch’s model broadens understandings of categorization, showing that categories may lack stable members altogether and are illsuited for prototype-based representations
Crenshaw and Butler’s theories suggest the need for a more flexible approach to categorization one that accounts for intersectionality and fluidity. Rosch’s theory could benefit from incorporating these perspectives as they reveal how categories such as gender resist simple classification. Rather than relying on a single prototype, multiple, context-dependent prototypes that represent different facets of a category can be considered. For example, “woman” could include prototypes that represent various intersections, such as race, class, and sexuality. A revised approach would more accurately reflect the inherent nuances of gender.
Crenshaw’s and Butler’s perspectives also suggest that some categories might be best understood without prototypes Categories like gender, which are performative and intersectional, do not lend themselves to fixed representations Instead of a stable “man” or “woman” prototype, gender can be conceptualized as a spectrum with reference points of masculine and feminine performance Shifting to spectrum-categorization would acknowledge that gender is multifaceted and socially constructed, and shaped by the interplay between cultural expectations and individual behaviour Furthermore, Rosch’s theory can be adapted to recognize that categories vary in their degree of stability While physical categories like “bird” or “tree” may have clear prototypes, social categories like gender are complex and context-dependent Crenshaw and Butler’s theories reveal that social categories lack stable boundaries, and central members, as intersecting identities and social performances, define them An adapted prototype theory could better reflect variability, allowing for categories with multiple, shifting prototypes rather than a single, fixed example
Crenshaw and Butler’s understandings of gender expose how prototypes can oversimplify complex identities, reinforce hegemonic norms, and marginalize those who deviate from prototypes. Their critiques suggest that integrating nuanced perspectives into Rosch’s theory would create a more inclusive framework that acknowledges the fluid, socially constructed nature of gender. Crenshaw and Butler offer tools for rethinking Rosch’s categorization, and moving beyond prototypes to embrace the full complexity of identity.
Karina Dhalla, She/Her
ENGLISH 1020E: Understanding Literature Today
Michelle Hartley
The Dystopian Visions Within William Blake and Archibald Lampman’s Poetry
ampman both employ dystopian imagery to explore the consequences of urbanization Blake draws attention to the social and moral effects of urbanization At the same time, Lampman highlights the potential consequences of unchecked mechanization promoted by the continual development of technology within growing urban areas By painting this grim and hostile picture of urban London, where the people are tyrannized and miserable, Blake's "London" focuses on the psychological oppression caused by urbanization. Lampman’s "The City of the End of Things” features a similar setting blanketed with grim darkness and callousness, however, in contrast with the emphasis on
the emotions of the people in Blake's poem, humanity and civilization have become obsolete in Lampman’s completely mechanized world Blake's use of sound imagery exemplifies human suffering and emphasizes the melancholic atmosphere of the poem, which contrasts how Lampman employs sound imagery to convey the dull mechanical repetition echoed throughout his poem The cities within the poems are described by their respective authors in a way that paints them as uninhabitable to humans Their harsh conditions and unforgiving nature make them seem hostile to the reader. The deteriorating features within "London" signify the oppression and control that citizens feel, compounded with the moral decay of its populace. The city within “The City of the End of Things" fully embraces mechanization, so its capacity to hold human hosts has dwindled, as humanity itself likely has. Each poet's distinct approach examines the consequences of urbanization, and while those consequences may differ, both poems reveal shared anxieties about societal changes stemming from urbanization.
The poets depict their urban cities as bleak and rigid worlds in which human life would be oppressed, thus highlighting the domineering effects of urbanization While Blake maintains his central focus on human suffering, Lampman delves into the erasure of human culture at the hands of unfeeling machinery In both societies humanity is oppressed, either by the growing powers of technology or by the moral and social factors causing psychological entrapment The inhabitants of the city of "London" are emotionally imprisoned by their oppressors They chain themselves to their misery by "mind-forged manacles" (Blake 8), a clever use of imagery to indicate their learned helplessness from continued psychological oppression The "manacles" being "mind-forged" illustrate how the citizens internalize the oppression they are experiencing at the hands of societal structures and institutions The word "chartered" is used multiple times within the poem Within the context of the poem, Blake repeats this word to emphasize the rigid and regulatory nature of the city By describing the city as having "chartered Thames" (Blake 2), the poem suggests that even natural elements are subject to human control. The continuous depiction of oppression in the city serves to critique urbanization and its encouragement of implementing domineering institutional forces.
Mechanization completely dominates the environment within "The City of the End of Things” to the extent that it is no longer habitable for human life "Whoso of our mortal race should find that city unaware, Lean Death would smite him face to face" (Lampman 37-39) This quote underlines the lifelessness and hostility of the city, where humans could not last While we can assume that this fictional metropolis once teemed with humanity's spark, that is no longer the case It is now ruled by machines with "measured roar[s] and iron ring[s]" (Lampman 23) The use of mechanical imagery, coupled with grim foreboding lines about death, evokes the image of an oppressive and restrictive atmosphere Human-like qualities such as creativity or impulse are obsolete, because here machines and their monotonous patterns rule, coupled with the soulless redundancy of what they produce In a society that values efficiency over creativity and productivity over authenticity, machines will eventually take precedence over
humanity. The mechanized domination portrayed by "The City of the End of Things” contrasts the systems of oppression seen in "London", although both tie back to the institutional forces promoted by urbanization. Blake and Lampman utilize strong dystopian imagery as a way to critique oppressive systems, with "London" focusing on emotional anguish and "The City of the End of Things” highlighting a loss of humanity
Both poems utilize sound imagery to enhance the dystopian atmosphere of their settings Blakes uses it to enhance feelings of the people's suffering and misery perpetuated throughout the poem "The City of the End of Things” uses it to further cultivate the cold unfeelingness of the machines that now occupy the city in place of humans In both poems, the sounds echo the overall sentiments they convey The repetition in “In every cry of every man" / In every infant’s cry of fear” (Blake 5-6) suggests that this melancholy is felt across generations, bringing attention to the cycle of misery these people and the generations before them are stuck in Crying is an outward expression of pain that only happens when a high threshold of suffering is reached; not everything bad will make someone cry. The way these people are crying out demonstrates the extent to which they are suffering and the uncaringness of the world portrayed in "London". Additionally, if these people show such an external sign of needing help by crying out, it demonstrates how the city's misery is too intense for it not to be felt across the whole of the metropolis. Thus, those who have the power to create change within the city are aware that those less fortunate are in pain, and are choosing to disregard them.
The sounds described in "The City of the End of Things” are often very repetitively relentless and grim The "measured roar and iron ring” (Lampman 23) and "inhuman music" (24) underline the diligent tedium of the routine and predictability of the city, making it feel more mechanical and conversely less human The sounds continue and "[keep] roaring on continually, [crashing] in the ceaseless round of a gigantic harmony" (18-20) The magnitude of the sound emphasizes how overwhelming the presence of the machinery is within the city This mechanized society dominates its environment, creating a space where nothing else would dare try to cultivate and grow All living beings have been replaced by endless, grinding, mechanical labor Unlike the sounds in "London" which highlight the despair of those within the poem, Lampman’s use of sound imagery reinforces the absence of humanity altogether, painting the image of a city that has not only outgrown its creators but has made them altogether obsolete. Unlike the emotion-filled human cries heard in Blake’s poem, the sounds within "The City of the End of Things” give it an unnerving atmosphere by reinforcing the absence of human life.
The urban environments described in both poems are decayed, harsh, and inhospitable for human life, furthering the poems’ critiques of urbanization The powerful imagery of decay and disease Blake utilizes to describe the city within "London" reinforces just how corrupt and immoral society has become The "blights with plagues the marriage-hearse" (Blake 16) symbolize the tainted essence of the city, as even things that should be pure and loving, like marriage, are corrupted This continual social decay does more than just represent the mental state of the people, it also draws connections with the state of the social institutions and society itself, which have both grown to become increasingly numb and uncaring to the harsh decay The state of the city described in "The City of the End of Things” is even less hospitable and more deteriorated, as human life is not only subjugated here, but downright non-existent The lines, "Its roofs and iron towers have grown / None knoweth how high within the night" (Lampman 9-10), highlight the overwhelming nature of these expansions These "iron towers" continue to expand and take up natural space, fostering a sense of artificiality that helps erase the humanity and natural world that once occupied those spaces As time passes, the city turns away from its more organic roots and design, allocating space for its technology-centered future This new mechanized reality differs greatly from its once human-friendly form, as the presence of its humanity has slowly decayed away into irrelevance. Decay and degradation are in both poems, however Blake's "London" exemplifies the decay within the social fabric of society while Lampsman's symbolizes the decay of humanity's very presence.
Both "London" by William Blake and “The City of the End of Things" by Archibald Lampman use dystopian imagery to critique urbanization and discuss its consequences in different ways "London" draws attention to the social and psychological issues faced by individuals who live under societal oppression In contrast “The City of the End of Things" throws us into a world where humanity no longer exists, replaced by tedious and lifeless machinery, a cold and unfeeling shell of its former self Blake's poem focuses on moral and social decay, critiquing the social institutions and urban ways that continue to foster this type of society Lampman's critique is more an outright rejection of urbanization, placing us in an already doomed future and shifting the blame to the societal institutions that would have hypothetically led us there Both poems enhance their points through the utilization of sound imagery, incorporate decay into their use of dystopian imagery, and offer powerful critiques by creating different scenarios to illustrate what the consequences of urbanization are
Octopus of Insecurity by Teryn Romanick, She/Her
Here is History
Yasmin Hadizad, She/Her
“I still see those looks, as if I never belonged here. I still feel like I don’t belong here, like I’m not a real Canadian.”
Maman,
One of the top ten populations; We’re in the ranking, part of the world here, Numbered, tumbled here in the eighties when you saw the lives of your land change is good; Change is good!
A vacancy across collective Canadian memory, a piece of a history you made your pen marks in as Persian pages burned in droves Your roots snapped and sunk in the free salt-hardened soil, Because to kill a country is to set it back decades and to set its people away across the ocean in swarms of students, girls with dreams, women with husbands, mothers with sons, sons with rejected degrees, daughters with beat faces, and turned away as terrorists and taken to be terrifying; we fled into the pages of identity.
Here is the History
Breathing the fumes, full to the brim with sticky sweet maple, eyes fastened shut to evil.
Donning our evil eyes to ward off bad spirits in the Canada to which we give the art of our lives; to be observed; Persian carpets; cakes, kebabs; fancy teacups; the Ferdousi read between sips of au-ten-tique Tim Horton’s Canadian coffee, then cks, then back to black tea, n, your hands are blistered from the hot water and the cold snow and the work y
Her is the History
Heritage month
We take back what was pilfered from us, clay inscribed marked with freedom; because we have screamed into this place with
“Talented and educated people”
and we get our return for our screams, from a calm face of red and white, and white, saying he respects our brown faces
Brownface is homage, a toast! To humid hair and cumin-rice, and soups stirred under rough feminine hands
History is Her.
Why don’t we focus on the good?
Heritage is in the respect that rises through needle-point dance-steps in our living rooms, thickened with breath and thinned with sweets
Respect for happiness and grapes, and artists that breathe of beauty and wine and women in the heavens,
I want nothing more than to open myself up beyond the earth where lies our history in this country. And you want happiness. And this country wants to pay us its paper-thin homage.
Did I miss the mark?
Eating Boursin with Niagara wine and Lays; and abstract art that looks Christian on the walls; and white minimalism and Western makeup trends and Magnum bars at our functions
We are a series of indents on this land formed by our needle-point steps, painful imprints; We dig our heels into a society that sees them and wants us out, to use us out
We take our tombak and strike light beaten chords that we all know well and lay respect to our country in those free flying spinning stolen promises with
the beat that goes: We– are here and you can’t forget it.
Peace was never ours, but we are the beast that fell across the ocean to create
And create
And create And leave our mark in Canada. Did I miss the mark?
Did you miss our marks?
Did you miss the looks? We did, because we were dancing this country beyond its soil.
“And they’re right. I’m not a true Canadian.”
“One by one, they were all becoming shades. Better pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age.”
James Joyce, The Dead
written for ARTHUM 1020E
Avery Moschee, She/Her
English 1022E: Enriched Intro to English Lit
Joel Faflak
Control, Manipulation, and Domination in Robert Browning’s “My Last Duchess”
hroughout his dramatic monologue in Robert Browning’s “My Last Duchess”, the duke loses control and reveals more of his nature and priorities than he intends to, exemplifying M H Abram’s definition of a dramatic monolgue’s purpose being “to reveal to the reader, in a way that enhances its interest, the speaker’s temperament and character” (94) In the dramatic monologue, the duke is speaking to an emissary, who he attempts to influence for his own gain, exposing his controlling, dominating, and manipulative nature in the process His carefully staged monologue dominates the conversation and unintentionally reveals his need for control This reveal establishes the duke as a real world threat, and influences the dowry conversation taking place between The Count and the duke Browning incorporates descriptions of art pieces to further symbolize the duke's tyranny, and creates a character who alters himself to suit his mission a technique labelled the “double mask” by Robert Garratt (115) Robert Browning’s “My Last Duchess” demonstrates how a dramatic monologue can reveal a character's true nature and priorities
The duke’s carefully constructed dramatic monologue ensures that he always remains one step ahead. When considering his controlling tendencies alongside his dramatic reveal of the portrait, it is apparent that the duke requires control over people to feel satisfied. As the duke interviews the emissary, he is effectively “manipulating his guest as if he were a puppet” (Adler 221). The purpose of his monologue is to control the outcome of the dowry negotiation by intimidating the emissary. Throughout his monologue, the duke reveals that he believes he deserves control over his duchess. He infers that he felt he lost this control with the former duchess when she thanked men if they paid her compliments, which the duke found disrespectful (Browning, lines 26-30). He believed he was owed control of his former duchess because of his social standing as a duke and the “gift of a nine-hundred-years-old name” she received upon marriage (line 33) The painting’s existence is itself the duke exercising control, as only he can draw the curtain to reveal her, so she is under restraint even in her death In life however, the duchess refused to “let / [h]erself be lessoned” when the duke tried to regain the control he believed to be lost (lines 39-40) Inevitably, the duke was unable to cope with this perceived loss of control, so he “gave commands” to have the duchess killed (line 45) Insinuating that the former duchess’s refusal to obey resulted in her death implies that the future duchess could fall victim to the same fate if she is disobedient The duke’s words are bound to be heard by the Count once he confers with the emissary, therefore the duke’s monologue can be interpreted as a threat to both the Count and the Count’s daughter Despite not yet being married to his prospective duchess, the duke tries to gain control over her as well by intimidating others, displaying his greedy desire for more power
The duke believes all women are inferior to him because of his nobility, meaning that obtaining his name through marriage must be treated as an honour. The last duchess graciously received compliments from many men, but the duke perceived her appreciation for other men’s kindness as an insult to his name. He believed bestowing her the title of “duchess” is a privilege that should be considered above “anybody’s gift” of attention (line 34). Furthermore, the duke says that if he had chosen to comment on her grievances then he would be “stooping; and [he] choose[s] / [n]ever to stoop” (lines 42-43) Instead of attempting to speak to his wife, he assumes communicating is beneath him simply because she is a woman, and therefore is of lesser societal status His complete dedication to his own need for control extends far beyond the ordinary, such that he would rather kill his wife than stoop to speak to her His priority of self-fulfillment and always putting his own desires before her needs reveals his narcissism The symbolism of the duke’s art collection is used to solidify his persona as domineering and
convey the threat of his control At the poem's conclusion, the duke instructs the emissary to “[n]otice Neptune,” a bronze statue which depicts the god “[t]aming a sea-horse" (lines 54, 55) Seahorses are “creature[s] symbolic of vitality and freedom,” and Neptune controls one (Adler 220). While the duke’s artistic reference appears casual, it intentionally alludes to his dominating nature through comparison of the relationship between Neptune and the seahorse to that of the duke’s relationship with his last duchess. When she sought independence, the duke tamed her albeit in a more extreme fashion just as Neptune tamed the seahorse, with both actions symbolizing the domination of free beings.
The purpose of the duke's dramatic monologue is inherently manipulative The conversation occurs during a negotiation between the duke and the father of the duke’s future duchess about her dowry payment As mentioned previously, revealing the truth about the former duchess’s death implies a threat towards the future duchess that what happened before can happen again. However, because the duke’s manipulation is discreet, the future duchess does not get directly threatened and the duke stays friendly to the emissary throughout his monologue. Browning accomplishes this subtle manipulation through a literary strategy labelled the “double mask,” where the mask the character chooses demonstrates their worldview and personality (Garratt 115). In this instance, the duke assumes a friendly, conversational mask in an attempt to persuade the emissary that the marriage between the Count’s daughter and himself is a good match. Underneath this false exterior lies his manipulative nature which seeks wealth and control. His ulterior motive is revealed by his commentary on the last duchess’s death and his repeated references towards the dowry. The duke speaks highly of the Count’s “known munificence,” implying that a generous dowry is expected (line 39) He maintains his mask by denying that money is all he is after and insisting the Count’s “fair daughter / is [his] object” (lines 52-53) Browning depicts the duke as a “character playing a character,” and thus his manipulative nature is exposed (Garratt 115)
Dramatic monologues are a strong literary form which can display both a character’s true inner self and their outer mask for others, as is proven by Browning’s “My Last Duchess” The duke’s monologue unintentionally reveals his inner manipulative, controlling, and domineering nature as he speaks to the emissary The carefully curated persona Browning created for the duke to display to others is a technique labelled the “double mask” by Robert Garratt, and describes a dramatic monolgue’s ability to reveal a char
Hania Murtaza, She/Her
ENGLISH
1020E Understanding Literature Today
Michelle Hartley
The Power of Voice: Challenging Patriarchy in Jane Eyre and “In an Artist’s Studio”
n Charlotte Brontë’s Jane Eyre, the titular character refuses to prioritize the man’s wishes over her own ideals, and is duly punished by Victorian society. Initial reviews of the novel denounced her character as unfeminine, questionable, proud, and unregenerate (Nemesvari 17-18). Jane’s only crime, however, is a refusal to be represented as anything other than herself. Christina Rosetti’s “In an Artist’s Studio” serves as a parallel to Jane Eyre, demonstrating that challenging societal conventions provides women with freedom and authority. Jane’s role as narrator empowers her to question and subvert patriarchal norms, whereas the female subject of “In an Artist’s Studio” is unable to oppose her objectification under the male gaze due to her lack of voice. Throughout Jane Eyre, the male authorities attempt to reduce Jane to a singular idea, whether that be a grateful orphan, a wife, or a good Christian. Nevertheless, Jane behaves according to her own principles rather than the expectations of the male characters, reifying her power as the narrator of her own story. Jane’s conviction in her moral integrity grants her the autonomy that the artist denies the main character of “In an Artist’s Studio,” thereby defining her reality entirely from his perspective Countless paintings of her perfect counterpart surround the female character, who is helpless to assert her own identity, and she is thus no longer perceived as a human, but a symbol of beauty While Rossetti’s subject exemplifies the passivity expected of the ideal Victorian woman, her ultimate unhappiness is emblematic of the sacrifices expected of women in a patriarchal society
Jane’s narrative authority empowers her to express her feelings, even when they oppose the male characters’ desires. Social conventions of the Victorian era decree that a proper young woman must be content in her position as inferior to men (Ellis 529) That Jane vocalizes her discontent with the male characters’ ideas is thus significant as she challenges patriarchal gender norms When St John, for example, insists that Jane must accompany him on a missionary trip to India as his wife, Jane is steadfast in her refusal to accept the premise of a loveless relationship She does not avoid expressing her anger and dismay, feelings which the patriarchy presents as unfeminine Weary of St John’s claims to a superior moral authority on the basis of his position as a clergyman, Jane uses sarcasm: “‘Oh! I will give my heart to God,’ I said ‘You do not want it’” (Brontë 478) Expressing complex, nuanced, and even unflattering emotions enables Jane to reject the sexist stereotype of the calm and submissive woman; the use of sarcasm is itself a means of opposing the complacency expected of her in such a marriage She asserts herself as an equal to St John her feelings are just as significant as his, and she thus has no need to compromise her own ideals In contrast, the female subject of “In an Artist’s Studio” has no ability to express her emotions The poem concludes with the observation, “Not as she is, but was when hope shone bright; / Not as she is, but as she fills his dream” (Rossetti, ll 13-14) Rossetti employs anaphora to underscore the growing dichotomy between the artist’s depiction of the woman and her lived reality The artist’s insistence on portraying her as only “[f]air as the moon and joyful as the light” creates a hierarchy of acceptable female emotions in which disappointment and sorrow are unworthy of acknowledgement (l. 11). Without the ability to express her feelings, the woman loses her humanity, objectified as though a literal portrait. In a patriarchy, the stifling of female emotion as improper reinforces gender roles as it serves men, thereby creating norms in which women are expected to be passive and compliant. Whereas Rossetti’s subject is eternally confined to the limiting role of the artist’s muse, Jane’s refusal to conform is predicated on her power to fully voice her emotions. When women are denied the ability to voice dissatisfaction with their lives, they become trapped within sexist archetypes.
Jane Eyre
The capacity to choose is fundamental to establishing a strong sense of self. Throughout Jane Eyre, the characters’ choice of attire speaks to their nature, and Jane’s refusal to be “dressed like a doll by Mr. Rochester” allows her to maintain the autonomy to establish her own identity (Brontë 341). In response to Jane’s acceptance of his marriage proposal, Rochester takes her to a silk warehouse, where he picks out for her the brightest, most expensive dresses. Jane instead insists on a “sober black satin and pearl-grey silk,” much to Rochester’s annoyance (341). She asserts her identity through the plainness of her clothes; in contrast to the extravagant, superficial world of Rochester’s upper-class guests, her neatness of dress is a reflection of her focus on inner qualities rather than physical appearances Jane’s refusal to play into shallow societal beauty standards thus demonstrates her morally upstanding character Her clothes accentuate her integrity when Jane finds her opposite in Blanche Ingram, who, although infamous for her beauty and extravagant clothing, is “decidedly not good-natured” (248) Upon her arrival at Thornfield, Jane reflects, “I had no article of attire that was not made with extreme simplicity I was still by nature solicitous to be neat” (172) Even as the marriage upends her class and status, Jane’s insistence on her individual style, preferences which long precede Mr Rochester’s arrival, is a means of rebellion against patriarchal ideas of proper womanhood. She refuses to change her appearance to conform with the prototypical image of the upper-class wife, thereby maintaining her autonomy as an individual.
While her choice of clothing empowers Jane, the imagery of “In an Artist’s Studio” facilitates the development of a parasitic relationship between the subject and the artist The woman is dressed up by the artist’s brush: “A queen in opal or in ruby dress / A nameless girl in freshest summer-greens” (Rossetti ll 5-6) The range of styles in which she is painted serve to reinforce her lack of identity Whether opal, ruby, or green, she does not possess the voice to express partiality To have preferences and a distinguishable style is a means to express character and assert one’s individuality, as Jane does, yet the subject adorns only that which the artist chooses Her body thus exists solely as a vehicle through which the artist fulfills his creative vision, dehumanizing her through lack of choice
The relationship between artist and muse in Rossetti’s poem is obsessive The nature of their relationship is made clear when the speaker observes that “[h]e feeds upon her face by day and night” (l 9) The verb “feeds” likens the subject to food, implying she is a source of nourishment rather than a person. Moreover, this comparison denies her the ability to refuse; her beauty is essential to the artist’s happiness, thereby trapping her in the relationship for the benefit of the artist. Similarly, Rochester characterizes Jane as his saving grace, declaring, “you are my sympathy my better self my good angel I am bound to you with a strong attachment” (Brontë 390). After discovering Rochester’s marriage, Jane decides she must leave Thornfield at once, despite his pleas. She is resolute in her decision, saying, “I will hold to the principles received by me when I was sane, and not mad as I am now” (392). Jane understands that becoming Rochester’s mistress would cause irreparable damage to her social standing, and thus prioritizes her own moral code over Rochester’s desires. Both Rossetti’s subject and Jane are asked to make monumental sacrifices of autonomy for the man’s happiness. These female characters are expected to silently concede their freedoms to fulfill the wishes of the man, thus reinforcing patriarchal structures of power Whereas Rossetti’s subject has no meaningful identity outside of the artist, Jane is capable of opposing Rochester because of the autonomy granted to her through her strong voice Ultimately, it is Jane’s narrative authority that affords her the ability to articulate and realize her desires outside of her relationships with men
For a woman to have a voice in Victorian literature is revolutionary it asserts that women deserve the same level of autonomy and emotional fulfillment as men during a time where gendered conventions demanded silence and sacrifice. The subject of “In an Artist’s Studio” functions as the passive everywoman of the era. She is embedded within the sexist expectations of the patriarchy, and escape from her draining relationship with the artist is impossible. The additional freedoms afforded to Jane illustrate the impact of her narrative power. Having a voice empowers women to establish an identity beyond singular ideas of womanhood, express their feelings with due nuance and depth, and challenge male authority to foster change. It is her ability to challenge male authority that allows Jane to find both autonomy and happiness in her relationship with Rochester. She ultimately is content in her marriage, but on her own terms, an impossible undertaking for women quieted by the patriarchy It is crucial that women challenge dehumanizing narratives with their voices, or else objectification becomes inevitable As we strive towards a world of equality, Jane’s strong sense of self and demand for agency should no longer be read as groundbreaking Instead, Jane should become one of many examples where women are empowered to dictate their own stories with autonomy and integrity as they reject patriarchal expectations
die saad en die skaapie
the seed and the sheep a poem duet by Tiana Terblanche, She/Her
Ii often wonder how the same flower can grow oceans apart it’s the seed, of course, carried on water and wind to take root in a new promised land it is brought in the cradle of the bird’s mouth, or laid against the bough of a grand ship or maybe it is urged forward by the hope of a new life
Ouma, did you ever think it possible that a flower so similar to you would sprout so far away? in the Canadian soil, the frigid ground that never bore the roots of you or your Ouma and yet i bloomed in the winter sun, my stem as thick as yours i grew with your warm cheeks, your inviting smile, your gravitation towards helping others, and most importantly your need to create your paintings in our family home are a reminder of my flower bed and i am a writer because you are one you live in my memory as a light on that couch chair, your glasses perched on your nose, and a journal propped in your hands
what is written in those pages?
you told me once that your writing was a path towards acceptance; things made sense when your pen touched to paper, a sort of exhalation your prose is done in exile, a singular activity held close to your chest
your writing may be done in exile, but my petals will bare a similar hue i will never know what is written in those pages, but i will understand more than anyone, i will understand the flowing from mind to page, whether a stream or a tsunami, is a gift you have passed down to me i understand i cannot put it into words, no more than you can but i know and hopefully you know that i understand
as die see kon ons siels reflekteer, ek hoop dat myne es dieselfde as joune ek hoop die spieël sal wys ek dat ek es nie enkelvoud en dat jou geskrifte haan nie verlore nie in my of dié na my
oh Mamma, what have we ever been but an extension of each other? so similar we were often mistaken for one another our chestnut curls, our laughs, our distaste for large crowds, our love for the sun a first-born child, undoubtedly the apple of your eye and i always stayed near to the roots of the tree i fell from how warm it makes my heart to know i am so akin to the most beautiful woman i know
your pain feels like mine a sort of empathy that is so physical and visceral i feel it like a wound i came from you, and i think my emotions came from you too i remember that when you plant anger or frustration in my heart you deserve the same gentle hands that held me it is my first time being a daughter as much as it is your first time being a mother
skaapie, you call me, your little sheep because all i would do is follow you what is a guiding light if not a mother? and yet there is one cave i cannot enter behind you where the shadowed corners are too much to bear and the thought of continuing on is too frightening
why does your language feel foreign on my tongue? i know the words, i know i do they are wound into the memories of my childhood, folded in the crevices of our relationship and yet my mouth cannot form the right syllables i wonder if my tongue would know their shape if i grew up in your land, a place that is not my home but merely a vacation destination the cave is darkened by these rolling lilts i cannot learn the beast of my inability growls within i refuse to have your language die with me even if i’m passing on scraps to my children, at least they will bore the joyful noise i have always known it feels a betrayal to allow your culture to slip between my fingers when so much was sacrificed for me when my bones rot into the earth with the silt and the soil, the name Terblanche will be etched into them because even in death, i want to be remembered as such
for you, Mamma, i will journey into that cave
ek dink 'n bietjie van jy was gebore in my jou storie, jou kultuur, en jou taal ek saal dit nie verlore nie ek hoop jy es trots op my, as ek is of jy
Marie Johnson, She/Her
ENGLISH 1022E: Enriched Intro to English Lit
Joel Faflak
The Enduring Strength of Satire in Swift’s “A Modest Proposal”
ritten by Jonathan Swift in 1729, “A Modest Proposal” displays the power of satire as a tool for social and political critique. Through the horrifying suggestion of selling and eating Irish children to solve 18th century Ireland’s economic problems, Swift scathingly criticizes the moral failings of the society. As Swift demonstrates, satire is a powerful medium for political commentary, provoking discomfort and reflection in its audience through humour, irony, and exaggeration. Furthermore, the contemporary relevance of “A Modest Proposal” proves the enduring strength of satire as a form of resistance to inequality, dehumanization, and systemic exploitation.
To fully appreciate the importance of satire in “A Modest Proposal”, it is essential to understand the historical context in which Swift wrote Ireland in the 18th century was impoverished and overpopulated, with its economy dominated by English landlords who profited largely from the land while offering little in return to the Irish labourers This exploitative system left the Irish majority destitute, while the English elite prospered (McBride 89)
To expose flaws in logic and morality, satire often opts for humour and hyperbole over direct argumentation. In a calm and reasonable tone, Swift begins his “Modest Proposal” by describing the struggles of impoverished Irish families, observing that “[i]t is a melancholy object… to see the streets, the roads, and cabin-doors crowded with beggars of the female sex, followed by three, four, or six children, all in rags” (1260) This opening makes the audience sympathize with the Irish population, suggesting that he will propose a logical solution to the urgent plight of the Irish people
However, Swift’s proposed solution to consume infants for both sustenance and economic benefit is far from logical He appalls his audience by making sudden, grotesque statements, such as, “A young healthy child well nursed, is, at a year old, a most delicious, nourishing and wholesome food” (1261) This satirical exaggeration “puts [Swift’s] readers off balance” (Mueller 202) and exposes the dehumanizing tendencies of economic policies that treat human beings as mere commodities. Swift’s use of satire allows him to highlight the moral and logical failings of both British colonial authorities and Irish elites, who ignored or rationalized the suffering of Ireland’s poor.
The true power of satire lies in its ability to provoke a visceral reaction in its audience, forcing them to grapple with their own complicity in the systems it critiques Swift uses shocking language, describing the people potentially eating Irish children as “constant consumers of infants’ flesh” (1264) and fertile Irish females as “breeders” (1264) Swift inspires within his readers “an embarrassed discomfort with the world as it is” through his shocking employ of satire (Mueller 202) This discomfort is central to the effectiveness of “A Modest Proposal”, as it forces readers to reflect on the moral blindness of those in power that allows systemic injustice to persist
Swift’s satire directly targets a colonial system, critiquing the parasitic relationship between England and Ireland. He frames this proposal as “very proper for landlords, who, as they have already devoured most of the parents, seem to have the best title to the children” (Swift 1262). The devouring of children becomes a metaphor for the economic exploitation that stripped the Irish of their dignity and humanity (McBride 99). Swift essentially argues that the oppression faced by the Irish people was so arduous that “they would be better off dead” than stuck in the current system (McBride 91) This use of satire permits Swift to communicate the enormity of this injustice in a way a rational argument could not, forcing readers to confront the moral bankruptcy of British colonial policies
As the kind of inequality and dehumanization criticized in “A Modest Proposal” tragically persist in the modern world, the essay’s satire also transcends its immediate historical context. Swift’s use of satire still resonates in discussions about global poverty, economic exploitation, and the commodification of human life today (Gunnarsdóttir 10). Satire continues to serve as a powerful tool for exposing social injustices and holding those in power accountable. For example, satirical shows and writings from outlets such as “The Late Show”, “The Onion”, and “The New Yorker” owe much to Swift’s legacy, as they all employ his same tactics of shock and humour Just as Swift satirized the indifference of the English elite, modern satire “unmercifully pok[es] fun at politicians and other dignitaries, at war and atrocities committed around the world” (Gunnarsdóttir 10) They can also tackle issues recognized more in contemporary contexts, like racism, homophobia, sexism, and environmental destruction
Both Swift’s “A Modest Proposal” and modern satirical works illustrate why satire is such an effective form of resistance: it forces readers to laugh while simultaneously questioning the systems they take for granted One of satire’s main aspirations is “to educate our capacity for critical reflection on the human condition and, hence, to enlarge our capacity for humanity” (Suarez 116), which is exactly what Swift endeavors to do He inspires within his audience a greater compassion for the strife of the Irish population under the oppression of British colonialism in the 18th century, just as many contemporary satirical works expose and draw empathy for the challenges faced by marginalized groups today Swift’s mock-serious tone and absurd suggestions make his critique memorable and difficult to dismiss, a strategy that continues to produce effective satire in our time
Jonathan Swift’s “A Modest Proposal” illustrates the historical and enduring power of satire to challenge societal norms, expose injustice, and provoke moral reflection. Through humour, irony, and exaggeration, Swift critiques the economic exploitation of Ireland and the moral failings of the British ruling class. The historical context of this essay underscores its harsh critique of colonialism, while its broader themes of inequality and dehumanization remain profoundly relevant in the world of today. As Swift demonstrates, satire not only entertains readers but also criticizes their own complicity in systemic injustices “A Modest Proposal” continues to serve as a model for how literature can engage with the most pressing issues of its time
Punished by Antonia Smith, She/Her
The Visit
Zoe Li, She/Her
s my dad drove up the winding hill over gravel roads, the nature of our trip sank in I was going to visit my grandfather The Pacific Ocean parted two years of longing I felt hesitant now that I was there Dressed entirely in black, I was visiting him at a place unknown to me
A lake surrounded by willow trees greeted us; a few statues of deities protecting the souls lay here and there. The cemetery looked like any neighbourhood calm and serene, with well-crafted gardens, bushes, and flowerbeds that sprouted all over the lawn. The rows of apartment buildings, their windows facing outward, would instead be headstones. I wanted the trip to end there, reluctant to let go of my denial. Threatening to submerge me, the dread I had spent the entire uphill journey trying to suppress now had resurged. The truth had hit me full force seeing him meant goodbye.
My uncle arrived before us, carrying bags of home-cooked food and a watermelon in one hand, and bags of Xuan Zhi and the Yuan Bao the currency used in the underworld in the other, all for burning.
He led the way. I felt the tears come when I saw the black-and-white photo underneath my grandfather’s name was written in bold golden characters. The blurred outline of his face became clear in my mind. All memories of him resurfaced, churning in my head as images flashed before me; the way he walked me back home on schooldays; the way he sat on the bench, watching over me as I played with my friends; the way he smiled at me in his wheelchair across the dining table all condensed into one photo: faded, inanimate.
All of my family members’ names were on the headstone, in a smaller font underneath my grandfather’s. I was relieved when my parents asked me to clean the back of the headstone. I did not want to push aside the vines that covered some of the names and see my own under “granddaughters.” I hid my face as large tears dropped onto the marble surface. I wiped them away. He would not want to see me cry over him.
There was an incense burner beneath the headstone My uncle placed three incense sticks there and lit them He proceeded to lay out the food.
“Let’s eat with him,” he said
We picked a piece from each dish fried shrimp, pork, eggrolls, and pastries It was part of Chinese tradition that family members bring food liked by the deceased and eat near the headstone with their loved ones A family reunion The burned pieces were received in the underworld Attracted by the smell of food, a stray cat emerged from the shrubs behind us, approaching with hesitant steps My dad fed it a piece of pork, saying that by living in the cemetery, the cat looks over the souls
After the food came the bows
As I kneeled over the hard stone pavement in front of the headstone, listening to my mom talking to my grandfather, I was taken aback by my family’s tranquillity: how at ease they were, as if it were a visit to my grandparents, like any other day My face had not yet dried when the tears poured down again, cascading onto my shirt, stained wet with dreadful guilt still lingering Why? Why had I not gone back last summer? If I had gotten one more look, I would have no regret My grandfather would have wanted to see me
My dad motioned me to say a few words, but I was speechless The hysteria I felt when I heard of his sudden passing had left a void of throbbing pain in my chest I could not fill it it was enveloped by layers of remorse
“Dad, how are you? We came back from Canada to see you Guo Guo is going to university She did well Don’t worry about us We brought you some food you liked and some money for the month Don’t save the money we have a lot more Tell us when there is not enough ”
As my dad went on, I repeated his words in my heart. Before I knew it, I heard my own voice blurting out.
I miss you, Lao Ye. I miss you so much.
A flood of emotions overcame me I was finally with him, and he could hear those silent words Regret does not stand against our bond; he will always be my grandfather, and I, his granddaughter It will stay that way no matter how our lives change
We burned the Xuan Zhi and the Yuan Bao As the ashes drifted away, I imagined the drawers in my grandfather's house suddenly filled with paper money and gold ingots I could see him chatting with his old neighbour buried in the same cemetery, establishing his new life in the underworld, and holding his newborn son who appeared in the dream he sent my aunt that is how people from the underworld reassure the living that they are well
My forehead touched the pavement. Nine bows, concluding the visit. Nine, meaning long and lasting. I have lost my grandfather in this world, but I have let go of him so he could be free of suffering. There is no longer any distance between us. His absence only made his presence stronger and deeper in my heart and veins that share the same blood To release him of his physical pains, but to hold his soul ever dearer
I looked at my family seated next to me. We all bear the loss of a loved one, but the memories live on. We made new ones, reunited at my grandfather’s resting place and recounting our lives to him. The void inside me was no longer an abyss of pain, but a special place for him.
Rows of headstones blurred into a dark speck as we drove down the hill I looked towards the indiscernible view in front of the car window Somewhere in the high sky and thick clouds, or beneath the rich earth and deep waters, he is looking after me, protecting my family
LAVENDER SOLD
Eli Devine, They/Them
Amaranthine shades under eyes and over knees, remnants of stories unfolding from our minds that scatter over the plum cloak of the night. We leave an impression on the places we see, travelling by foot, leaving purple souvenirs all over the terrain.
It’s something I think of often, the fact that small pieces of me are being left where I go: a hair on Main Street, a skin cell in the gorge. I think you did the same thing, left a handprint on my psyche; a miniscule piece of you will be carried with me, warm in my yellow soul, and though we may never meet again, I will still have that piece, a memory of you
Grown out, once-crimson hair that sweeps at your shoulders. Amethyst trains of thought which shine into my mind as if you see right into it.
Mahogany eyes that bloom wisteria which uses your bottom lashes as a terrace, growing and glowing down your cheeks
You are so beautiful, with your voice like the whooshing winds that dance through the autumn leaves at daybreak When you whisper, I feel at peace You are the embodiment of serene thought
Though your name is one of the most striking shades of purple, the tranquility you harbour cannot be persuaded by spectacle: your periwinkle words and lavender sold
written for WRITING 1000G: The Writer’s Studio
followusonInstagram:@ahsc pubs|@ahscwesternu
Glossary
Rethinking Rosch: A Critical Examination of Gender Categorization
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity Routledge, 1990.
Crenshaw, Kimberlé "Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of asf Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics " University of Chicago Legal hsdForum, vol. 1989, no. 1, 1989, pp. 139-67. Chicago Unbound, fhkhttp://chicagounbound.uchicago.edu/uclf/vol1989/iss1/8.
Rosch, Eleanor "Principles of Categorization " Cognition and Categorization, edited by Eleanor Rosch shr and Barbara B Lloyd, Lawrence Erlbaum Associates, 1978, pp 27-48
The
Dystopian
Visions Within William Blake and Archibald Lampman’s Poetry
Blake, William. “London.” The Broadview Introduction to Literature, edited by Lisa hshChalykoff, Neta Gordon, Paul Lumsden, 2nd ed , vol 1, Broadview Press, Peterborough, hf gOntario, 2019, pp 499
Lampman, Archibald “The City at the End of Things ” Representative Poetry Online, edited asfby Ian Lancashire, https://rpo.library.utoronto.ca/content/online-editors-introduction. asfAccessed 3 Dec 2024
Octopus of Insecurity by Teryn Romanick
This realism painting portrays the hidden sadness behind beauty expectations This kind of plushie can be reversed to reveal a sad and a happy face. Although you mainly see the pink and pretty happy side, a beautiful mask displayed on the outside to mask its true self There is a blue sad face folded within, barely showing, that represents the fear and pressure of beauty standards and how those negative emotions must remain concealed within This piece embodies the societal pressure individuals, especially girls, may feel about how they must be perfect and pretty for others.
Control, Manipulation, and Domination in Robert Browning’s “My Last Duchess”
Adler, Joshua “Structure and Meaning in Browning’s ‘My Last Duchess’ ” Victorian Poetry, asf vol 15, no 3, The John Hopkins University Press, 1977, pp 219-227
Abrams, M. H. “A Glossary of Literary Terms.” A Glossary of Literary Terms, Cengage asffLearning, 10th ed , 1981, pp 94
Browning, Robert "My Last Duchess " The Norton Anthology Of English Literature (Shorter asf 11th ed.), edited by Marian Johnson et al., W.W Norton & Company, Inc., 2024, pp. 817818.
Garratt, Robert F “Browning's Dramatic Monologue: the Strategy of the Double Mask ” asffVictorian Poetry, vol 11, no 2, The John Hopkins University Press, 1973, pp 115-125
The Power of Voice: Challenging Patriarchy in Jane Eyre and “In an Artist’s Studio”
Brontë, Charlotte, and Richard Nemesvari “Introduction ” Jane Eyre, edited by Richard asffNemesvari, Broadview Press, Peterborough, ON, 2022, pp 9–67
Brontë, Charlotte Jane Eyre, edited by Richard Nemesvari, 2nd ed , Broadview Press, 2022 asf Rossetti, Christina. "In an Artist’s Studio.” Poetry Foundation, 2024, asffhttps://www poetryfoundation org/poems/146804/in-an-artist39s-studio Accessed 25 asffNovember 2024
Stickney Ellis, Sarah, and Charlotte Brontë. “Appendix B: Jane Eyre and the Proper Young asf Woman.” Jane Eyre, edited by Richard Nemesvari, Broadview Press, Peterborough, ON, asf 2022, pp 528–534
The Enduring Strength of Satire in Swift’s “A Modest Proposal”
Gunnarsdóttir, Bryndís. “The Satire as a Social Mirror: Jonathan Swift’s a Modest Proposal asf in Context ” University of Iceland, May 2009 Accessed online via Academia edu: asffhttps://www academia edu/1612404/The Satire as a Social Mirror Jonathan Swifts A asf Modest Proposal in Context BA thesis in English
McBride, Ian. “The Politics of A Modest Proposal: Swift and the Irish Crisis of the Late asff1720s ” Past & Present, vol 244, no 1, 2019, pp 89–122, asffhttps://doi org/10 1093/pastj/gtz015
Mueller, Judith C “A Tale of a Tub and Early Prose ” The Cambridge Companion to Jonathan asffSwift, Cambridge University Press, Sept. 2003, pp. 202–15, asffhttps://doi org/10 1017/ccol0521802474 012
Suarez, Michael F “Swift’s Satire and Parody ” The Cambridge Companion to Jonathan Swift, asffCambridge University Press, Sept 2003, pp 112-127, https://doi.org/10.1017/ccol0521802474.007.
Swift, Jonathan “A Modest Proposal ” The Norton Anthology of English Literature, 10th asffEdition, Vol 1, edited by Stephen Greenblatt, Norton, 2018, pp 1260-1266
Punished by Antonia Smith
These pieces were curated with the intention of encapsulating the beauty of female vulnerability as well as the mutilation of it Vulnerability and sexuality are things which should be celebrated and cherished yet women across the globe crumble under themselves as they are beaten down by contemporary norms and behaviours Sensuality, as it is beautiful in nature, is destroyed. Rather than flourishing in one’s own femininity, said gifts are stripped from them, and disfigurement is offered in return, signifying the harsh reality women have no choice but to face
Translations for die saad en die skaapie by Tiana Terblanche
if the sea could reflect our souls, i hope that mine is the same as yours i hope the mirror will show me that i am not singular and that your writing will not be lost in me or those after me
i think a little bit of you was born in me your story, your culture, and your language i will not lose it i hope you are proud of me, as i am of you
