Iago drives me crazy. I really don't lie his outlook on life. He's so selfish, negative, and worst of all conniving.
Barbantio is already having a difficult time with the thought of his daughter running off and marrying a man thought unworthy of her. Iago just accelerates everything and makes fun of Barbantio for not doing anything about it. He basically insults him and antagonizes him about his daughter's fall from reputability.
The passage in 1.1.88 also depicts Desdemona as helpless. Iago describes it like she was taken against her will by Othello, but that isn't what happened. (I just get so fed up with Iago and his meddling.) -He also makes it seem like Desdemona is just a material possession, like she's been stolen. He keeps pushing and manipulating until everything falls apart.
Thursday, February 19, 2009
Wednesday, February 11, 2009
I've been playing around with what to write my paper on for days. Frustrated when the time I thought i had to figure it out was taken away from me because of the flu.
I've been writing this paper for a couple of days and now it's the night before it's due and I've added and taken away so many things I'm afraid it won't make my point strong enough.
The idea was to argue that Annie Dillard's assumptions that people either dislike her writing or cannot understand it are false. I was trying to prove that Annie is wrong, that all along her growth as a writer has been followed and anticipated by more than just the critics she believes she's writing for.
My supporting examples for proof have included another metaphor about the audience watching her split wood ( I thought this could be the public anticipation and enjoyment of her work), the instance when the children ask about her 'burning moth' story (this would prove that her work is admired not just by critics and that people do understand what she's saying), and the Yale critic who seemed to understand where she was coming from (again this would prove that people do understand).
i then felt that if I was going to try and prove that Annie was wrong for believing that people disliked or didn't understand her writing, I was first going to have to prove that this is actually what she thought.--Overall the process has been confusing and longer than I had imagined. I hope the final product at least makes my point and supports it.
Pulling these together and making a strong point has been more difficult than I thought; especially since the main focus of this writing are the metaphors describing the difficulties of the writing process.
I've been writing this paper for a couple of days and now it's the night before it's due and I've added and taken away so many things I'm afraid it won't make my point strong enough.
The idea was to argue that Annie Dillard's assumptions that people either dislike her writing or cannot understand it are false. I was trying to prove that Annie is wrong, that all along her growth as a writer has been followed and anticipated by more than just the critics she believes she's writing for.
My supporting examples for proof have included another metaphor about the audience watching her split wood ( I thought this could be the public anticipation and enjoyment of her work), the instance when the children ask about her 'burning moth' story (this would prove that her work is admired not just by critics and that people do understand what she's saying), and the Yale critic who seemed to understand where she was coming from (again this would prove that people do understand).
i then felt that if I was going to try and prove that Annie was wrong for believing that people disliked or didn't understand her writing, I was first going to have to prove that this is actually what she thought.--Overall the process has been confusing and longer than I had imagined. I hope the final product at least makes my point and supports it.
Pulling these together and making a strong point has been more difficult than I thought; especially since the main focus of this writing are the metaphors describing the difficulties of the writing process.
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