In many of his poems, Robert Frost deploys space, rather than time or the narrative episode, to anchor the tragic, which we define as the lack of the habitable attributes of the dwelling space. Frost brings the domestic tragic into a high degree of prominence, sketching for his readers a spatial reality that is situated within the parameters of the dwelling space. To him, this interaction with space defines a permanent struggle on the part of human beings to create a habitable environment, one that embodies the true essence of dwelling. Following from a critical conversation on spatiality and dwelling, we appropriate Gaston Bachelard's and Martin Heidegger's phenomenological notions of homeness and non-homeness to interpret Frost's nuanced spatial dramatizations and his poetics of dwelling. Informed by the critical insights of these two thinkers, we argue that Frost's spatial dramatizations describe a polarized, irrational environment where the notion of homeness is built upon non-homeness and where the dweller is unable to understand his/her relationship with the dwelling space. We thus bring attention to Frost as a modernist poet significantly contributing to the critical conversation and phenomenological tradition on modern spaces and the modern experience of homeness/nonhomeness.
This paper argues that John Gower in his literary adaptations introduces strategic narrative changes that amount to more than being inferior approximations of the original classical "Tale of Actaeon". These changes, we claim, challenge the authority as well as the literary and cultural uniqueness of the classical sources he borrowed from. We discuss Gower's creative manipulation of his classical sources, specifically the differences between his and Ovid's version of "The Tale of Actaeon," pointing up the former’s authorial uniqueness as an original English poet. We conclude that Gower uses his borrowed material according to his poem's moral purpose. He does not passively paraphrase his classical sources into Middle English; rather, he innovatively rewrites them in light of the Confessio's exemplary texture.
The current study aimed to investigate the factors affecting investment decision making. Moreover, the moderating effects of age, gender, and financial information were also tested. The study utilized a quantitative research design for that the data was collected using a structured questionnaire. The questionnaire was sent to 570 individuals out of that 374 questionnaires were returned however 372 of the questionnaires were found to be useable. The study framework had 6 constructs namely heuristics, financial information, corporate governance, risk aversion, and experience were independent variables while investment decision making was dependent variable while age, gender and financial education were moderating variables. All the latent construct were measured using multi items based on 5 point Likert scales from 1 strongly disagree to 5 strongly disagree. The results found the Heuristics, Risk Aversion, Financial Information, Corporate Governance and Experience to be significant factors affecting the investment decision making. Moreover, the moderating effect of gender was found to be significant in the relationship of (financial information, corporate governance, and experience) and investment decision making. The moderating effect of age was found to be significant in the relationship of (Heuristics, Corporate Governance, and Experience) and investment decision making while the moderating role of financial education was found to be significant in the relationship of (financial information, corporte governance and experience) and investment decision making.
The cultural practice of obsessive feasting suggests not only individual attitudes to food but also a collective state of spiritual emptiness. In Jessica Hagedorn’s Dogeaters (1990) most male characters’ hunger for food is never satisfied. Their expressed desire to eat at any given circumstance is often aligned with vocalized or wishful sexual urges. Their female counterparts either eschew food ascetically or demonstrate a corresponding degree of gastronomic crave. In this novel, hunger and its direct association with consumption do not define a festive, harmonious environment. Rather, satisfaction of desires is set against a violent, politically charged background. The discussion below traces the representation of hunger and food consumption in the novel to gain fresh insights into the problematic nature of the neocolonial modes of living in Manila. To this end, we argue that Manila in Hagedorn’s Dogeaters is consumed by a collective insatiability and instability fostered by the hegemony of a capitalistic/postmodern dynamic that continues to define the cultural attitudes and practices of the citizenry in the neocolonial city of Manila.
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