This article has a cogent argument to investigate the similarities and differences between Eliot and Dickens’ techniques in revealing the insight natural expressions of compassion by analyzing the heroines’ characteristics portrayed in the common theme of their selected novels. This article adopts the Seven-Stage Model of Maslow’s (1970) Motivation Theory to analyze Dorothea in Eliot’s Middlemarch and Louisa in Dickens’ Hard Times. According to Maslow, individuals should satisfy the models’ conceptual expressions completely to reach an ultimate level, which is self-actualization needs. In this regard, Maslow maintained that those who have reached the pyramid’s peak are capable of love. The findings of this study indicate that Eliot shines by enhancing many prominent feminine touches, emotional and aesthetic concepts, and passionate experiences in her heroines’ personalities much more than Dickens who ignores them. For instance, Dorothea in Eliot’s Middlemarch satisfies all the conceptual expressions of the model’s self-actualization needs perfectly, while Louisa in Dickens’ Hard Times has many problems, particularly in getting love, esteem, as well as cognitive, aesthetic, and self-actualization needs. So, Eliot’s excellence suggests a powerful contribution by refuting and criticizing the Victorian masculine stereotypical mottos that women could not express more than half of life and they could not feel a passion.
Slavery is a condition of extreme physical, intellectual, emotional, and spiritual deprivation, a kind of hellish life. This paper aims at exploring how the culture of white racism sanctioned not only official systems of discrimination but a complex code of speech, behavior, and social practices designed to make white supremacy not only legitimate but natural and inevitable. In her masterpiece, Beloved (1987), Toni Morrison portrays the dehumanizing effects of slavery on the past and memory of her heroine. Morrison has dedicated her literary career to ensuring that black experience under, and as a result of, slavery would not be left to interpretations solely at the dictates of whites. This study shows how Toni Morrison has succeeded in revealing the physical and psychological damage inflicted on African American people by the brutal inhumanity that constituted American slavery. The paper, in this context, investigates how the memory and the past of the heroine act as destroyers of her motherly existence.
The main aim of this paper is to investigate the asymmetric distribution of negation strategies in verbless constructions in Jordanian Arabic and similar dialects. In particular, negative pronouns constructions present two major problems for analyses of sentential negation. The first problem lies in the use of the verbal negation strategy in such constructions although they are verbless. The second problem is the merger of subject pronouns that are clear maximal projections with the negative marker occupying the head of the negative projection. To solve these problems, the paper provides an analysis that is based on the morphosyntactic properties of negative pronouns as well as the discourse properties of the constructions in which they occur. To account for the merger between the pronoun and the head of the negative, the study demonstrates that such pronouns belong to the class of weak bound subject pronouns that undergo head movement to Neg to check and delete its uninterpretable [+D] feature. The proposed analysis treats negative pronouns constructions as topic-comment structures that involve a fronted DP followed by a complete string of predication. As such, the paper concludes that the use of the marked negation strategy is a natural outcome given the discourse properties associated with topic-comment constructions to which negative pronouns constructions belong.
Taking off from the recent renewed interest in this elusive writer of a considerably meager output but with such an immense reputation. This paper is an attempt to place, and simultaneously to question, Emily Bronte's position within the Romantic tradition of literary studies. Working the way through the relatively unexplored terrain of her poetry, the analysis seeks to suggest that the erstwhile Gondal Chronicles, from which her collected poems have been culled, pre-empts the magnum-opus, WutheringHeights, and therefore they can be used as intertextual converging points that pre-figure Emily Bronte's romantic ramifications. Besides the insightful ways in which her poetry relates with the Romantic concepts of WutheringHeights, in itself, it is enough proof of her creative imagination.
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