Dimensions

Revolutionary tactics and motives are multi-dimensional and often rearing its many faces, but ultimately labeling itself as an amorphous head for thought in despicable action and facilitation for Narcissim.

Form (Compare & Contrast)

Throughout my English career (lol) I have discovered that form represents the barebone unit of a whole generation for rich literary narratives which allows an experience to translate itself into a dichotemy of comparing and contrasting techniques--not only limited to scribed and verbal experiences but visual ones such as in the Revolutionary paintings we discussed in class. For example, in Paradise Lost, I found a somewhat romantic character in Satan, his vastly whimsical motives compares him to Lady Liberty or any other "going against the grain" character within the paintings; A struggle nonetheless between characters and the alleged righteousness of their environment, which endows them with stubborness and tactical vices for overthrowing the structure and confinement of the powers that be.

Unlike much of what I have read before, Satan is always depicted as a tainted and unapologetic character, one that the reader can never sympathize with.

However, Satan in Paradise Lost is introduced as a revolutionary, railing against the powers that be, and whether the powers are godly or omniscient is not called to question, rather are those that defy the socialist and pedestined order truly evil or simply truly. On that optimistic note, one begs the question, what does it mean to be an American or better yet a person within a holistic spectrum of man vs. nature. Nature in this case being the imposing rule and tradition, and the counterparts who are led to believe that the determined values and beliefs allow no elbowroom for change and individualism. This is all food for thought because of the form of the text, which amplifys Milton's poetic scheme, a lyrical villanelle, as a progressive narration for the climactic scene between Satan and God. The variations in sentiment and diction of each character is what presumes my notion for revolution as a soulful entity within the whimsical character. Thus, revolution is what creates a dimensional character, a conflicted individual, because of the socialist and historical background within each experience.

This paves way to Red Calvary and the degneration of persons into animalistic and grotesque entities. Hence, compared to Satan, Gabriel is a whimsical character in search of the perfect utopia while Satan is in search of his own utopia. This is a great distinction between both experiences of the text, because Garbiel's utopia implys a shared one, while Satan's suggests a singular one. One asks, why? I ask how? How can Gabriel's learned behavior reflect a flaw in society, or a flaw in himself? Both. Well, first things first, Gabriel is made vulnerable by his prior exposure and knowledge,



that created a cause and affect for imposing rule and the

The Limbs of Revolution

Salvador Dali's "Soft Construction With Boiled Beans" (Premonition of Civil War)

Revolutionary Art

My Analysis on David, The Sabine Women

http://www.flickr.com/photos/37428750@N00/389624649/

Revolution in Art

As per our analysis of the several paintings in flickr, Melissa and I came to the revelation that the crowd representation for liberty is distilled through the melancholy of the counter-revolutionaries and their subordination. The distress and urgency present in the eyes and the demonizing of the authoritative figures is also very present in revolutionary artwork because of the repetitive images of dead bodies, smoke, destruction of architecture and prized possesions, as well as the sophistication of the weaponry which leads to the apprehension of personal space--the surprise attacks and the ambush of counter-revolutionaries. The rallying and warfare against members of aristocracy and members of nobility is also a recurring motif in the paintings--the different prioritizing of clothing and armor--the revolutionaries carry fancy armor while the counter-revolutionaries are dressed in their meek almost pauper-like garments, definitely flesh baring.

Satan As A Person

Satan has always been a compelling character for the branch of evil and the disintegration of goodness but for one moment in the context of Paradise Lost, can this character be seen as a hero? A rebellion against the grain, something Plato would say, and the norm of things. Can the suggested goodness by God be as uniformly good as it is bad? In my opinion, the conquering motive seems to be of autonomy, the desire to be acknowledged and characterized by the whim rather than the rationale. To be measured in the terms of philosophy, Satan is not much a part of holism because he does not work together with the counterparts of authority, so rather than be a part of God and the implied whole, Satan merges on his own. Thus, he is an individualist.

Much comes to mind with the unspoken “attractive” qualities of Satan: Can the battle between God and Satan, good and evil, holist and individualist, man and angel be distinguished as a complex identity crisis in the latter. God is believed to be in the image of ourselves and Angels are usually described as metaphysical characters—something unidentified and subordinated by the creator. Angels are led to be “God’s Heavenly Court” so Satan’s anticipated indictment of this court has much to do with a personal protocol for being different—establishing an identity of one’s own. Identity has much to do with being good and being evil because ever since biblical times, God is always drawn out to be divinely and saintly, wearing a gown and glowing from righteousness. However, Satan is beastly, having horns with a spaded tail and carrying a pitchfork, he is bursting in red—red can be in relation to blood and death or passion and love. Therefore, Satan is a conundrum of the duality present in ourselves.

Heaven and Hell are figments of our personal space:
Heaven represents what we aspire to become: our dreams and endeavors—walking on the side of the law.
Hell represents what we are afraid to admit is part of our self: our sins and unmerciful appetite—shortcomings and breeched impulses.

Intro

Hey classmates!

I am a lower Senior, working as Publicity Assistant at Harcourt which is definitely a dream come true! Books and writing, the two spiraling conundrums of my life and my career endeavor that I am so fortunate to be surrounded by at the earliest age of 21. I am an English major, concentration in Creative Writing, a Jewish Studies minor, and working toward my Publishing Certificate. I am also working in establishing my literary platform: I am a reviewer and active contributor to LiterateNubian.org, which is a diaspora for emerging writers like myself, and I have had my poetry published in Poetry in Performance as well as read aloud at the Spring Poetry Festival.

Thus, I am excited about exploring the Revolutionary imagination and incorporating that into my writing!