The Negative Effects of Nuclear Energy Essay Example For Students

Reflective Practice Statement Essay Example | Topics and Well Written Essays - 2000 words

Intelligent Practice Statement - Essay Example DeFillippi accept that reflection is critical to learning since it assists with changing over convert implicit experience into express information (p.6). Intelligent practice, as an idea of learning, was brought into a few callings during the 1980s. The method of reasoning behind it is that by considering things that have transpired, from an alternate perspective, we acquire information and a superior point of view, which empower us to make a move. It is in this way observed as a significant procedure by which experts gain as a matter of fact so as to comprehend and better build up their training (Jasper, 2003, p.2). The idea of gaining from reflection was a result of crafted by a few instructive scholars; one significant figure in such manner is Dewey (1938) who contended that 'we learn by doing and acknowledging what came out of what we did'. Be that as it may, this hypothesis has seen severally adjusted and created by contemporary scholar. One of such is the 'experiential learning hypothesis' created by Kolb during the 1980s, where he caused us to notice the way that, when we endeavor to gain from something that has just transpired , we have to review our perception of the occasions and afterward think about the perception somehow or another (p.3). This hypothesis was the maybe the first to exhibit the intellectual procedure of learning by especially communicating the significance of basic appearance in learning. This hypothesis focused on the way that the central purpose of learning endeavors lies in the way in which we process understanding and a significant piece of this, is our capacity to fundamentally consider encounters. Learning was portrayed to happen in a cycle that starts with understanding, proceeds with reflection and later prompts activity, which itself turns into a solid encounter for reflection (Kelly, 2005). Kolb's work additionally refined the idea of reflection, as it applies to learning, and partitioned it into two separate learning exercises, which he alluded to as seeing and handling (Algonquin, 1996). The seeing stage is the point at which the genuine learning happens, while handling is when such learning is re-evaluated in the light of past encounters. A third stage called 'Unique Conceptualization', where it is accepted that we attempt to discover answers to the inquiries raised during the basic reflection stage. In this endeavor, we make speculations, reach determinations and structure theories about the encounters; and the fourth stage 'Dynamic Experimentation', where we give these theories a shot, were additionally proposed (Kelly, 2005; Algonquin, 1996). In the expressions of Kolb, in the Abstract Conceptualization stage, learning includes utilizing rationale and thoughts, as opposed to emotions to get issues or circumstances. Normally, we would depend on precise arranging an d create hypotheses and thoughts to take care of issues. While in Active Experimentation, Learning in this stage takes a functioning structure - exploring different avenues regarding, affecting or evolving circumstances. We would adopt a functional strategy and be worried about what truly works... (Algonquin, 1996). Other than the experiential learning hypothesis, the persuasive speculations additionally have incredible ramifications for reflection and learning. The significance and effect of inspiration on human activities was first featured by the examination presently famously known as the Hawthorne Studies, led by Elton Mayo from 1924 to 1932. In the

Show, Dont Tell The Secret to Next-Level Writing

Show, Dont Tell The Secret to Next-Level Writing A distinguishing characteristic of a great writer is one who is able to show instead of tell in his or her writing. For example, when you tell your audience information about a character, you might describe the character as tall or imposing. However, when you show your reader this informationâ€"by having another character look up to them when speakingâ€"you allow your reader to feel like they are right there in the moment in ways that telling them details will never inspire.British novelist, poet, and essayist C.S. Lewis put it like this:Dont use adjectives which merely tell us how you want us to feel about the things you are describing. I mean, instead of telling us a thing was terrible, describe it so that well be terrified. Dont say it was delightful; make us say delightful when weve read the description. You see, all those words (horrifying, wonderful, hideous, exquisite) are only like saying to your readers, Please, will you do my job for me?C.S. LewisWhy show instead of tell?Th ere are several reasons why its more appealing for a reader to be shown a scene rather than told a scene. Telling involves providing factual, brief information that avoids detail and conveys a broad message. In many cases, it is an effective way to communicate but not necessarily an effective way to stir the emotions.Showing, on the other hand does stir the emotions because it appeals to the readers sensory perception and understanding. While its not the most efficient way to communicate, it is the most expressive way, and provides details that telling does not offer. It also encourages a readers suspension of disbelief by allowing them to be in the moment youre showing in your writing, through sensory details they can easily access with a little imagination.Examples of Telling vs. ShowingSo how do you accomplish this in your own writing? Lets look at a few examples of how one might show instead of tell.Telling: He was cold.Showing: He shivered violently, wrapping the blanket around his shoulders.Telling: A storm was blowing in.Showing: To the west, dark clouds shifted as thunder rumbled in the distance, drawing closer.Telling: She knew he had been drinking alcohol.Showing: As he brushed past her stumbling, she smelled the stale scent of whiskey.Is it ever better to tell instead of show?While this show, dont tell rule holds true in general for creative writing, there are times when a summary of what is taking place is bestâ€"especially if it is a summary of plot details that arent of real value on the character arc. In other words, if you are merely biding time to move a character from point a to point b and the important things will happen at point b, there is no need to focus on showing details of how the character arrives to point b. That part can be more telling than showing, especially in contrast to the showing writing that you would want to have when the character finally reaches that important destination (point b).Consider a character who must take pa rt in an ultimate showdown against the antagonist. When that showdown occurs, you would obviously want to make your writing show as much as possible instead of telling it all. However, the journey to get to that showdown might not necessarily need to be shown, unless it is an important part of the plot (as is often the case in adventure novels). If it doesnt add value to the narrative or character arcs, there is no need to focus on showing instead of telling.Tips to stop tellingSo how to you avoid telling writing when you should be showing your reader instead? Obviously, theres no one-size-fits-all answer to this. However, here are a few tips to follow to get you started in the right direction:Consider all the sensesWriting that shows a reader what is happening is writing that includes a lot of sensory details. Dont just use images that your characters sees, but also include what is heard, felt, smelled and tasted through their senses. These types of sensory details help your reader feel like they are in the moment with the character instead of simply being told what is happening.Find adjectives and reconsider themAnother great way to turn your telling writing into writing that shows your reader a scene is to look for the spots where youve used adjectives. For example, lets say youve written the line: The beautiful woman smiled at him. Since beautiful is an adjective, lets take a moment to reconsider this sentence to allow it to show instead of tell. After doing so, you might come up with something like this: All she did was smile but to him, it was his own private heaven. Women like her didnt smile at him often and his face flushed warm red in the heat of her stare.Avoid overuse of -ly adverbsStephen King had much to say about adverbs:I believe the road to hell is paved with adverbs, and I will shout it from the rooftops. To put it another way, theyre like dandelions. If you have one in your lawn, it looks pretty and unique. If you fail to root it out, howeve r, you find five the next day… fifty the day after that… and then, my brothers and sisters, your lawn is totally, completely, and profligately covered with dandelions. By then you see them for the weeds they really are, but by then its â€" GASP!! â€" too late.Stephen KingWhat King is trying to emphasize in this statement is that one or two adverbs are fine, but the more adverbs a piece of writing contains, the less it will show instead of tell. For example, consider the following line: He looked at his father angrily. How might a writer state the same idea without the adverb? It would be something like this: A frown wrinkled his forehead as he stared at his father, breathing hard and clenching his fists in buried hostility.Now, which of the sentences gives us more visual depth to the scene? Obviously, its the one without the adverb ending in -ly. In it, the reader sees the characters anger visually instead of simply being told about it. We see the characters emotions instead of being told how the character feels.Use metaphorsOne great benefit to using metaphors is they are a literary device that calls to mind sensory perceptions. For example, when you compare a characters smile to the sun through metaphor, your reader instantly envisions a smile that is bright and cheerfulâ€"one that lights up the room in a way similar to how the sun lights up the Earth. You give much more depth to your description through the use of metaphors and similes than telling writing could ever offer.A final wordOne thing to note in the struggle with showing instead of telling in your writing is that you can go overboard with description. For some writers (Anne Rice, for example), pages upon pages of descriptive writing work because their readers have come to expect it and enjoy that type of writing. However, with too much focus on description and not enough focus on moving the plot along, you risk losing your reader through overly done description that was written for the sake of showing instead of telling. So, rememberâ€"show, dont tell, but dont overdo it!

Review Of Okin s Vulnerability By Marriage - 1264 Words

Within Okin’s â€Å"Vulnerability by Marriage† article her thesis is similar to Beauvoir’s idea in previous readings that the oppression of women in contemporary liberal societies is primarily continued by the gendered division of labor (GDL) in a family, for the most part the fact that women are assigned responsibility within the home and are not paid. Also, Okin believes that women’s oppression is caused by feminine gender socialization but she also adds that she believes that a major contribution to the oppression of women in liberal societies is due to women’s role inside the home. Even if women do work a full time job, they truly aren’t done working when they get home after work, they tend to do necessary things around the house such as laundry, washing dishes, taking care of children, etc., and women on average work more hours per week than a man even though they may not be paid for it. Even though I think that Okin’s view is tru e and her arguments are acceptable, I do think that there are some additional arguments she could have made that would have made her case better. In this paper I will address Okin’s arguments as well as present some of my own additional arguments that I feel could have beneficial. Okin argues that the consequences of gendered division of labor within a family comes in three different stages, vulnerability in anticipation of marriage, vulnerability in the marriage itself, and vulnerability in when marriage ends and divorce happens. Within the first

Essay Writing Forms and Styles - 1402 Words

------------------------------------------------- Forms and styles This section describes the different forms and styles of essay writing. These forms and styles are used by a range of authors, including university students and professional essayists. [edit]Cause and effect The defining features of a cause and effect essay are causal chains that connect from a cause to an effect, careful language, and chronological or emphatic order. A writer using this rhetorical method must consider the subject, determine the purpose, consider the audience, think critically about different causes or consequences, consider a thesis statement, arrange the parts, consider the language, and decide on a conclusion.[6] [edit]Classification and division†¦show more content†¦Magazine and newspaper essays use many of the essay types described in the section on forms and styles (e.g., descriptive essays, narrative essays, etc.). Some newspapers also print essays in the op-ed section. An 1895 cover of Harpers, a US magazine that prints a number of essays per issue. ------------------------------------------------- [edit]Employment Employment essays detailing experience in a certain occupational field are required when applying for some jobs, especially government jobs in the United States. Essays known as Knowledge Skills and Executive Core Qualifications are required when applying to certain US federal government positions. A KSA, or Knowledge, Skills, and Abilities, is a series of narrative statements that are required when applying to Federal government job openings in the United States. KSAs are used along with resumes to determine who the best applicants are when several candidates qualify for a job. The knowledge, skills and abilities necessary for the successful performance of a position are contained on each job vacancy announcement. KSAs are brief and focused essays about ones career and educational background that presumably qualify one to perform theShow MoreRelatedWhy I Am A English?947 Words   |  4 Pagesfuture writing projects. Among many things, the three lessons that I got the most use out of are the following; how to correctly structure an essay, different methods of writing, and the personal growth that I’ve had since taking this class. With English being my second language, it is difficult for me to express myself in writing form. It is extremely frustrating to have countless ideas and opinions that I would like to share with an audience, but because I am not comfortable with writing, I stayRead MoreOscar Wildes Criticalism : Literary Criticism1526 Words   |  7 PagesWhat does it mean to be a critic? 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Mastery Is Maturity Free Essays

In life, there is a time when one loses his or her innocence, later resulting in new awakenings that cause an individual to see their world in a different view. Throughout the novel, Harper Lee illustrates the journey of two characters, Jem and Scout Finch, to adulthood. Scout, Jem, and their childhood friend, Dill, often mess around with their neighbor, Boo Radley. We will write a custom essay sample on Mastery Is Maturity or any similar topic only for you Order Now Boo is a mysterious man that isolates himself inside his house, but makes an appearance at the end of the book in order to save Jem from Mr. Ewell. Ewell wants to assert his power through threats of violence to anyone associated with Tom Robinson. Scout and Jem do not have much of a connection with Tom directly, but attacking them is a powerful way to hurt Atticus, their father, a defense attorney, who accuses Bob Ewell of abusing Mayella. Through Scout and Jem’s adventures and journeys, they eventually mature from mere children to wise adults. Prior to Tom Robinson’s trial, Jem and Scout are both innocent and naive. However, as they witness Tom Robinson’s trial they are able to perceive the inequality and racism within their community. Through this experience, Scout and Jem later experience life differently by realizing that everything is not always the same what it seems like. In To Kill a Mockingbird, Harper Lee demonstrates that the transition to adulthood involves the loss of sweet innocence while gradually understanding the adult world through the characters of Jem and Scout. Initially, Jem acts childishly, but when he experiences the harshness of the adult world, he begins to have a greater understanding of the real world and changes him so that he becomes more mature. In the beginning, Jem, Scout, and Dill are fascinated by Boo Radley and believe that he is a ghost-like person since he is never seen outside his house. Once, the children decided to concoct a plan to force Boo Radley come out of his house. Read also  How Powerful Do You Find Atticus Finch’s Closing Speech? While Dill and Scout deliberate a plan, Jem warns Dill about the consequences that may arise from executing this plan. Jem says, â€Å"I hope you’ve got it through your head that he’ll kill us, each and everyone, Dill Harris. Don’t blame me when he gouges your eyes out,† (Lee 17). When Jem says that Boo will â€Å"kill us,† it shows the absurd perception and child-like view that he has of Boo, whom he hardly knows. It furthers shows that when children are young and naive, they tend to exaggerate reality and draw unrealistic conclusions about situations or people. When Lee writes, â€Å"he gouges your eyes out,† Lee illustrates that Jem is childish because he characterizes Boo as a monster. Jem’s judgment of Boo is considered accurate because society perceives Boo as a monster. Children readily believe what adults regard as the truth without considering what the truth really is. Most people of Maycomb County view Boo Radley as a monster. As for now, Jem also sees him as such. However, as Jem grows older, he starts to look at situations in a more sophisticated manner. Subsequently, Dill secretly runs away from home and sneaks into Scout and Jem’s house. Jem must decide whether he should tell Atticus about Dill’s escape or not to show that he is responsible. Jem believes that telling Atticus is the right thing to do because he wants Atticus to know that he’s responsible. Eventually, he tells him and announces to Dill, â€Å"‘Dill, I had to tell him, you can’t run three hundred miles off without your mother knowing. ’ [Scout and Dill] left him without a word. †(Lee 188). When Jem argues, â€Å"I had to tell him,† it shows that he is becoming more responsible. Even though Scout and Dill would be upset with him, Jem is aware that ultimately telling Atticus is the right decision. Jem says that he â€Å"had† to, which shows that he is starting to make the right choices in life rather than succumbing to what his friend and his sister may want him to do. He makes his decision based on what is right for Dill, which reveals his maturity. Clearly, Jem evolves and matures as he starts to understand the adult world and begins to form his own opinions of what is right and wrong. On the other hand, Scout also begins to understand the adult world as she begins to grasp her father’s lessons about empathy, relating his teachings to the real world. This causes her to become more mature and grow over time. Scout is originally enraptured by Boo Radley’s isolated existence, but later sees the world from Boo’s perspective and begins to understand Boo’s decisions. Like most of the people of Maycomb, Scout has misconceptions about Boo Radley because he hides inside his house. Scout rationalizes that Boo Radley must be dead. In one instance, Miss Maudie and Scout discuss Boo Radley’s history. Since Scout has never seen Boo before, she explains to Miss Maudie why she thinks Boo is dead. Miss Maudie’s responds to Scout’s inquiry, â€Å"What a morbid question†¦ I know he’s alive, Jean Louise, because I haven’t seen him carried out yet. However, Scout childishly responds, â€Å"Maybe he died and they stuffed him up the chimney. † (Lee 57). While Miss Maudie, being an adult, makes reasonable conclusions using logical reasoning of situations, Scout does not understand Miss Maudie’s reasoning due to the rumors she hears aro und town. Scout justifies her thoughts about Boo Radley by theorizing that Boo’s father must have, â€Å"stuffed him up the chimney. † She expresses her childish outlook because she easily falls for what others say about Boo Radley rather than understand the situation from Boo’s perspective. Because children are inexperienced in situations concerning the real world, they believe everything they hear, and cannot distinguish between what is true and false. This shows that Scout is still very much a young child. Near the end of the story, when Bob Ewell attacks Jem and Scout, Boo saves them. This leads Scout to change her perspective about who Boo Radley really is. She starts to connect her father’s teachings to real life. Once Scout finally meets Boo and is asked to take him home, she realizes that â€Å"Atticus was right. One time he said you never really know a man until you stand in his shoes and walk around in them. Just standing on the Radley porch was enough. † (Lee 374). The words, â€Å"Atticus was right† imply that, prior to the attack, she did not comprehend Atticus’ message. However, when Scout applies her father’s teachings to her understanding of Boo Radley, it demonstrates that she now grasps what Atticus was trying to teach her. Scout learns one cannot judge others by their outer qualities or their appearance, but to understand a person entirely. It is important to refrain from judging others but â€Å"[stand] in [their] shoes and [walk] around in them. She puts to action Atticus’ words of â€Å"standing in one’s shoes† by literally standing on Boo Radley’s porch steps, leading Scout to understanding all the previous events through Boo Radley’s perspective. Through this experience, Scout grows and learns by losing her innocence and becomes more mature by understanding. In To Kill a Mockingbird, Jem and Scout’s comin g of age begins with their childish outlook of life, leading into their eventual understanding of the adult world. By the end of the novel, Jem and Scout have evolved into young adults that become more responsible. They have not fully understood every aspect of life, but they are beginning to, as through the events concerning Boo Radley, the Tom Robinson’s trial, and the Bob Ewell’s attack. Thanks to Atticus’s life teachings, Scout has been equipped with the tools to navigate the world by maintaining compassion and empathy in their lives. On the other hand, by learning from his experiences and what he has witnessed, Jem is also now responsible and able to understand the real world. Now their world is indeed different, but as the old adage states: With experience brings maturity and wisdom. How to cite Mastery Is Maturity, Papers

Lanyer Description of Cookham free essay sample

The Description of Cook-ham Lanyers Description of Cooke-ham is the first known printed poem identified as the country house poem, predating the publication of Ben Jonsons â€Å"To Penshurst†. It was adressed to Margaret Clifford, Countess of Cumberband, as a bid for patronage. It describes an idyllic summer Lanyer once spent with Clifford on the estate at Cookham where Lanyer composed poetry to please her patron and the countesss daughter Anne. Manipulating pastoral conventions, Lanyer actually chalenges the masculine values of the country house genre, emblematic of the lords influence and of conservative claims of land control by depicting an edenic locus amoenus where three women live symbiotically without males . Indeed in Cook-ham she praises in panegyric terms her patron and her rightful claim to the land. But by reappropriating pastoral conventions into a new mold – that of the country house poem- Lanyer also justifies female authorship and creativity at a time where women were barely given the possiblity to write at all. We will write a custom essay sample on Lanyer Description of Cookham or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page So typically Lanyer seems to establish a tradition and yet she simultaneously subverts it. What is clever about Lanyer is the fact she uses convention  : she writes a very conventional poem to convey unconventional ideas about women. Thus well discuss to what extent we can portray Lanyer as a protofeminist writer : first by creating a representational and poetic female refuge from male-dominated world and discourse and then by questionning gender roles and male dominance through authorship. I. The Cooke-ham garden : both the depiction of a matriarchal autarcic society and an edenic garden where women are empowered and redeemed. Lanyers poem aims at creating a symbolic space for women : that of the garden of Cooke-ham where Lanyer and two other women can find community with one another. In fact, with the use of garden imagery, Lanyer erects a feminine space within literature where women can be freed of male dominance. What is interesting here is the fact that the garden that is supposed to be the domain of the male becomes open for womens creativity and self-assertion both as a physical place and a literary device. Indeed the Cooke-ham description that Lanyer makes is not actually the description of a house even though there are references to it twice in the poem. It is not a description of the typical home of an aristocratic family run by patriarchal values like you can find in Jonnsons poem. Here Lanyer focuses on the vinicity of the house, hence the use of the isotopia of nature and various references to open space. â€Å" The hills† 35 , the swelling banks† 43 , â€Å" the woods† 40 What is rather transgressive is the fact that women here are associated with the outside when traditionnally they are defined by the indoor and private sphere. Which means they are not confined anymore to the cells of their houses. In this symbolic world that Lanyer creates thanks to poetry, women can enjoy full mobility, that is not limited by patriarchal rule. = this is to be seen through the use of verbs of movement such as â€Å" Walks† L21, â€Å"Let me come unto that stately tree†, 53 â€Å"  you walk,81 â€Å"you mount†. 85 The garden of Cooke-ham is actually a symbolic and spatial emancipation of women performed through the medium of art. A) Lanyers matriarchal society What Lanyer depicts here is a small autarcic martriarchal society that is quite reminiscent of the amazons tribe. =gt; They actually live actually on their own : ladies, the queen of the Amazon being the countess referred as â€Å"the mistress of this place. †11 =gt; The garden of Cooke-ham is actually a locus amoenus that offers the possibility for women to live as a community with one another and to become empowered : through education â€Å" Where many a learned book was read and  scanned† which was a priviledge for a few number of scholarly women and writing : â€Å" the muses gave their full consent,3 : women were allowed to write with no opposition whereas at the time writing was regarded as a male prerogative  . =gt;Morever one can note the use of a belligerant lexicon to refer as men : â€Å" Defended Phoebus when he would assail† 64 : the intrusion of men metaphorically refered as the presence of Phoebus, god of the sun into that feminine space is p erceived as a threat. The oaks shade protects the ladies against the assault of the sun. So women are removed from the males world with which they are at war. Besides marriage ( â€Å" dorset now espoused†), 95the intermigling of male and female is seen as some kind of â€Å"fall†. Symbolically rendered by a downward movement corroborated by phrases such as â€Å" lowest†,110 â€Å" cast down† , â€Å" so low† 104 + act of subjection â€Å" use of passive form â€Å" many are placed† 108 + severing of the community bond â€Å" we cannot daily see†. 105 The notion of fall is very important here as Cooke-ham is also depicted as an edenic garden where the redemption of women is made possible. Cooke-ham, an edenic garden and Lanyers plea for womens redemption Indeed Lanyer in the first part of the text plunges us into a prelapsarian world where our 3 Eves remain unfallen, untouched by sin. =gt; this is conveyed by the the key word at the start of the poem is which ‘grace’. Grace is everywhere. The word appears 10 times in the poem. As soon as the second verse : â€Å"Grace from that grace where perfect grace remained† =gt; with the use of a triplet which can be reminiscent of the holy trinity.  gt; Besides place rhymes with grace. So cooke-ham is basically of an edenic garden : * The poem itself reflects this mingling of earthly and heavenly world â€Å" celestial pleasures† 15 //earthly treasures. * This estate is also inhabited by biblical beings: as the Countess climbs uphill to see the vista of English counties, she simultaneously ‘With Moyses’ mounts ‘his holy Hill, / To know his pleasure, and performe his Will’ R eferences to the Christ, to David, to Joseph. The place is endowed with Gods presence which appear to everyone ; â€Å"Of their Creator’s power, which there you saw†77 In all his creatures held a perfect law;And in their beauties did you plain descry His beauty, wisdom, grace, love, majesty† By recreating an edenic garden, Lanyer aims at contesting the unfair subjection of women on earth and to redeem them by debunking Eves fault (hence the 6 occurrences of the word virtue, virtuous). =gt; What is at the core of the poem is the radical retelling of the fall episode by Lanyer. Indeed at the centre of the state as Lanyer repeatedly tells the reader is the â€Å"oake† L54 * this tree is both reminiscent of the parallel biblical world in which cedars of Lebanon abound ( Much like a comely Cedar straight and Tall 132) and of a Palm Tree which would mean ‘faire tree’ is the cross on which redemption was won by the outsretched arms of Christ. And =gt; =gt;Lanyer actually underlines the fact that this is the exact spot where the countess would lead her apostl to ead and discuss ‘holy Writ†84 =gt; so actually thee fruit of the tree in Lanyer’s reinterpretation is shown to be good. Women shouldnt be considered as inferior to men and should be educated. C) Lanyers failure and the denounciation of males exclusive right to ownership Yet one must not neglect the fact that this is an elegiac poem and that Lanyer ends on a sorrow note. The various instances of pathetic fallacy appear to be more than just a way of accounting for the onset of winter, but refers to Lanyers personal grief and sadness. Depiction of a withering nature : â€Å" The flowers Crept in the ground, the grass did weep for woe. 180 » Isotopia of sadness  : dismay, mourful sorrow = reification of nature. Due to the countess departure. «Ã‚  Of your depart, their very leaves did wither,  «Ã‚  194† The main reason for it is because Lanyers attempt to emancipate women fails. Indeed her representational space remains dependant on males will and dominance  : Her sorrow, inspired by her exclusion from a new Eden on the grounds of class as well as, indirectly, gender. For this new exile fr om paradise is not only caused by her own lack of status – =gt; her residence at Cooke-ham was dependent on the presence ff the Countess of Cumberland and her daughter Anne Clifford – = the result of the aristocratic women’s own exclusion from patriarchal society = because women can own a land. Cooke-ham was not, after all, the Countess’s house, but only a temporary lodging. So at the end of the day, they are still the prisoners of mens will. Kind of ineluctable confinement is rendered by the use of chiasmatic parallelism : â€Å" The house received all ornaments to grace it, 19 † V. 18 or zThe house cast off each garment that might grace it† 201 and the notion of rise and fall. â€Å" Rise and fall† â€Å" Rise† 37//† descend† 35 But if Lanyers utopia collapsed in front of the principle of males reality , the power of her poetry shall not be overlooked as it questions the traditional gender boudaries of the Elisabethian society II. Male dominance to the test of female authorship A) Women as a subject of beauty : the questioning of womens objectivity What is also worth analyzing in Lanyers depiction of the Cooke-ham garden is the fact that in the representational world she erects, women are the source of creativity. =gt; Countess eyes are brighter than the sun â€Å"To shade the bright sun from your brighter eyes;† 26 Which means that the countess is more appealing that the symbol of masculinity which traditionnally shed light and animates things. =gt; here natures shift originates from women. Trees with leaves, with fruits, with flowers clad, Embraced each other, Turning themselves to beauteous Canopies, To shade the bright sun from your brighter eyes; Actually the presence of the Countess inspires a creative activity described here as a female act of creation : â€Å"The swelling banks delivered all their pride When such a Phoenix once they had espied. †44 â€Å" The Swelling banks that deliver† suggest the idea of pregnancy and birth imagery issuing from the body of women. In fact the locus amoenus derives from the communal and mutual relationship between elements of nature and the women who live there. So there is in fact a natural reproductive authority of women in that world. Women are both the source of creativity and the creator. This conception is quite trangressive because women at the time were often associated with an object of beauty. They were a being-perceived. They were defined and celebrated through the medium of males eyes and artistic looking. But here in that garden, women become a subject of beauty. They are the deliverer of beauty. And of course, there is a mise en abyme at play in this poem as Lanyer as a poetess herself is the subject of beauty, she is a being-perceiver, she is the one who creates out of a blank page this edenic world and who delivers an object of beauty, that of the poem. So there is definitely a plea for womens right to authorship, to creativity in a world where writing was seen as a male prerogative. B) Womens authorship : The questionning of Mens authority But what is even more fascinating with Lanyer is the fact that she translates authorship into authority. By means of her authorship, by means of the authority that she is endowed with as a writer, Lanyer makes women the guarantor of authority in her Cooke-ham garden. She usurps through the process of writing authority over the man. She rejects the subordinate role of women. She refuses to be a being-perceived. She performs a kind of matriarchal coup detat or at least she offers the possibility to consider a society of women out of the androcentrist perspective. Women can live by themselves. They do not need men to watch after them. This is why I consider that Lanyers work is very political. Beneaththe poetic surface, the very act of writing is trangressive. Because you never write for yourself, you write in order to be read, to reach out for an audience. This poem is not only dedicated to her patron but it calls for the attention of her contemporaries. Writing means that you can publicly voice some ideas through the medium of art. Although your work can be very artistic, very focused on literary conventions such as poetry  : here weve got one of the most conventional type of art  : a countryhouse poem; writing here cannot reduced to the celebration of beauty. , to the mere poetic description of Cooke-Ham. This is actually a way to voice one opinion publicly to stand onto the public stage   and exist politically speaking, as an author, as a woman in mens world. This is very powerful move at a time when women had no say in public affairs, when you were required to be silent and accept their condition with all subjection. As I said previously t to wield the pen was seen as a male prerogative But Lanyer was not silent. She used her pen and her printing press to make her voice heard. AndPoetry by essence is a voice. On the other hand it is also a way to engrave a spot for women in Literature and History. By resorting to poetry – which has long been used as the vector of memory and myth thanks to his memotechnical aspect – Lanyer adresses posterity in terms that were previously restricted to men. The idea of posterity is underlined with this verse â€Å" his last farewell to Cooke-ham here I giue,   When I am dead thy name in this may liue 206 Lanyers homoerotic transgressive use of poetry Through the art of poetry and her authorship, Lanyer transgresses other gender boundaries and take on another male prerogative which womens sexual satisfaction. Indeed this poem disclosed an ambiguous homoerotic relationship between Lanyer and the countess. It can be read as some kind of re-writing of courship poems with the countess being referred as â€Å" the mistress of the place†, in position of social superiority â€Å" The Lady†, and Lanyer being the poet that praises her beauty, her power. Lanyers latent homoerotic love for the countess is of course rendered with the idea of kiss and Lanyers envy for the tree that received it. Besides throughout the poem we sense a will on the part of Lanyer to establish an eroticized and idyllic relationship between the female writer that she is and the adressed reader Clifford and to give the countess sexual pleasure through the medium of poetry. In that sense, Lanyers enterprise is reminiscent of Barthes conception in Le plaisir du texte : according to which Literature is roughly a way of coming by means of words† â€Å"Le texte que vous ecrivez doit me donner la preuve qu’il me desire. Cette preuve existe  : c’est l’ecriture. L’ecriture est ceci  : la science des jouissances du langage† Here the notion of pleasure is everywhere â€Å" pleasure†,(8) â€Å"joys† , â€Å"delight†9 â€Å" joyful†, â€Å" recreations†, â€Å"sweet† 11 =gt; in fact Clifford can experience the pleasurable sensation that the garden ministers to her desires because Lanyer has infused this world, through the device of the pathetic fallacy, with her own capacity for feeling = meaningful rhyme â€Å" delight†/ â€Å" sight† 74 shows that  the delighful sight of the countess that gives Lanyer pleasure is sublimated and transmuted in the process of writing into an act of masturbation. Here Lanyer uses her pen as a penis to stimulate the senses of the countess. This is to be seen through the organic presence of the authors voice : a kind of acoustic sensuality Use of alliterations â€Å"did weepe for woe. â€Å" 180//†The Windes and Water â€Å",181 references to the birds sinsing â€Å" The little Birds in chirping notes did sing,29 refefrence to the pleasing â€Å"sound† pleasing sound  Ã‚ » 41 So basically Lanyer is being transgressive here because she uses her pen as a penis. She is capable of pleasuring the countess by occupying the role of poet-lover that is normally reserved only for those with male bodies. But while literature at the time naturalized men’s poetic vocation by analogizing pen and penis, Lanyer here uses the poem as a dildo. As such she appears to embody the figure of the tribade, † a woman who sexually penetrates other women using her enlarged clitoris or a dildo or how the patriarchal discourse would put it a woman who usurped male sexual and gender roles. We can actually see an actual image of penetration in poem , when Clif- ford allows the features of the landscape—and most saliently the oak tree— to enter her mind by â€Å"placing their former pleasures in [her] heart† to â€Å"pre- serve their love. So the oak is actually described as a kind of masturbatory source of delight. 156 =gt; What is alluring is that the reader with an empathetic identification can also experience the literary climax, the sexual pleasure oroduced by Lanyers poetry.