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O'Neill presents love and hate through various types of dramatic characters. The ambivalence among emotions of human beings continues to disclose the conflict between prohibiton and impulse. O'Neill describes love and hate as the same kind of emotions having two opposite sides of a coin. The ambivalence is the mos distinguished phenomena in describing characters in O'Neill's works, and has been evaluated as a successful structure by the critics.
This article has argued in favor of eliminating the control module from the grammar. In place of subtheories specially designed to account for the distribution and interpretation of PRO, the present proposal has relied on movement to account for OC and on pro to account for NOC. The price paid for thus eliminating the PRO module has been to remove the last residues of D-Structure from the grammar and to dispense with the assumption that expression(or chains they head) are restricted to a single θ-role. Both departures from orthodoxy are required to permit movement from one θ-position to another-the minimum required if OC is to be analyzed as movement. Technically, this has also required treating θ-roles as features on predicates and θ-role assignment as a species of feature checking.
Women writers and woman readers have always had to work 'against the grain'. Feminist criticism, in all its many and various manifestation, has also attempted to free itself from naturalized patriarchal notions of the literary and the literary-critical. Feminists have been at pains to expose the fraudulent objectivity of male science, such as Freud's theory of female sexual development. Feminism in general, of course, has a long political history. It dates back to 1960s. Feminist criticism of the earlier period is more a reflex of 'first-wave' preoccupations than a fully fledged theoretical discourse of its own. Woolf, Moi argues, rejected only that type of feminism which was simply an inverted male chauvinism, and also showed great awareness of the distinctness of women's writing. A number of French feminists have argued that female sexuality is a subterranean and unknown entity which can nevertheless represent itself in literary writing. What the present theories attempt, then, - while sharply conscious of the charge of ethnocentricity - is an overview of predominantly while, European and North American feminist theories from the pre-1960s so-called 'first-wave' critics through to the substantive achievements of the 'second-wave' theories of the 1960s onwards.
Within the framework of the Minimalist Program, it has been shown that the four features of AGR are nonintrinsic or optional features and may be parameterized with respect to Delete and Erase after checking. Thus, the strength feature of AGR may undergo Delete or Delete/Erase depending on the independent principles and parameters, which induces different modes of Case-feature checking for different types of multiple nominative Case structure.
The purpose of this paper is to show Minimal Link Condition (MLC) in the framework of Minimalist Program. The definition of the operation Attract and Move incorporates this property - K attract α only if there is no β, β closer to K than α, such that K attracts β - yielding the Minimal Link Condition in what seems to be the required form. The notions of checking theory has been defined only for Attract and Move. Minimal Link Condition only accepts movement into the nearest relevant position:'α must make the "shortest move"….' It is a constraint on Move which prevents elements moving further than the nearest relevant position. The Minimal Link Condition is regarded as Super-engineer's optimal language design for deficiency about attract and move in move feature checking(Move-F).
The purpose of this paper is to examine African American split gender consciousness in The Bluest Eye focusing on male character Cholly Breed love. The Bluest Eye presents us with a black father's consciousness of gender as a victim to a narrative that has been told from a white male viewpoint. Cholly has been forced not to represent the unspeakable and the unspoken in language through his narrative. He doesn't live a meaningful life because of the fragments of his memory and his memory and his present life, His life is separate and disparate with his black community by being oppressing the dominant metaphor from white to black community by being oppressing the dominant metaphor from white to black and from paternity to paternity. He is getting victimized worse and worse owing to white /male historical discourse, Cholly's history as an African American is explored by retracing the past lives form his early childhood till now, and his family from the North to the South, from the country to the city, Morrison dramatized the total discrepancy that caused Cholly to rape Pecola, That's why her pity about consciousness which has the potential to undermine the white ideology performed by white/male discourse on the black history.
This dissertation aims to trace the meaning and aspects of death Eugene O'Neill deals with in nearly all his works under the hypothesis that his tragic emotions bring about his fixed consciousness of misbegottennes, homelessness, and rootlessness, as a result, death-wish comes about in the state of hopeless hope. O'Neill began his playwriting carrer with the fact that consists of death matters. In his earliest one-acters man dies more or less heroic death, with varying degrees of awareness of their situation. O'Neill tightly binds up death with fatalism and determinism because the dead not only haunt the living but control their destinies as well. More of than not, death seems to be the only excape from the pains of reality in his early plays and so it is only contemplated as an alternative in his late plays. Therefore, the characters might be merely tempted to plunge into that final abyss, but they would not be passively led like tamed animals. They are indeed grave men near death, and they will struggle to the last, instead of accepting defeat. From O'Neill's viewpoint of death, it is not the sign of catastrophic annihilation. He maintains that pursuing unattainable, man wills his own defeat. Of course, defeat may be a failure, a tragedy, which in a sense, can be a success in the course of man's struggle. The man who is defeated in struggling against the outside forces including Fate and for the realization of his dreams wins, achieving humanity. Just as wickedness helps virtue to be more praised, death brings about freedom and release rather than fear, which can be summed up as O'Neill's tragic view seeking for hope in the midst of hopelessness.