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Although tethered to a single house in a small provincial town, the windows of the Dickinson residence were a means for the poet to gain multiple perspectives; their abundance and distribution throughout the house made her inner life immense.
We would be confronted with many panes of glass. Since there is a historical specificity to the texture of this glass, we should examine more closely one of the Homestead windows Figure 3.
These windows were of the standard double-hung sash format commonly found in early to mid-nineteenth-century Federal-style residences such as the Homestead. Despite this regular format, each window was greatly individualized through the diversity of marks that could remain in the body of the glass.
Paul Strand, Abandoned Window, A Slash of Blue! A Sweep of Gray! All nineteenth-century window glass, regardless of quality or grade, had wavy, uneven surfaces; they were rarely ever uniform in thickness because the nature of window-glass production during this period did not ensure it.
No pane was absolutely smooth or flawless, and no windows had panes of identical thickness, because the human factor inherently marked and individualized the finished product.
Due to the uneven surfaces of the panes, the landscapes Dickinson saw through her windows did not always seamlessly cohere; subtle variations among the glass caused the framed views to sometimes appear more like glinting, shifting mosaics than stable, unified pictures, depending on where she was situated in the room and how far away she stood or sat from the windows.
These subtle distortions may have influenced how Dickinson saw and what she composed: Material Empathy Such material imperfections also brought Dickinson closer to a group of individuals she could read and imagine about, but never meet face to face.
In her recent book Victorian Glassworlds, the literary historian Isobel Armstrong writes: To look through glass in the mid-nineteenth century was most likely to look through and by means of the breath of an unknown artisan.
When the poet breathed on her windowpanes, she temporarily revived the New England artisans whose labor gave shape to the glass. Dickinson very likely had a passive knowledge of glassmaking. At the end of the story, Hugh has died and only one of his korl sculptures remains.
Inscribed on the tombstone of John Joseph Stickelmire, a German immigrant who was a glassblower and foreman at the Chelmsford Glass Manufactory, is this epitaph: So he whom in his art could none surpass Is now himself reduced to broken glass.
But from the grave, and fining pot of man From scandiver and glass galls pursed again New mixed and fashioned by almighty power Shall rise a firmer fabric than before.
The poem asks the reader to revere the gray pile of ashes the seemingly dry and lifeless verses for the sake of the creature the poet that once hovered over it.
Those perfected imperfections — those residual marks and uneven surfaces — remained in the glass as indicators of the laboring bodies that had handled this now solid, compact object when it was still in molten form in the heat and urgency of the glasshouse.
Dickinson herself recognized her physical closeness to window glass; in a poem fromshe describes her very soul as being pressed up against the windowpane Fr Dickinson ventured beyond Main Street only twice in her thirties, both out of necessity.
They were sojourns to Boston and Cambridge for eye treatment: Modern Library, Harvard University Press, Stachiw and Associates, Juneunpublished; see especially Fig. Emily Dickinson to Mrs. Belknap Press of Harvard University Press, Josiah Gilbert [Elizabeth] Holland, in a letter dated earlyreprinted in Vol.
University of New Hampshire Press, University Press of New England, See American Heritage Dictionary, Fifth edition, s.
Belknap Press of Harvard University Press, Gaston Bachelard, The Poetics of Space, trans. Beacon Press, Cambridge University Press, Isobel Armstrong, Victorian Glassworlds: Oxford University Press,Positive Risk Taking Essay Words | 18 Pages Support positive risk taking in everyday life Explain ways in which risk is an integral part of everyday life, Risk for most people is an accepted part of everyday life e.g.
catching a bus or walking to the shop etc will carry some element of risk. Risk plays an important role in the success of construction project. In managing risk, identification of risk factors is very critical.
Hence, this study focused on the investigation of risk factors from contractors’ perspective as the contractors. Project managers often falter in determining the cost requirement of the entire project and as a result of that the budget exceeds and companies experiences financial loss (Williams, ).
Schedule Risk: The schedule risk is the type risk in which managers fear that a . The Workmanship of Risk’ Academic Essay essay question – ‘The Workmanship of Risk’: to what extent might this description of the handmade object account for contemporary craft practice?
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"How much can one fathom in a heartbeat or know deeply at a glance? In a culture smitten with technology, what does good thinking look like?" This question sets the stage as Maggie Jackson explores society's relationship with devices and society's use of technology.