The uses of literature : essays

Another tell-tale sign you're dealing with radical gay feminism as the core doctrine in the SFF community is you hear (mostly women) people talk about "agency." Agency isn't as simple as giving a woman something meaningful to do in a story but once again comes to us from Jacques Derrida and the poststructualists via Judith Butler. The idea is that through repetition, the presence of women - in a book for example - will eventually work to include women in every nook and cranny of literature and then society through a type of linguistic and visual normalization. Reality is produced by consciously willing it into being and is seen as a revolutionary and subversive act to break the chains of societal constraint. However this corrupt idea would mean that the last 7,000 years of history may well have seen a matriarchy rather than a male dominated world if woman had chanced on the idea of using societal illusions to ensure their dominance instead of men. In that case it would've been oppressed men willing themselves where they were not through repetition until they became fully equal to women. It's no surprise that we once again encounter a self-contradictory idea that is more about (literally) wishful thinking and convenience than reality. Fifty years after the feminist revolution freezer warehouses across the nation are still virtually 100% men. The truth is that men have innate diverse, aggressive and wide-ranging interests that have nothing to do with willing them into reality. The idea that cultures separated by oceans all stumbled onto the illusory secret of oppressing women through heterosexuality and convincing them they can't be equal is daffy.

The Uses of Literature: Essays by Italo Calvino — …

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No one should be surprised intersectionalism reflects some of the same general principles as the American Nazi Party. Intersectionalism is racist, sexist and supremacist. It is arrogant. It is intolerant. It has no interest in law or equal rights and in fact uses power/privilege theory to abolish equal protection for others. Intersectionalism is paranoid and hateful. It has invented a whole new set of demonization theories based on empty European intellectualism and American radical lesbian ideological excuse notes from teacher. Despite it's bleating, intersectionalism produces nothing, no new thoughts, new and interesting intersections and perceptual shifts. It is painfully dogmatic, illiberal and sluggish, and above all unaware. It is incapable of true satire, expressing irony or of employing metaphors. Intersectionalism is narcissistic, obsessive, self-contradictory and full of semantic gibberish. Intersectionalism routinely lies about history and current events with the goal of propaganda. It has no interest in literature or the arts except to advance its world view and stifle those it disagrees with. In fact intersectionalism is almost brutally illiterate, especially in its lack of art appreciation. Intersectionalism is manic in its myopic outlooks and identity centrism. The narrow spectrum of its provincialism and exposure to and experience with other world cultures is the opposite of what it claims for itself. In terms of events, intersectionalism uses an American-centric parochial lens analogous to an identity laden Jim Crow it smears over the entire world and its history. It considers any contact with its own gay, non-white and female identities to be in itself mind expanding and an exemplar of a range of diverse thought. In fact intersectionalism is conformist and static in its thinking. It is hypocritical to the point of delusion in that it regularly encourages acts for itself it forbids in others, setting up rules only others must obey. Its hatred of men, whites and heterosexuals is phobic, endemic and feral. In short intersectionalism is exactly the sort of ideology one might expect would be created and taken up by people ranging from the insane and sociopathic to merely stupid, conceited, ignorant and uneducated.

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Just so you know the score, in 2009 Scalzi allowed SFF personage (and 2000 founder of the Strange Horizons SFF webzine which features Rochita Loenen-Ruiz's anti-white posts) Mary Ann Mohanraj a startlingly problematic guest post where she asserts No surprise that Mohanraj dotes on or that she quotes Lorde (who remember is a supporter and colleague of Andrea Dworkin) in that very post. Lorde was also one of the earliest proponents of what we today call - surprise - intersectionality. In the same essay "The Master's Tools Will Never Dismantle the Master's House" in which Lorde accuses white feminists of "racist patriarchal thought," Lorde quotes Simone de Beauvoir. It's no coincidence Scalzi wrote in 2013 Together, Scalzi and Mohanraj have done more to introduce and advocate the hateful racial version of French Queer Theory into SFF than anyone. In a few short years the SFWA has become indistinguishable from a racialized lesbian gender studies institute for SFF literature. The Hugos is right behind.

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During the 2013 dust-up at the Science Fiction Writers of America's in which they pointed out an editor from the 1950's was "beauty pageant gorgeous" there were no less than seven responses from Dworkian blogs and commenters which racially insulted the two men: "two old white guys," "old white guys," "white straight male," "old white guy bullshit," "Old White Men," "old white guys," . Surprise, all of them consider themselves intersectionalists. One can imagine the response if the word "black" or "Jew" was substituted. The idea those seven people would ever write "old black women" in the same pejorative sense is an insane fantasy that would stretch any piece of fantastic literature ever written to the breaking point. Simple comparisons literally don't exist in the world of the PC. And that's the con game in play. This insane feminist ideology cloaks itself in phony anti-oppression narratives in order to let fly with rancid hate speech directed at nothing more than one's race and sex on the thinnest of excuses.

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Another example of an essential comparison in Emerson’s speech is the simile which compares the future of poetry to a burning star in the sky. Emerson wishes to eradicate the notion that only antiquated literature from Europe has literary merit. “Who can doubt, that poetry will revive and lead in a new age, as the star in the constellation Harp, which now flames in our zenith, astronomers announce, shall one day be the pole-star for a thousand years?” (Paragraph 1). In this passage, Emerson uses simile to demonstrate his firm believe in the positive future of intellectualism (more specifically, poetry) in American life. Emerson believes that despite the public’s frequent talk about the reduced quality of the contemporary poetry, the poetry will be brought back to life when American scholars realize the power of their words to effect change in society. Emerson wanted American authors to feel empowered by his speech, like the power and energy of the star, lightyears away.

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A lot of good work was published in the '70s and '80s and the evolution of SF as a literature continued, but at a much slower pace, as uncaring mainstream readers increasingly began to want to see a reflection of the more accessible work they saw on television and film, and subsequently even in Japanese cartoons. Ironically, Japanese anime are today producing some of the best SF films out there, which isn't the compliment it sounds. Again, as in the case of Star Wars, the nuance of those animated Japanese films is conveyed at the edges, not in the plots, which are fun but vapid. The exact same thing is true of the animated film, the sublime Wall-E. This is in direct opposition to the best literary SF where nuance and layering suffuses the stories themselves, the edges matching, filling out and complimenting the central story. No one is going to say the plots of "Fondly Fahrenheit" by Alfred Bester, To Live Forever by Jack Vance or "The Soft Weapon" by Larry Niven are stereotypical or vapid.