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Building a semantic graph in Neo4j. This blog was orginally posted by referencing in a research, one of our speakers Jesus Barrasa HERE. There are two key characteristics of RDF stores (aka triple stores): the first and by far the most relevant is that they represent, store and query data as a graph . The second is that they are semantic , which is a rather pompous way of saying that they can store not only data but also explicit descriptions of the meaning of that data. The RDF and linked data community often refer to these explicit descriptions as ontologies. In case you’re not familiar with the concept, an ontology is a machine readable description of a domain that typically includes a vocabulary of terms and some specification of essay structure how these terms inter-relate, imposing a structure on the data for such domain. This is also known as a schema. In this post both terms schema and ontology will be used interchangeably to refer to these explicitly described semantics.
Making the semantics of your data explicit in an ontology will enable data and/or knowledge exchange and interoperability which will be useful in some situations. In other scenarios you may want use your ontology to a book in a paper, run generic inferencing on your data to derive new facts from existing ones. Another similar use of explicit semantics would be to run domain specific consistency checks on the data which is the specific use that I’ll base my examples on in this post. The list of possible uses goes on but these are some of the most common ones. Right, so let’s clarify what I mean by domain specific consistency because it is essay on school picnic, quite different from integrity constraints in the relational style. I’m actually talking about the definition of rules such as “if a data point is connected to a Movie through the ACTED_IN relationship then it’s an Actor” or “if a User is connected to referencing in a paper, a BlogEntry through a POSTED relationship then it’s an ActiveUser” . We’ll look first at how to express these kind of consistency checks and essay on school picnic, then I’ll show how they can be applied in three different ways: Controlling data insertion into the database at a transaction level by checking before committing that the state in which a given change leaves the database would still be consistent with the semantics in the schema, and rolling back the transaction if not. Using the ontology to drive a generic front end guaranteeing that only referencing a book research, data that keeps the graph consistent is added through such front end. Running ‘a-posteriori’ consistency checks on datasets to identify domain inconsistencies. While the previous two could be considered preventive, this approach would be corrective. An example of poems essays emerson thoreau this could be when you build a data set (a graph in our case) by bringing data from referencing a book in a research, different sources and ramesh, you want to check if they link together in a consistent way according to some predefined schema semantics. My main interest in this post is to explore how the notion of a semantic store can be transposed to a -at least in theory- non semantic graph database like Neo4j . This will require a simple way to store schema information along with ordinary data in a way that both can be queried together seamlessly.
This is not a problem with Neo4j+Cypher as you’ll see if you keep reading. Referencing A Book In A Paper? We will also need a formalism, a vocabulary to express semantics in Neo4j, and in order to do that, I’ll pick some of the primitives in OWL and RDFS to thesis building activity, come up with a basic ontology definition language as you will see in referencing a book research paper, the next section. I will show how to on school, use it by modelling a simple domain and prototyping ways of checking the consistency of the data in your graph according to the defined schema. Defining an RDFS/OWL style ontology in Neo4j. The W3C recommends the use of RDFS and paper, OWL for the definition of ontologies. For my example, I will use a language inspired by these two, in essay structure, which I’ll borrow some elements like owl:Class , owl:ObjectProperty and owl:DatatypeProperty , rdfs:domain and rdfs:range , etc. If you’ve worked with any of a book paper these before, what follows will definitely look familiar. Till? Let’s start with brief explanation of the main primitives in our basic schema definition language: A Class defines a category which in Neo4j exists as a node label. A DatatypeProperty describes an attribute in referencing research, Neo4j (each of the individual key-value pairs in both nodes or relationships) and an ObjectProperty describes a relationship in Neo4j. The domain and range properties in on school picnic, an ontology are used to further describe ObjectProperty and a book in a research, DatatypeProperty definitions. In the case of an ObjectProperty , the domain and range specify the source and the target classes of the nodes connected by instances of the ObjectProperty . Similarly, in the case of proquest dissertations and theses open access a DatatypeProperty , the domain will specify the class of nodes holding values for such property and referencing paper, the range , when present can be used to specify the XMLSchema datatype of the property values values.
Note that because the proquest open access, property graph model accepts properties on relationships, the domain of a DatatypeProperty can be an ObjectProperty , which is not valid in the RDF world (and actually not even representable without using quite complicated workarounds, but this is referencing research, another discussion). If you have not been exposed to the RDF model before this can all sound a bit too ‘meta’ so if you have time (a lot) you can find a more detailed description of the different elements in the OWL language reference or probably better just keep reading because it’s easier than it may initially seem and and theses, most probably the examples will help clarifying things. All elements in the schema are identified by URIs following the RDF style even though it’s not strictly needed for our experiment. What is definitely needed is a reference to how each element in the ontology is actually used in the Neo4j data and this name is stored in the label property. Finally there is a comment with a human friendly description of the element in question. If you’ve downloaded Neo4j you may be familiar by research, now with the movie database. You can load it in your neo4j instance by running :play movies on your browser. I’ll use this database for my experiment; here is a fragment of the essay waikato, ontology I’ve built for it. Referencing Research? You can see the Person class , the name DatatypeProperty and the ACTED_IN ObjectProperty defined as described in the previous paragraphs.
The whole code of the proquest open access, ontology can be found in the github repository jbarrasa/explicitsemanticsneo4j. Grab it and run it on your Neo4j instance and referencing a book paper, you should be able to visualise it in the Neo4j browser. Essay? It should look something like this: You may want to research, write your ontology from scratch in Cypher as I’ve just done but it is also possible that if you have some existing OWL or RDFS ontologies (here is an OWL version of the same movies ontology) you will want a generic way of translating them into Neo4j ontologies like the previous one, and that’s exactly what this Neo4j stored procedure does. So an alternative to running the phd thesis, previous Cypher could be to deploy and run this stored procedure. You can use the ontology directly from github as in the fragment below or use a file://.
URI if you have the ontology in your local drive. In A Research? Checking data consistency with Cypher. So I have now a language to activity, describe basic ontologies in Neo4j but if I want to use it in referencing a book paper, any interesting way (other than visualising it colorfully as we’ve seen), I will need to implement mechanisms to exploit schemas defined using this language. The good thing is that by following this approach my code will be generic because it works at the schema definition language level. Let’s see what that means exactly with an example. A rule that checks the consistent usage of relationships in a graph could be written in Cypher as follows: This query scans the data in your DB looking for ilegal usage of relationships according to your ontology. If in your ontology you state that ACTED_IN is a relationship between a Person and essay structure waikato university, a Movie then this rule will pick up situations where this is not true. Let me try to describe very briefly the semantics it implements.
Since our schema definition language is inspired by RDFS and OWL, it makes sense to a book, follow their standard semantics. Our Cypher works on the :DOMAIN relationship. The :DOMAIN relationship when defined between an ObjectProperty p and essay, a Class c , states that any node in a dataset that has a value for that particular property p is an research paper, instance of the class c . So for example when I state (actedin_op)-[:DOMAIN]-(person_class), I mean that Persons are the proquest open access, subject of the ACTED_IN predicate, or in other words, if a node is connected to a book in a, another node through the essay structure waikato university, ACTED_IN relationship, then it should be labeled as :Person because only a person can act in a movie. Ok, so back to my point on generic code. This consistency check in Cypher is completely domain agnostic. There is a book, no mention of Person, or Movie or ACTED_IN… it only uses the primitives in the ontology definition language ( DOMAIN, DatatypeProperty, Class , etc.). This means that as long as a schema is defined in terms of these primitives this rule will pick up eventual inconsistencies in a Neo4j graph. It’s kind of a meta-rule. Ok, so I’ve implemented a couple more meta-rules for consistency checking to proquest dissertations, play with in this example but I leave it to you, interested reader, to experiment and extend the set and/or tune it to your specific needs. Also probably worth mentioning that from the point of view of performance, the previous query would rank in the top 3 most horribly expensive queries ever. It scans all relationships in all nodes in the graph… but I won’t care much about this here, I’d just say that if you were to referencing research paper, implement something like this to work on large graphs, you would most likely write some server-side java code probably something like this stored procedure, but that’s another story.
Here is another Cypher rule very similar to the previous one, except that it applies to poems essays thoreau, relationship attributes instead. The semantics of the :DOMAIN primitive are the same when defined on DatatypeProperties (describing neo4j attributes) or on ObjectProperties (describing relationships) so if you got the idea in the previous example this will be basically the same. If I run this query on the movie database I should get no results because the a book research paper, data in the graph is consistent with the ontology: Only persons act in movies, only and theses access, movies have titles, only research, persons have date of birth, and so on. But we can disturb this boring peace by inserting a node like this: This is wrong, we are setting a value for attribute rating on ramesh johari, a property where a rating does not belong. If we now re-run the research paper, previous consistency check query, it should produce some results: Our ontology stated that the rating property was exclusive of the :REVIEWED relationship, so our data is now inconsistent with that. I can fix the problem by thesis activity, unsetting the value of the a book in a, property with the on school, following Cypher and get the graph back to a consistent state.
Right, so I could extend the meta-model primitives by adding things like hierarchical relationships between classes like RDFS’s SubClassOf or even more advanced ones like OWL’s Restriction elements or disjointness relationships but my objective today was to introduce the concept, not to define a full ontology language for Neo4j. In general, the referencing, choice of the poems essays emerson, schema language will depend on the level of expressivity that one needs in the schema. In the RDF world you will decide whether you want to use RDFS if your model is simple or OWL if you want to in a, express more complex semantics. The cost, of course, is more expensive processing both for structure waikato reasoning and consistency checking. Similarly, if you go down the DIY approach that we are following here, keep in referencing in a, mind that for waikato every primitive added to referencing a book in a, your language, the corresponding meta-rules, stored procedures or any alternative implementation of picnic its semantics, will be required too.
The use of meta-data definition languages with well defined semantics is pretty powerful as we’ve seen because it enables the construction of general purpose engines based only on the language primitives that are reusable across domains. In A? Examples of this idea are the set of Cypher rules and johari, the stored procedure linked above. Referencing In A Paper? You can try to reuse them on structure university, other neo4j databases just by defining an ontology in referencing in a research, the language we’ve used here. Finally, the combination of this approach with the fact that the schema definition itself is stored just as ordinary data, we get a pretty dynamic setup, because storing Classes, ObjectProperties, etc. as nodes and relationships in Neo4j means that they may evolve over time and that there are no precompiled rules or static/hardcoded logic to detect consistency violations. Picnic? This is precisely the referencing a book in a research, kind of approach that RDF stores follow. Structure Waikato University? In addition to storing data as RDF triples and referencing a book research paper, offering query capabilities for poems it, if you make your model ontology explicit by using RDFS or OWL, you get out referencing in a research of the box inferencing and consistency checking. Consistency checking at transaction level.
So far we’ve used our ontology to drive the execution of meta-rules to check the essay on school, consistency of referencing in a research a data set after some change was made (an attribute was added to a relationship in our example). That is one possible way of johari phd thesis doing things (a posteriori check) but I may want to use the explicit semantics I’ve added to the graph in Neo4j in a more real-time scenario. As I described before, I may want transactions to be committed only a book in a research paper, if they leave our graph in a consistent state and that’s what these few lines of python do. Till We Have Faces Love? The logic of the consistency check is on referencing a book in a research, the client-side, which may look a bit strange but my intention was to make the whole thing as explicit and clear as I possibly could. The check consists of running the whole set of individual meta-rules defined in the previous sections one by one and breaking if any of structure waikato university them picks up an inconsistency of any type.
The code requires the meta-rules to be available in referencing in a paper, the Neo4j server and building activity, the way I’ve done it is by storing each of them individually as ConsistencyCheck nodes with the Cypher code stored as a property. Something like this: The code of the Cypher meta-rule in the cccypher property has been truncated in referencing a book in a research paper, this snippet but you can view the whole lot in github. Now the transaction consistency checker can grab all the meta-rules and picnic, cache them (line 25 of the python code) with this simple query: that returns the batch of individual meta-rules to be run. Something like this: The code can be tested with different Cypher fragments. If I try to populate the graph with data that is consistent with the schema then things will go smoothly: Now if I try to update the graph in inconsistent ways, the meta-rules should pick this up. Let’s try to referencing a book in a, insert a node labeled as :Thing with an attribute that’s meant to ramesh johari, be used by referencing in a paper, Person nodes: Or link an existing actor (:Person) to something that is structure waikato university, not a movie through the :ACTED_IN relationship: I can try also to in a research, update the labels of essay picnic a few nodes, causing a bunch of inconsistencies: Again a word of warning about the a book research paper, implementation. My intention was to make the example didactic and easy to understand but of course in a real world scenario you would probably go with a different implementation, most certainly involving some server-side code like this stored proc.
An option would be to write the logic of running the consistency checks and either committing or rolling back the transaction as an unmanaged extension that you can expose as a ‘consistency-protected’ Cypher HTTP endpoint and ramesh johari phd thesis, invoke it from your client. Consistency check via dynamic UI generation. Another way of guaranteeing the consistency in the data in your graph when it is in a research paper, manually populated through a front-end is to dissertations and theses open, build a generic UI driven by your model ontology. Let’s say for example that you need to referencing research, generate a web form to thesis building activity, populate new movies. Well, you can retrieve both the structure of your form and the data insertion query with this bit of Cypher: Again, a generic (domain agnostic) query that works on your schema. The query takes a parameter ‘className’. When set to ‘Movie’, you get in the response all the info you need to generate your movie insertion UI.
Here’s a fragment of the json structure returned by Neo4j. With this simple example, I’ve tried to prove that it’s relatively straightforward to a book paper, model and store explicit domain semantics in dissertations open access, Neo4j, making it effectively a semantic graph. A Book Research Paper? I too often hear or read the ‘being semantic’ as a key differentiator between RDF stores and other graph databases. By explaining exactly what it means to ‘be semantic’ and university, experimenting with how this concept can be transposed to in a, a property graph like Neo4j, I’ve tried to show that such a difference is not an essential one. I’ve focused on essay, using the explicit semantics to run consistency checks in a couple of different ways but the concept could be extended to other uses such as automatically inferring new facts from existing ones, for instance.
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Journal of the Short Story in English. Les Cahiers de la nouvelle. The wishes and dreams our hearts make in Oates's Where are you going, where have you been? La nouvelle extraordinairement populaire de Joyces Carol Oates doit beaucoup a sa fascinante complexite, reformulant le mythe de Cendrillon pour aboutir a un commentaire penetrant sur la culture de consommation americaine qui valorise, tout comme le font les mondes evoques dans d'autres versions du conte, une domination male outranciere. La version donnee par Oates de ce conte de fee met en exergue l'ecart radical entre les reves de bonheur d'une jeune femme en Amerique et la cauchemardesque realite que donne a vivre une societe mercantile qui reduit la femme sous pretexte de l'exalter. Les topoi de l'histoire, rendus populaires par Walt Disney, sont evoques ici ou Connie reve de son Prince Charmant, Oates rappelant habilement par de nombreux details l'histoire de Cendrillon. Par consequent, la farce vicieuse de l'Amerique contemporaine se joue dans les verites affreuses de l'auto-parodie d'une vision de la vie naivement contradictoire d'une jeune femme – a la fois dans la version edulcoree de Disney et dans la version horrifique de Oates – une vision de la vie qu'ignore encore cette societe qui mesestime et devalorise la femme. 1 Richard Abcarian and Marvin Klotz, Literature: Reading and Writing the a book paper Human Experience , 7 th Editi (. Essay Structure. ) 2 Students focus, of course, on the matter of referencing a book in a research, whether Arnold Friend steals off with and murders Conn (. ) 1 Joyce Carol Oates’s story remains prominent among those short fictions most anthologized in American college texts--an achievement no doubt attributable to its enduring, wide-ranging appeal. Aside from having been made into Tom Cole’s screenplay and dissertations open Joyce Chopra’s much-admired film Smooth Talk, the twice-award winning story has recently become the subject of a book paper, a well-resourced casebook edited by poems thoreau, Elaine Showalter; and it remains a fixture, even featured, in such first-line texts as Abcarian and Klotz’s Literature; Barnet, Berman, Burto, and Cain’s re-edition of Literature; Hans P. Guth and Gabriele L. In A Paper. Rico’s DiscoveringLiterature; Lee Jacobus’s Literature; Kirzner and Mandell’s Literature, where it is featured in a “Fiction Casebook”; and Ann Charters’ The Story and Its Writer as well as her (and Samuel Charters’) Literature and Its Writers.
In the last regard it is ramesh, also a staple in short fiction anthologies such as Bohner and Dougherty’s Short Fiction and a book research Pickering’s Fiction 1001. Although highly regarded as a poet, essayist, novelist, playwright, and emerson short fiction writer, Oates is best known to the general public as the author of a book in a, “Where Are You Going, Where Have You Been?” Consequently, although its first-time readers, typically college freshmen students, have been guided throughthe story’s seemingly inexhaustible trove of suggestive meanings, its idiosyncratic styling weaves, within its varied richness, a pattern worth studying that brings together distinctive elements of theme, characterization, structure, imagery, and till we have faces perspective in a format well ingrained in the American popular imagination. This pattern, although I have taught several different approaches to the story over the years, invokes something like a community of a book in a research paper, assent in young readers, who dispute far more among other interpretations.2. 3 See the Introduction to the Casebook Where Are You Going, Where Have You Been? edited by Elaine Sho (. ) 2 I would suggest that this popular young-reader-response comes from an American teen’s ‘grasp’ of a powerfully fixed cultural ‘handle’ available to on school, us all, but especially to young people nowadays, particularly young students’ sense of a book in a research, a story. And I think that this pattern as crafted into the story by and theses access, Joyce Carol Oates evokes that ever-unrealized zone between consciousness and unconsciousness shaped from childhood--hers, ours, that of our students--recalling that ancient story modernized by Charles Perrault, popularized by the brothers Grimm, and referencing a book paper implanted in the collective American semi-consciousness by Walt Disney--the tale of “Cinderella”. Accordingly, Oates, in 1963 and then in her twenties herself,3 transformed most of the story’s principle features, carrying them forth from Connie’s psyche, especially through the content and tone of Connie’s “trashy” dreamy state, to reveal something deep and permanent within the mythic strata of essays thoreau, troubled twentieth century ‘Cinderellan’ American life--something that the young reader especially acknowledges in the process of growing, learning, and valuing experience. 3 Connie’s dreamy escape, like Cinderella’s, although it promises pleasurable resolution, unfortunately brings unresolved tensions upon a book in a paper, her, as they are upon many young women, and sometimes men, by a mass culture (the story’s audience--the “You” of the title) that, despite aspirations otherwise, unwarily depersonalizes, debases, and devours the feminine ideal, branding those young among us, especially girls attaining to womanhood, as nameless, faceless, even heedless victims of culturally prompted masculate sexual appetite, consumption, and disposal.
In fact, the standard merchandising of human sexuality, before men and women young and old, in dissertations the American marketplace, although oriented greatly towards foods, attaches itself to all manner of commodities, becoming evident most where expected least, in appealing to children’s dreams--those wondrous yet terrifying acts of human imagination, poised to aspire, and to ascend--yet dreams blandly controlled by the huckster’s world illustrated in Barbie-Doll iconography, mindless pop music, arcane Miss Americana, heavily capitalized pornographia, all of which inform Oates’s reading of “Cinderella”.A girl justly desires in in a research the purity of her heart to be pretty, to feel good, to gain attention, and to be cherished--a dream in formation since early childhood. But all dreams become devalued in what Hamlet best terms “the base uses” to which we return--those deadly places where the culture, following the misdirected human inclination, variably defined as we shall note, inevitably is “going.” Oates finds in the Cinderellan motif the pretensions and tensions of phd thesis, a serious, even tragic, contemporary conception of feminization targeted in the American predilection for merchandising flashy, readily consumable, and a book in a research paper easily disposable commodities within a culture joyfully yet madly devouring its own resources of body, mind, and spirit, as well as its capacity even to imagine such losses. 4 Gretchen Schultz and R.J.R. Rockwood, “In Fairyland, Without a Map: Oates’s ‘Where Are You Going, (. On School. ) 4 Much in the story’s fascinating complexity is rooted in its comprehensive stylistic involvement with the more recent versions, from Perrault to Disney, of the Cinderella tradition. Referencing. A few aspects of the Cinderella analogy have been noted in an account of how the “story is full of fairy tales.”4 But as diligently as this reading places the story in poems essays a tradition of several popular tales such as “Snow White,” “The Three Little Pigs,” “Little Red Riding Hood,” “Cinderella,” and “The Genie in the Bottle,” it understates the psychological acumen with which Oates’s story imaginatively reformulates the Cinderella mythos, placing it effectively within its cultural context.
For, as Bruno Bettelheim, among others, has observed, the Cinderella story enacts the compensatory vision, dear to all children coming of age, that counteracts that universally seated conviction “deep within” the in a child “that Cinderella deserves her dejected state”: 5 Bruno Bettelheim, “‘Cinderella’: A Story of Sibling Rivalry and Oedipal Conflicts,” The Uses of En (. ) The oedipal disappointments which come at the end of this developmental stage cast deep shadows of on school picnic, doubt on the child’s sense of his worthiness. He feels that if he were really as deserving of love as he had thought, then his parents would never be critical of him or disappoint him. The only explanation for parental criticism the child can think of is that there must be some serious flaw in him which accounts for what he experiences as rejection.5. 5 The childhood-induced Oedipal flaw, as Bettelheim fails to observe, is referencing a book in a, not only universally compounded by the culture, but it is principally represented in the culture as characteristic of emerson thoreau, feminine reality. Therefore, Connie, by a book, ‘acting out’ her Oedipal resentment--in wishing her mother dead (the very condition of Cinderella’s mother in the tale)--further problematizes her fate, adding, Bettelheim might say, “another reason to feel guilty.” Therefore, such multiplied guilt “about desires to be dirty and disorderly” ultimately in the most honorific sense “makes every child identify with Cinderella, who is relegated to phd thesis, sit among the cinders”: Since the child has such “dirty” wishes, that is where he also belongs, and where he would end up if his parents knew of a book in a research paper, his desires. This is why every child needs to believe that even if he were thus degraded, eventually he would be rescued from such degradation and johari experience the most wonderful exaltation--as Cinderella does.6.
7 Jane Yolen, “America’s ‘Cinderella,’” from Children’s Literature in Education, 8 (Curtis Brown, 19 (. ) 8 “Walt Disney’s ‘Cinderella’” adapted by Campbell Grant in referencing in a research Writing and Reading Across the Curriculu (. ) 9 All references to the text of proquest access, “Where Are You Going, Where Have You Been?” are taken from the caseb (. ) 10 In Disney’s , Grimm’s, and referencing a book in a research paper Perrault’s versions because Cinderella works she is ‘dirty’ whereas in structure waikato university (. ) 6 Bettelheim, referring to “every” child, remains curiously blind to the distinctively victimized status of the girl as featured in a book in a research paper the tale (along, for that matter, in other tales from childhood such as “Snow White,” “Little Red Riding Hood,” and “Little Miss Muffet”). But prior to satisfying her need to be released from phd thesis, such ‘dirty’ ‘shame,’ the feminine child, far more than the masculine child, must obediently endure her earth-bound affliction. In Perrault’s fairy tale, from his Contes de ma mere l’Oye , the less transfigured young maid--gentile, refined, and gracious--is called “Cinderbottom” (“Cendrillon”) as in the brothers Grimm version she is known as “Ashputtle” because, as the authors have it, “she always looked dusty and dirty.”7 The Disney version, playing lightly off the name by invoking “Cinderella,”8 covers up but cannot remove the in a stains of grimy guilt from waikato, this chariest maiden: Cinderella, as if deserving, is punished in having to do the research paper ‘dirty’ work, and johari she fully accepts her ‘soiled’ role as her lot in life. Connie likewise is research, immediately associated with and essay picnic helplessly mired in uncleanliness from the outset of the story. Her mother’s first words to her--“Why don’t you keep your room clean like your sister?”9 --convey by referencing a book research, an inexact analogy an picnic exact contrast: The youthful Connie is referencing a book in a research, ‘dirty’ and essays suspect, while the matured June is ‘clean’ and therefore the more favored.10 Connie’s hair, which is in a, “dark blonde”--she is told, and essay picnic as we suggestively learn, “stinks,” but that of her sister, free from such unacceptable filth, doesn’t. June wins praise for her domestic virtue, for referencing in a research paper “she helped clean the house and cooked,” while “Connie couldn’t do a thing, her mind was filled with trashy daydreams.” Yearning release from this condition so as to embrace, as Bettelheim remarks, fantasies of “exhilaration,” the anticipation of imminent “rescue” becomes for Connie, as for Cinderella and all girls, the basis of the wish behind her most desired dream. We Have Faces Essays. This subconscious Cinderellan need to feel ‘dirty’ yet to referencing research, be released from this state extends into, and is expressive of, the American market-culture, which calculates dissatisfactions that are typically only dissertations and theses open, provisionally appeased. Consequently, in Oates’s vision, the terms of the compensatory, restorative dream are all too readily available as a convenient fancy to everyone, young and a book research old, in essay structure waikato university our happiness-crazed American culture. In our public cultural formations of in a research paper, joy--our childhood recreations, for ramesh example, with ‘hot’ toys, ‘sweet’ songs, and ‘instant’ model heroes--we too readily appropriate fantasies to salve momentarily the a book in a shame that has abided for centuries, whether transvalued from access, Hellenic defilement, Judeo-Christian sin, or Modern Oedipal guilt.
Such analgesic ‘salvation,’ the stuff of sleep, though an act as simple as feeding oneself, does, however, by virtue of referencing a book in a paper, its self-evident falseness, only exacerbate the inadequacy felt by the young even as it produces the collateral need to open access, punish ourselves even more while we cheerfully hold out for those yearnings expressed by Cinderellan dreams. 11 The theory that the source of the research paper story’s title is “Judges 19:17”, reached by counting thirty-thre (. ) 12 Larry Rubin, “Oates’s ‘Where Are You Going, Where Have You Been?’” The Explicator 42 (1984), 57-59. 7 Connie, therefore, like Cinderella, is phd thesis, reduced in a book paper name (from Constance) and on school picnic thereby in moral status (from steadfastness and faithfulness), to referencing research paper, a name that, among its meanings, suggests the illicit or fraudulent conduct of which Connie will accuse herself. Waikato University. Overlooked, and critically important, is the fact that her name evokes “concubine”, the principle feminine figure in the Jewish biblical source of the title (“The Book of Judges”, which invokes a story akin to that of Cinderella11).Connie in Oates’s tale is research, bereft of family identity having, like Cinderella, no surname. In both instances the single name conveys the character’s hapless, devalued condition as an individual, as a member of a family, and poems emerson as the diminished component of referencing research, a socio-economic unit indifferent to essay structure university, even itself. Connie’s familial, social, and economic disconnections, like Cinderella’s, all the more heighten the contrast between her shamed solitude and the social modes by which she becomes solicited, valued, and referencing in a paper appropriated. Waikato University. The defining element binding old tale and contemporary story is, ofcourse, the dream of yearning, a key motif in itself.12 Connie, like Disney’s Cinderella, who sings, “A dream is a wish your heart makes,” eagerly drifts off into fantasy, half-consciously yielding to referencing in a, her dream experience as she ardently wishes for a special place where she can feel good and be noticed; where she can enjoy rapturous music; and where she can meet her sweet, charming lover--her own ‘prince charming’--whom she abstracts as the amorphous composite of all those boys who have dwelled in the pleasure zone of university, her affection. By these three means--the enjoyments of palace, pleasurable music, and prince charming--both young women plan their escapes from research paper, a household filled with sad antagonisms--a father’s physical or moral absence, the sexual jealousy and hostility of a mother figure, the irritating probing of an older sister, and on school picnic subjection to referencing a book paper, continual mistreatment. What is vital--namely, wishing where to university, go, what to feel, and whom to referencing, meet--are in thesis activity both accounts played off against a book, what has debased and deadened both girls at home: the access disappointments of where they have been, what they have felt, and referencing a book research with whom they have had to share company. Johari Phd Thesis. This tension becomes recontextualized in the marketplace enticements that replace the devalued familial supportive condition.
This second, even more extreme, disjunctive effect, properly understood and directed by referencing a book research paper, the story’s interrogative title, conveys a spiritually depleted, secular psychomachia --an unresolved opposition between one set of misguided social attractions and another equally unacceptable set of prompts—for the ‘salvation’ (here, the physical well being) of one’s flesh and blood. 13 Kay Redfield Jamison, An Unquiet Mind (New York: Alfred R. Knopf, 1955). 8 On another frequency, of on school, course, the split lies between Connie’s brain and her mind, a split dictated, as Kay Redfield Jamison so poignantly observes, by referencing research paper, the manic forces engendered by a culture that simultaneously attracts acutely with pleasure while rejecting harshly with painful trauma many people, most impressionably the young, who strive to live somehow integrally within it.13 Such mixed messages, directed to body, mind, and spirit, Oates incorporates as acquiescence yielding to misguided reverence. Appropriately, then, the critical gathering places in Connie’s life, described as places of communion, are the dining table or barbeque at home, where food helps ritualize the vacuity that family space has become, or away from home, particularly the essay structure “drive-in restaurant,” where again, the claims of appetite bring young people together in unconscious religious charade. In the latter case, we see Connie brought to a place of romance envisioned, fitfully, as the in a sexually satisfying locus of masculine carnal appetite--the “drive in.” Unacknowledged moral negligence not only till we have essays, underlies this sexual tension (inviting yet threatening) but also “the pretence of exasperation” facing Connie (Oates, 30) that lies at the heart of the insincerely concerted fighting between mother and referencing research paper daughter. Connie’s mother chastises her for having the healthy vitalism that she herself has lost, thereby shaming her into the false sense of herself to essay, which she is already prone. In A. Bereft and adrift, helpless in a morally depleted trashland of essays thoreau, her own, Connie finds her only remedia --precisely Cinderella’s--in her desire to transformher ambivalent pining to be with her ‘prince’ into her desperate escape from the emotional and moral wasteland of her home. Along with her daydreaming of escaping to the arms of paper, her lover in we have faces essays what she fantasizes as “a kind of love, the caresses of love,” (Oates, 30) Connie experiences ‘shame’ in referencing a book paper having repeatedly deceived her mother about the undisclosed sexual experience to which she flees: “Her mother was so simple, Connie thought, that it was maybe cruel to fool her so much.” (Oates, 29). The shame here hides the perceived illicit nature, as Connie understands it, of what she and the Eddies of her world share under cover of darkness down alleys. Connie’s ritual ‘loss’ evokes Cinderella’s ‘loss’ in the night symbolized by a glass slipper that conveys not an poems essays actual serious moral failing, but something perceived as such. Like Cinderella Connie can hope only to venture forth under cover of darkness so that her family, her ‘mother’ especially, will not know where she has been.
The drive-in, as with the in a prince’s palace, is where both young women hope they are going. Both young woman, then, are granted their wishes. Connie brings to essays emerson thoreau, her dream certain activating points of consciousness which become metamorphosed and elaborated, as any dreamer well knows, into the mixed stuff of her sleep--these include recollections of her sneaking off to research paper, the place of phd thesis, her desire, her experiencing good feelings generated from referencing in a paper, music atthe teen hangout, her being noticed by ramesh, boys, teens given over to Bobby King’s music show, and in a research the specter of Arnold Friend and essays his golden convertible. These key elements on referencing in a, their surface are also, it so happens, the exact formulae of Cinderella’s wishful dreaming--the surreptitious venture, the on school picnic pleasure palace beckoning all lovely young women to the enchanting music of the ball, the ‘King’s’ sponsorship of that ball, and the resplendent cream and a book research paper gold coach and six. Thus, the unresolvable actualities of Connie’s life and the emanations of phd thesis, one more of her “trashy daydreams” are fused together in referencing a book research a modern-day American “Cinderella” tale. but with some new twists. 9 Connie, “pretty,” blonde-haired, good-natured but very uncomfortable, beleaguered, and neglected, lives at activity, home, exactly as Cinderella, with a complaining, mean-spirited mother and an indifferent, ineffectual father. Connie’s father, likewise, has been “lost”, not at referencing research, sea like Cinderella’s, but even while at home. Her older sister, June, like Cinderella’s sisters, although having much less claim to attention, is far more outwardly favored. Far less attractive, yet far more secure in her mother’s affection, like Cinderella’s sisters, June is obviously outwardly preferred by a mother embittered in and theses open access her sexual jealousy.
Connie and Cinderella also share a type of bimodal appearance: each is quite ordinary-looking about the house; but whether venturing to a cherished teen hangout or to a palace ball, each becomes transformed through her clothing into a radiant, youthful beauty. Each, attracting much attention, achieves her desired happiness; and in a each wins over her prince charming. Both young women long for the opportunity to faces love, fulfill this cherished ‘dream,’ but such dreams of research paper, life all too often become nightmares of death. 10 Connie’s Cinderella-life, however, takes on such dimension as she ventures forth once more, as Cinderella herself does, into her dream. essentially, a subset of the youthcultish ‘American dream.’ Connie, as her family drives off to the family barbecue, turns inwardly, away from essay structure waikato university, her mother’s angry stare, to a Hollywood wonderland of cherished comforts: Connie sat out paper, back in a lawn chair. Connie sat with her eyes closed in the sun, dreaming and till faces love dazed with the warmth about her as if this were a kind of love. the way it was in movies and referencing a book paper promised in songs; and when she opened her eyes she hardly knew where she was. She shook her head as if to get awake. (Oates, 30-31) 14 Marilyn C. Wesley, “The Transgressive Other of Joyce Carol Oates’s Recent Fiction,” Critique 33 (Su (. ) 15 Joyce M. Wegs, “‘Don’t You Know Who I Am?’: The Grotesque in Oates’s ‘Where Are You Going, Where H (. ) 11 As she “breathed in dissertations and breathed out with each gentle rise and fall of her chest,” Connie in rhythmic sleep-like reverie brings to her filmland-dreamland other elements that will figure into her dream.
One is that prevailing sense of human worthlessness that she has so readily accepted as her lot in life: “Connie’s mother kept picking at her until Connie wished (my emphasis) her mother dead and she herself was dead and it was all over.” (26) Connie’s edginess hints at severe self-judgment: her implicit acknowledgment of her cindered self, her realization that she isindeed ‘the kind of girl’ she uncomfortably assures her mother she is referencing research, not, that she, like Cinderella, must be a dirtied young lady, one who has indeed ‘lost’ something precious, fragile, irrevocable. In fact, Connie’s assumed loss of proquest dissertations, innocence, like Cinderella’s lost slipper, she must learn, can only be ‘regained’ by a prince charming’s outlandish claim upon her. In A Paper. Connie’s dream will carry out her own conflicted moral judgment upon herself for the shame that in faces essays the absence of evidence is a book in a research paper, only thought to be underlying what she has done. Connie’s diametric feelings of thesis building, wishing herself dead yet being granted love “promised in songs” therefore, because they are so essentially unrelated yet now for her so intimately related, are together enacted in dream. What had always seemed two separate, conflicting zones of feeling in her consciousness--her emotional and her moral awareness--now come together subconsciously in strange contravention. A Book Paper. Her darkened selfhood and picnic her fondest wish for light uneasily come together.Meanwhile this self-contesting quality in Connie’s life is outwardly defined in, and indeed stimulated by, the referencing a book research paper now-popular iconography of veneration--what one critic has called our “counter-ideology”14 symbolized, as another critic has carefully noted, by poems, the church-like “drive-in” with its bottled roof and in a “grinning boy revolving atop it.15 Now venerated, Oates suggests, is we have faces essays, our culture’s reduced spirituality so evident in its enshrinement of referencing in a research, childish sexuality mixing levity with appetite but haunted, profoundly, by essay on school picnic, something amiss, something separated, strangely attractive, and yet threatening. Neither Prince of a book research paper, Peace nor Prince of Charm, forever ensconced atop the building’s spire is the ludicrously reductive figure of a rotating “grinning boy” holding up a hamburger. One must, Oates’s story suggests, ‘look up’ to university, this lifeless yet turning figure beamishly posturing some elevated form of happiness. 12 The place where Connie wishes to go resembles the place where Cinderella dreams of a book, going.
The drive-in restaurant like the palace in “Cinderella” summons its faithful as would a church. The spells of music replace the peals of bells calling forth all fair young maidens to the place where the johari son of a ‘King’ can be found and where the ‘sinner’--here, the referencing in a research afflicted maiden--can be called forth and ‘saved’ from the poems essays emerson thoreau suffering she has borne. Certain moments in the Catholic Mass seem subtly reduced in a book research paper Oates’s story: the Communion call to the rail (Oates’s story is set in the early sixties, when the till we have faces love essays Latinate liturgy prevailed) becomes the a book promise of food at the restaurant’s counter; the ‘host’ itself held high in the consecrated hamburger raised aloft by the revolving figure. Eddie’s own ‘grin’ and ‘turn’ on the stool emulates this grinning, turning figure; and picnic the girls crossing their ankles are all that remains of the Sign of the Cross. A Book Paper. Oates thereby captures the sense of ramesh, religious culture lost in the pleasurable rituals of childhood fantasy, trapped in self-denigration and a book research made hapless in the “going” of life. Oates sees Connie as Cinderella, having been and ramesh johari phd thesis going nowhere.
Eddie, Connie’s boyfriend, ceremonially acts out in postpubsecent imitatio the icon’s motions as he turns friskily upon his seatoffering Connie a hamburger and a soda for another kind of a book in a paper, happy turn down an poems essays alley. Before she and Eddie leave, Connie finds herself taking notice of another pilgrim to this shrine of toyish joy–“a boy” whose “lips widened into a grin” who then playfully yet ominously intones to her, “Gonna get you, baby.” (28) Boy and girl babies, not men and women, populate the sexual toyland of an America given over to such frivolous but menacing foreplay. 13 The following weekend Connie thus brings to her Sunday summer afternoon dream the sexually playful elements of her rapturous yet disturbing experience at the drive-in restaurant. As things turn out, immediately as her dream has begun, this much more impressive “grinning boy” enters Connie’s life in the figure of Arnold Friend: “There were two boys in the car . and one was grinning at her.” (31-2) This child of man imperially shows off his credentials as the vassal of a true ‘king’--Bobby King. In effect a dutiful son to King, he proclaims “I listen to him all the referencing a book in a paper time.” (32) To the doubly-disposed Connie, of essay waikato university, course, she can’t tell “if she liked him or if he was a jerk.” (33) Then, having trumpeted his car horn, he heralds himself: “This here is my name, to in a paper, begin with,” he said. ARNOLD FRIEND was written in tarlike black letters on the side, with a drawing of a round, grinning face that reminded Connie of a pumpkin, except it wore sunglasses. Thesis Building Activity. (33) 16 Colette Dowling, The Cinderella Complex: Women’s Hidden Fear of Independence.(New York: Summit, 19 (. ) 17 Ann Ulanov and Barry Ulanov, Cinderella Her Sisters: The Envied and the Envying . (Philadelphia: (. ) 14 The contemporary equivalent of referencing a book research, Cinderella’s pumpkin-turned-coach complete with grinning Prince emerges before Connie’s Cinderellan psyche. Arnold, like the essay structure university cartoon on his golden “convertible,” presents to her his own silly, bizarre pumpkin face; and Connie, fascinated yet fearful, hesitates to encourage him. Arnold, for his part, comes to Connie with that same determination that drives the Prince to Cinderella.
He will have his lady fair because, as he says, she's “the one.” And precisely like Cinderella’s Prince, he disdains “fat” (symbolically fat-footed) women. “I don't like them fat,” he will announce, as if savoring fast food. (40) He is, of a book, course, raging with hunger for dissertations access ‘his Connie,’ who like her barefoot-in-the-house prototype, no longer wears her dancing shoes--in Connie’s case, her customary “ballerina slippers.” And true to the form of Cinderella’s Prince, Arnold says, “I took a special interest in you, such a pretty girl, and found out research, all about you. Poems Emerson. ” (35) Arnold confidently struts with the erogenous authority and power of referencing research paper, Cinderella’s Prince. the libidinous law of the land, which puts him in the company of thesis building, our culture’s Cinderellan acknowledgment that a woman, chosen merely for her arousing looks, her body’s movement to in a research paper, music, her being “the one,” must, like food on a fork, yield herself up. One social critic, citing what she calls “the Cinderella complex,” voices concern that far too many American women remain trapped in helpless, even endangering dependency upon men.16 Another commentator, a psychologist, reads the essays emerson thoreau Cinderella figure as the object of pervasive envy--the plight of many women who find themselves nullified, made helpless, and ultimately attacked.17 Oates defines the social contract as pretty much a one-sided proposition assuring men the rewards of referencing a book research paper, sexual gratification for the mere grabbing. Most have one characteristic in thesis common: physical intimidation coupled with sexual immaturity posing as a morally responsible agency, cloaked in the authority of uniform or high office, or some sartorial emblem of power over youth (one recalls the referencing research military or royal dress, for example, of structure university, Michael Jackson, Elvis Presley, the Beatles, other ‘uniformed’ public figures, often targeting young, easily-summoned and readily subduable young women). 15 Connie, of course, though barely beyond childhood, detects some kind of referencing research, fakery and suspects that Arnold is neither princely nor youthful. He is, we discover, a complexly fantastic creature of a wholly different composition. Part of him contains a vulgar parody of the impudent, offensive sexuality of the militantly homoerotic culture awkwardly parading itself in johari phd thesis the lineaments of American youthcult. Referencing Paper. But the parody falls back upon on school picnic, itself. Arnold, of all things, even like those scorned, ‘wannabe’ Cinderellas of yore, has feet that simply do not fit where he imagines they should. Whether or not earth-bound in a book satanic affliction, he is a wobbling imposter in the parodic terms by which one’s ultimate worth is valued in johari Cinderella’s and a book paper America’s world--by one’s size--shoe or otherwise--and, of essay structure waikato, relatedly, by referencing research paper, one’s looking “pretty,” one’s inclining oneself to structure waikato university, the deadening music of Bobby King’s eschatalogical “XYZ Jamboree,” and by one’s being singled out for admiration in the process.
This youthcultural requisite signals a special thematic effect in a book in a paper the story. In fact, the till essays morally suspect Arnold cannot maintain the parody of childish human sexuality that he has tarted up. As a thirty-year-old man unsuccessfully passing himself off as a sexually attractive youth of eighteen, he ends up coming across in boorish mockery of that commercially feminized (not feminine) ideal of being “pretty” that the a book research culture he symbolizes vulgarly upholds and pursues: He grinned to essay structure waikato, reassure her and lines appeared at referencing paper, the corners of emerson thoreau, his mouth. His teeth were big and white. A Book In A Research Paper. He grinned so broadly his eyes became slits and she saw how thick his lashes were, thick and big as if painted with a black tarlike material. On School. (38) 16 Reflecting forth his visceral obsessions, Arnold’s sunglasses mirrored back to Connie the image of her blouse.
Flaunting his face, Arnold Friend--whose name sans letter r’s becomes “An Old Fiend”--can exhibit only a diabolic ferocity of appetite. But in his grotesque parody Arnold flashes his own version of the referencing in a ‘winning’ Miss America smile under a heavy curtain of johari phd thesis, eye shadow in a face that is mascara muddied and ‘masked’ in “plastered” makeup, while he teeters about ridiculously in his high-heels, a shaky wig on his head, tight in his pullover and jeans, fretting and referencing paper strutting--wobbling, actually--his hour upon the walkway. Arnold’s wobbling about, as the ramesh stuff of Connie’s dream, evokes another vestige of the grinning hamburger boy who turns about the referencing a book in a drive-in’s steepled roof. He’s virtually everything that one could ever fantasize of an picnic impostor--a phony Prince and a fake Cinderella to boot. Even the music he ‘sings’ in his pitch to a book in a, Connie is dissertations open access, spurious--the rowdy trash of poprock accorded the referencing research paper solemnity of religious hymn. And in his teetering-tottering eminence, male or female, he embodies theovercontrived appeal of virtually every pop icon that the merchandising media have created for public consumption or emulation, from poems emerson thoreau, Presley to a book research paper, Prince, Monroe to Madonna, James Bond to Ken and Barbie, a pin-up culture to a universe of childishly sexual ‘playmates’ and ‘pets.’ Making himself a clumsy joke of how anyone can become a ‘dashing’ prince or ‘beautiful’ princess if one sets one’s life to it, the on school banal Arnold Friend affirms the a book unfortunate truth that for dissertations too many, young women especially, such a ‘dream’ of recreating oneself, whatever its frightening impact, has indeed taken firm hold of the referencing a book in a paper collective psyche. After all, like all that he stalks, he is his culture’s creation. both its dream and nightmare. 17 Arnold, overblown as he is, still plays the Prince, exercising his royal claim, having discovered his “barefoot” lady fair: “‘Seen you that night and thought, that’s the one, yes sir. I never needed to look anymore.’” (42) Complimenting his ladyship’s hair, Arnold shows his breeding as a Prince: “. Till We Have Faces Essays. I thank you sweetheart,” he said with a mock bow, but again he almost lost his balance. He had to bend and adjust his boots. A Book Research Paper. Evidently his feet did not go all the way down; the boots must have been stuffed with something so that he might seem taller. (42-43)
18 To coax her out, this sinister Prince threateningly assures her that, now that her hour has come, there is no father for essay structure waikato her, nor for that matter any fairy godmother with her miracle fowl and a book paper other charmed objects: “ ' Hey, you know that old woman down the road, the one with the chickens and building activity stuff--you know her? ' ” (44) Connie’s eventual answer rings true: “ ' She's dead--she’s--she isn’t here any more– ' ” (45) The suggestion, of referencing in a research paper, course, is that we have--as we always have had--no fairy-tale ending here. No coach and six will await Connie, only a “convertible jalopy” with its mocking cartoon of this pumpkin-faced, grinning Prince of Darkness intent upon taking Connie on structure waikato, another journey, where indeed she may join the dead “old woman down the road.” Arnold’s sing-song voice, given hymnal validation by research, the popculture, accompanies his ever-childish, now-menacing insincerity. He, like Cinderella’s youthful Prince, has come to take Connie away from essays, everyplace where she has been. Connie’s wish upon a star and her death wish have become one. 18 Don Moser, “The Pied piper of in a research, Tuscon: He Cruised in a Golden Car Looking for the Action” in Where (. Johari. ) 19 D. Referencing A Book Research. F. Ramesh. Hurley, “Impure Realism: Joyce Carol Oates’s ‘Where Are you Going, Where Have You Been?’” St (. ) 19 Joyce Carol Oates, in having drawn much of the idiosyncratic detail of Arnold Friend’s parodic quality directly from the a book paper March 1966 Life magazine descriptive account of serial-killer Charles Schmidt, the faces “Pied Piper of Tucson,”18 who in fact fashioned himself after his idol, Elvis Presley, illustrates how fact and fancy in art take on the same confusion as life and art in reality. Most of the details in the descriptive catalogue of Arnold Friend are drawn from the referencing research Life account. The ‘author’ here, then, proves to have been as much a deranged murderer and an ambitious magazine writer as an innocent young lady in dream. We Have Faces. as well as a distinguished and immensely clever writer skillfully bridging these realms. A Book In A Paper. This confusion as to what is real or not and structure where it comes from, long a fascination with Joyce Carol Oates, along with the referencing a book title of her famous story, informs the brilliantly ambiguous portrait of Corky in the Epilogue of her recent novel What I Lived For ,and the astonishingly calm duplicity of Quentin P depicted in her recent novella, Zombie . In this fashion, she suggests, the iniquitous farce of our nowadays plays itself out in the horrid truth of its self-parody found within a child’s honestly contradictory vision of life, America’s escapable dream and ramesh phd thesis inescapable nightmare,19 from which we create what devours us, and blaspheme what we revere. In the seemingly vain, nervous and unsteady emotionalism of a teen-age girl, Oates, from the referencing in a integrity of her art, locates the issues defining the breakdown of building activity, fundamental moral consciousness of a book in a paper, our Age of Appetite in the fantasy of a child-victim whose eventual sacrifices mock our culture’s mindless self-consumptions. Bettelheim, Bruno.
The Uses of till we have, Enchantment: The Meaning and Importance of Fairy Tales.New York: Alfred A. Knopf, 1977. Dowling, Colette. The Cinderella Complex: Women’s Hidden Fear of Independence. A Book Paper. New York: Summit, 1981. Hurley, D.F. Proquest. “Impure Realism: Joyce Carol Oates’s ‘Where Are You Going, Where Have You Been?’” Studies in Short Fiction28 (Summer, 1991), 371-5.
Jamison, Kay Redfield. An Unquiet Mind. New York: Alfred R. Knopf, 1995. Moser, Don. “The Pied Piper of in a research, Tucson: He Cruised in a Golden Car Looking for the Action.” Where Are You Going, Where Have You Been? Ed. Elaine Showalter. Phd Thesis. New Brunswick: Rutgers University Press, 1995, 51-66.
Oates, Joyce Carol. “Where Are You Going, Where Have You Been,” 25-48. Where Are You Going, Where Have You Been. Ed. Referencing. Elaine Showalter. New Brunswick: Rutgers University Press, 1995. Quirk, Tom. “A Source for essay structure university ‘Where Are You Going, Where Have You Been?” Studies in Short Fiction18 (1981), 413-20. Rubin, Larry. “Oates’s ‘Where Are You Going, Where Have You Been?’” The Explicator42 (1984), 57-59. Schultz, Gretchen and Rockwood, R. J. R. “In Fairyland, Without a Map”: Connie’s Exploration Inward in referencing a book Joyce Carol Oates’s “Where Are You Going, Where Have You Been?” Literature and dissertations open Psychology30 (1980), 155-67.”
Ulanov, Ann and Ulanov, Barry. Cinderella Her Sisters: The Envied and a book research paper the Envying. Philadelphia: Westminster, 1983. Wegs, Joyce M. Proquest Open Access. “Don’t You Know Who I Am?” The Grotesque in Oates’s “Where Are You Going, Where Have You Been?” The Journal of Narrative Technique 5 (1975), 66-72. Weinberger, G. J. “Who Is Arnold Friend? The Other Self in Joyce Carol Oates’s ‘Where Are You Going, Where Have You Been?’” American Imago 45 (Summer, 1988), 205-15. Wesley, Marilyn C. “The Transgressive Other of Joyce Carol Oates’s Recent Fiction.” Critique 33 (Summer, 1992), 255-61. 1 Richard Abcarian and referencing a book in a research Marvin Klotz, Literature: Reading and till we have Writing the Human Experience , 7 th Edition. (Boston: Bedford, 2000); Charles Bohner and Dean Dougherty, Short Fiction Classic and Contemporary 4 th Edition (Upper Saddle River: Prentice Hall, 1999); Ann Charters and Samuel Charters, Literature and Its Writers (Boston,: Bedford, 1997); Ann Charters, The Story and research paper Its Writer , 5 th Edition (Boston: Bedford, 1999); Hans P. Building. Guth and Gabriele L. Rico, Discovering Literature (Upper Saddle River: Prentice Hall, 2000); Lee A. Referencing In A Paper. Jacobus, Literature: An Introduction to Critical Reading (Upper Saddle River: Prentice Hall, 1996); Laurie G. Kirzner and Stephen R. Mandell, Literature: Reading Reacting Writing 4 th Edition (Fort Worth: Harcourt, 2000); James H. Access. Pickering, Fiction 100, 8 th Edition (Upper Saddle River: Prentice Hall, 1998) 2 Students focus, of course, on the matter of referencing in a paper, whether Arnold Friend steals off with and faces love murders Connie before they find interesting the issue of whether the crux of the story consists of a dream or an actuality that Connie experiences.
Typically, then, the issue of in a research, what Arnold Friend represents comes into the forefront of structure university, discussions. 3 See the Introduction to the Casebook Where Are You Going, Where Have You Been? edited by Elaine Showalter (New Brunswick: Rutgers University Press, 1995). 4 Gretchen Schultz and referencing a book in a R.J.R. Poems Essays Thoreau. Rockwood, “In Fairyland, Without a Map: Oates’s ‘Where Are You Going, Where Have You Been?” in Literature and Psychology 30 (1980), 1545-67. 5 Bruno Bettelheim, “‘Cinderella’: A Story of Sibling Rivalry and Oedipal Conflicts,” The Uses of referencing a book research paper, Enchantment: The Meaning and emerson Importance of Fairy Tales (New York: Knopf, 1975), p. 524.
6 Bettelheim, p. 531. 7 Jane Yolen, “America’s ‘Cinderella,’” from Children’s Literature in Education, 8 (Curtis Brown, 1977), pp. 21-29. See “Ashputtle” with collateral commentaries, some invoked here, in Laurance Behrens and Leonard J. Rosen’s Writing and Reading Across the Curriculum , 4 th Ed. (New York: Harper Collins, 1991), pp. 312-18. 8 “Walt Disney’s ‘Cinderella’” adapted by Campbell Grant in a book paper Writing and Reading Across the Curriculum , pp.
326-28. 9 All references to the text of “Where Are You Going, Where Have You Been?” are taken from the casebook Where Are You Going, Where Have You Been? Ed. Elaine Showalter (New Brunswick: Rutgers University Press) hereafter cited as “Oates.” 10 In Disney’s , Grimm’s, and Perrault’s versions because Cinderella works she is ‘dirty’ whereas in Oates by its very presence Connie’s smell, associated with her perceived laziness, is repulsive to her mother. 11 The theory that the source of the thesis story’s title is referencing in a paper, “Judges 19:17”, reached by essay picnic, counting thirty-three books from the end of the Jewish Bible (properly, of course, the way to “read” the so-called Old Testament), the a book research 33-19-17 “secret code” written on essay waikato university, the side of Friend’s car, is in a paper, indeed an attractive one. The King Jamesverse line reads “And when he lifted his eyes he saw a wayfaring man in poems essays emerson the street of the city; and the old man said, Whither goest thou?
And whence comest thou?” This account of a man--the man addressed-- and his concubine, who is sacrificed to “the men of the city” who have come to in a research paper, their guest house demanding their pleasure, is activity, strikingly similar to Oates’s basic plot. 12 Larry Rubin, “Oates’s ‘Where Are You Going, Where Have You Been?’” The Explicator 42 (1984), 57-59. 13 Kay Redfield Jamison, An Unquiet Mind (New York: Alfred R. Knopf, 1955). 14 Marilyn C. In A Research Paper. Wesley, “The Transgressive Other of Joyce Carol Oates’s Recent Fiction,” Critique 33 (Summer, 1992), p. 255. 15 Joyce M. Wegs, “‘Don’t You Know Who I Am?’: The Grotesque in thoreau Oates’s ‘Where Are You Going, Where Have You Been?’” The Journal of Narrative Technique 5 (1975), p. In A Research. 67.
Wegs subtlety does justice to Oates’s perspicuity in defining the deflated religious milieu so evident in the story. 16 Colette Dowling, The Cinderella Complex: Women’s Hidden Fear of Independence.(New York: Summit, 1981), pp. 29-30. 17 Ann Ulanov and Barry Ulanov, Cinderella Her Sisters: The Envied and the Envying . (Philadelphia: Westminster, 1983),pp.17-20. 18 Don Moser, “The Pied piper of Tuscon: He Cruised in a Golden Car Looking for the Action” in thoreau Where Are you Going, Where Have You Been? p.51. 19 D. Referencing In A Research. F. Hurley, “Impure Realism: Joyce Carol Oates’s ‘Where Are you Going, Where Have You Been?’” Studies in Short Fiction 28 (Summer, 1991), p. Essay Waikato University. 374. Referencing A Book In A Research Paper. Hurley’s insightful piece on the play of fact and fiction in Oates’s story carries forth commentary from two previous essays in poems essays thoreau Studies in Short Fiction : and A. A Book Research Paper. R. Coulthard’s provocative “Joyce Carol Oates’s ‘Where Are You Going, Where Have You Been?’” Studies in building activity Short Fiction 26 (Fall, 1989), 505-510. Stan Kozikowski , « The wishes and dreams our hearts make in Oates's Where are you going, where have you been? », Journal of the Short Story in English , 33 | 1999, 89-107. Stan Kozikowski , « The wishes and dreams our hearts make in Oates's Where are you going, where have you been? », Journal of the Short Story in English [En ligne], 33 | Autumn 1999, mis en ligne le 18 juillet 2008, consulte le 04 octobre 2017. URL : http://jsse.revues.org/247. Stanislaus J. KOSIKOWSKI est professeur d'anglais a Bryant College, Smithfield Rhode Island.
Il a publie de nombreux essais sur les oeuvres courtes de Cheever, Hawthorne, Hemingway, James, Oates, Poe et Wharton. Il est egalement l'auteur de nombreux articles sur le theatre Tudor et Stuart et ecrit un livre sur l'actualite dans Hamlet . © All rights reserved. 2015 : 64 2014 : 62– 63 2013 : 60– 61 2012 : 58– 59 2011 : 56– 57 2010 : 54– 55 2009 : 52– 53 2008 : 50– 51 2007 : 48– 49 2006 : 46– 47 2005 : 44– 45 2004 : 42– 43 2003 : 40– 41 2002 : 38– 39 2001 : 36– 37 2000 : 34– 35 1999 : 32– 33 1998 : 30– 31 1997 : 28– 29. ISSN electronique 1969-6108. Informations Titre : Journal of the referencing a book research Short Story in English Les cahiers de la nouvelle En bref : Revue franco-americaine consacree aux nouvelles et autres histoires courtes.
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ALTAU LE RELAIS. 25 Avenue Leon Jouhaux 70400 HERICOURT. Soiree d'echange de pratique sur la ville de Dole a 20h - Salle de formation continue - Centre Hospitalier Pasteur a Dole Theme de la soiree : « Burnout et addictions » Inscription [. ] (Mardi) 20:00 - 22:30. 03 84 71 54 20 [email protected] http://ga-fc.fr. 120 Route Nationale. En vertu de l'article 6 de la loi n° 2004-575 du 21 juin 2004 pour la confiance dans l'economie numerique, il est precise aux utilisateurs du site http://ga-fc.fr l'identite des differents intervenants dans le cadre de sa realisation et de son suivi : Proprietaire : Groupement Addictions Franche-Comte – Association Loi 1901 – 120 route Nationale Createur : Philippe LETET Responsable publication : Frederique PAGE – [email protected] Webmaster : Philippe LETET – [email protected] Hebergeur : OVH – 2 rue Kellermann - 59100 Roubaix - France 2. Essay. Conditions generales d’utilisation du site et des services proposes. L’utilisation du site http://ga-fc.fr implique l’acceptation pleine et entiere des conditions generales d’utilisation ci-apres decrites. Ces conditions d’utilisation sont susceptibles d’etre modifiees ou completees a tout moment, les utilisateurs du site http://ga-fc.fr sont donc invites a les consulter de maniere reguliere.
Ce site est normalement accessible a tout moment aux utilisateurs. Research Paper. Une interruption pour raison de maintenance technique peut etre toutefois decidee par Groupement Addictions Franche-Comte, qui s’efforcera alors de communiquer prealablement aux utilisateurs les dates et heures de l’intervention. Le site http://ga-fc.fr est mis a jour regulierement par Frederique PAGE. Poems Essays. De la meme facon, les mentions legales peuvent etre modifiees a tout moment : elles s’imposent neanmoins a l’utilisateur qui est invite a s’y referer le plus souvent possible afin d’en prendre connaissance. 3. Description des services fournis. Le site http://ga-fc.fr a pour objet de fournir une information concernant l’ensemble des activites de la societe. Groupement Addictions Franche-Comte s’efforce de fournir sur le site http://ga-fc.fr des informations aussi precises que possible. A Book In A Research Paper. Toutefois, il ne pourra etre tenue responsable des omissions, des inexactitudes et des carences dans la mise a jour, qu’elles soient de son fait ou du fait des tiers partenaires qui lui fournissent ces informations.
De plus, l’utilisateur du site s’engage a acceder au site en utilisant un materiel recent, ne contenant pas de virus et avec un navigateur de derniere generation mis-a-jour. 5. Referencing A Book In A Research Paper. Propriete intellectuelle et contrefacons. Groupement Addictions Franche-Comte est proprietaire des droits de propriete intellectuelle ou detient les droits d’usage sur tous les elements accessibles sur le site, notamment les textes, images, graphismes, logo, icones, sons, logiciels. Toute reproduction, representation, modification, publication, adaptation de tout ou partie des elements du site, quel que soit le moyen ou le procede utilise, est interdite, sauf autorisation ecrite prealable de : Groupement Addictions Franche-Comte. Toute exploitation non autorisee du site ou de l’un quelconque des elements qu’il contient sera consideree comme constitutive d’une contrefacon et poursuivie conformement aux dispositions des articles L.335-2 et suivants du Code de Propriete Intellectuelle. 6. Till Faces Essays. Limitations de responsabilite. Groupement Addictions Franche-Comte ne pourra etre tenue responsable des dommages directs et indirects causes au materiel de l’utilisateur, lors de l’acces au site http://ga-fc.fr, et resultant soit de l’utilisation d’un materiel ne repondant pas aux specifications indiquees au point 4, soit de l’apparition d’un bug ou d’une incompatibilite. Groupement Addictions Franche-Comte ne pourra egalement etre tenue responsable des dommages indirects (tels par exemple qu’une perte de marche ou perte d’une chance) consecutifs a l’utilisation du site http://ga-fc.fr. Des espaces interactifs (possibilite de poser des questions dans l’espace contact) sont a la disposition des utilisateurs. In A Paper. Groupement Addictions Franche-Comte se reserve le droit de supprimer, sans mise en demeure prealable, tout contenu depose dans cet espace qui contreviendrait a la legislation applicable en France, en particulier aux dispositions relatives a la protection des donnees.
Le cas echeant, Groupement Addictions Franche-Comte se reserve egalement la possibilite de mettre en cause la responsabilite civile et/ou penale de l’utilisateur, notamment en cas de message a caractere raciste, injurieux, diffamant, ou pornographique, quel que soit le support utilise (texte, photographie…). 7. Poems Essays Emerson Thoreau. Gestion des donnees personnelles. En France, les donnees personnelles sont notamment protegees par la loi n° 78-87 du 6 janvier 1978, la loi n° 2004-801 du 6 aout 2004, l'article L. 226-13 du Code penal et la Directive Europeenne du 24 octobre 1995. A l'occasion de l'utilisation du site http://ga-fc.fr, peuvent etres recueillies : l'URL des liens par l'intermediaire desquels l'utilisateur a accede au site http://ga-fc.fr, le fournisseur d'acces de l'utilisateur, l'adresse de protocole Internet (IP) de l'utilisateur. En tout etat de cause Groupement Addictions Franche-Comte ne collecte des informations personnelles relatives a l'utilisateur que pour le besoin de certains services proposes par le site http://ga-fc.fr. L'utilisateur fournit ces informations en toute connaissance de cause, notamment lorsqu'il procede par lui-meme a leur saisie. Referencing In A Research Paper. Il est alors precise a l'utilisateur du site http://ga-fc.fr l’obligation ou non de fournir ces informations. Conformement aux dispositions des articles 38 et suivants de la loi 78-17 du 6 janvier 1978 relative a l’informatique, aux fichiers et aux libertes, tout utilisateur dispose d’un droit d’acces, de rectification et d’opposition aux donnees personnelles le concernant, en effectuant sa demande ecrite et signee, accompagnee d’une copie du titre d’identite avec signature du titulaire de la piece, en precisant l’adresse a laquelle la reponse doit etre envoyee. Aucune information personnelle de l'utilisateur du site http://ga-fc.fr n'est publiee a l'insu de l'utilisateur, echangee, transferee, cedee ou vendue sur un support quelconque a des tiers. Seule l'hypothese du rachat de Groupement Addictions Franche-Comte et de ses droits permettrait la transmission des dites informations a l'eventuel acquereur qui serait a son tour tenu de la meme obligation de conservation et de modification des donnees vis a vis de l'utilisateur du site http://ga-fc.fr. Le site n'est pas declare a la CNIL car il ne recueille pas d'informations personnelles. Proquest Open Access. . Les bases de donnees sont protegees par les dispositions de la loi du 1er juillet 1998 transposant la directive 96/9 du 11 mars 1996 relative a la protection juridique des bases de donnees.
8. In A Research. Liens hypertextes et cookies. Le site http://ga-fc.fr contient un certain nombre de liens hypertextes vers d’autres sites, mis en place avec l’autorisation de Groupement Addictions Franche-Comte. Cependant, Groupement Addictions Franche-Comte n’a pas la possibilite de verifier le contenu des sites ainsi visites, et n’assumera en consequence aucune responsabilite de ce fait. La navigation sur le site http://ga-fc.fr est susceptible de provoquer l’installation de cookie(s) sur l’ordinateur de l’utilisateur. Poems Emerson. Un cookie est un fichier de petite taille, qui ne permet pas l’identification de l’utilisateur, mais qui enregistre des informations relatives a la navigation d’un ordinateur sur un site.
Les donnees ainsi obtenues visent a faciliter la navigation ulterieure sur le site, et ont egalement vocation a permettre diverses mesures de frequentation. Le refus d’installation d’un cookie peut entrainer l’impossibilite d’acceder a certains services. Referencing A Book Paper. L’utilisateur peut toutefois configurer son ordinateur de la maniere suivante, pour refuser l’installation des cookies : Sous Internet Explorer : onglet outil (pictogramme en forme de rouage en haut a droite) / options internet. Cliquez sur Confidentialite et choisissez Bloquer tous les cookies. Essay Structure Waikato University. Validez sur Ok. Sous Firefox : en haut de la fenetre du navigateur, cliquez sur le bouton Firefox, puis aller dans l'onglet Options. Cliquer sur l'onglet Vie privee. Referencing A Book Research. Parametrez les Regles de conservation sur : utiliser les parametres personnalises pour l'historique. Building Activity. Enfin decochez-la pour desactiver les cookies.
Sous Safari : Cliquez en haut a droite du navigateur sur le pictogramme de menu (symbolise par un rouage). Selectionnez Parametres. Cliquez sur Afficher les parametres avances. Dans la section Confidentialite, cliquez sur Parametres de contenu. Referencing Research. Dans la section Cookies, vous pouvez bloquer les cookies. Sous Chrome : Cliquez en haut a droite du navigateur sur le pictogramme de menu (symbolise par trois lignes horizontales). Waikato University. Selectionnez Parametres.
Cliquez sur Afficher les parametres avances. Dans la section Confidentialite, cliquez sur preferences. Dans l'onglet Confidentialite, vous pouvez bloquer les cookies. 9. Referencing In A Research. Droit applicable et attribution de juridiction. Tout litige en relation avec l’utilisation du site http://ga-fc.fr est soumis au droit francais. Il est fait attribution exclusive de juridiction aux tribunaux competents de Paris. 10.
Les principales lois concernees. Loi n° 78-17 du 6 janvier 1978, notamment modifiee par la loi n° 2004-801 du 6 aout 2004 relative a l'informatique, aux fichiers et aux libertes. Loi n° 2004-575 du 21 juin 2004 pour la confiance dans l'economie numerique. Utilisateur : Internaute se connectant, utilisant le site susnomme. Informations personnelles : « les informations qui permettent, sous quelque forme que ce soit, directement ou non, l'identification des personnes physiques auxquelles elles s'appliquent » (article 4 de la loi n° 78-17 du 6 janvier 1978).