Literary Terms (Cliche-Inversion) Essay Example

Literary Terms (Cliche-Inversion) Paper Cliche is a word or phrase, often a figure of speech, that has become lifeless because of overuse Colloquialism a word or phrase in everyday use in conversation and informal writing but is inappropriate for formal situations Comic Relief the use of a comic scene to interrupt a series of intense dramatic moments Conflict the struggle between opposing forces or characters in a story External Conflict conflicts can exist between two people, between a person and nature or a machine, or between a person and a whole society Internal Conflict a conflict can be internal, involving opposing forces within a persons mind Connotation the associations and emotional overtones that have become attached to a word or phrase, in addition to its strict dictionary definition Consonance repetition of internal or ending consonant sounds of words close together in poetry Deus Ex Machina improbable resolution involving the intervention of some outside force Denotation literal dictionary definition of a word Dialect a way of speaking that is characteristic of a certain social group or of the inhabitants of a certain geographical area Diction a speaker or writers choice of words Explication act of interpreting or discovering the meaning of a text, usually involves close reading and special attention to figurative language Euphemism word consciously chosen for its pleasant connotations passed away instead of died Fable a very short story told in prose or poetry that teaches a practical lesson about how to succeed in life Farce a type of comedy in which ridiculous and often stereotyped characters are involved in silly, far-fetched sitiuations Figurative Language words which are inaccurate if interpreted literally, but are used to describe. Similes and metaphors are common forms Flashback a scene that interrupts the normal chronological sequence of events in a story to depict something that happened at an earlier time Foil a character who acts as a contrast to another character. Often a funny side kick to the dashing hero, or a villain contrasting the hero Foreshadowing the use of hints and clues to suggest what will happen later in a plot Hamartia tragic flaw which causes a characters downfall Hyperbole a figure of speech that uses an incredible exaggeration or overstatement, for effect Hubris tragic flaw of overwhelming pride Idiom an expression whose meaning is not understood from the literal translation it is raining cats and dogs Imagery the use of language to evoke a picture or a concrete sensation of a person, a thing, a place, or an experience In Media Res beginning in the middle of the action Inversion the reversal of the normal word order in a sentence or phrase

Differences Between Denmark and the United States of America Essay Example

Differences Between Denmark and the United States of America Essay Example Differences Between Denmark and the United States of America Paper Differences Between Denmark and the United States of America Paper There are many cultural differences when coming to a new country, especially when being only fifteen. Arriving in a new country by yourself is scary, mostly when you do not know the culture, and more importantly, the language. In my first weeks of being here, I really did not notice the differences, but as the time goes on, I notice more and more. One of the major differences noticeable Is the Danish school systems, is in the U. S. You will not have a first-name relationship with your teacher. If you call a teacher by their first name, even If you have a close relationship with them outside of school, you ill get yourself into trouble. You would address them as Mr.. Mrs.. Or Ms. Another thing about American school, is we have a set schedule for everyday, from about eight in the morning to three in the afternoon. In Denmark, the school hours and schedule resemble that of a college schedule. If the teacher happens to be sick, of not able to make the class, you would have a substitute teacher, instead of having the class cancelled. In most schools, you would have gym one day, and a science lab the other day. This does not occur In Denmark because of the four period day, and avian each class for an hour and a half instead of forty minutes. Computer usage in Denmark is substantially larger than in the U. S. Usually, computers are only used for projects that computers are absolutely needed for. If you bring your computer to class, have it out, and it is not requested that you bring it, that is also another way of getting into trouble. This also applies to cellophanes. Cellophanes are prohibited In my school except during the lunch break. In the U. S. Cursing In the classroom Is not acceptable. Occasionally If the teacher Is using It as an example It Is okay to then use t only if it applies to the lesson. I have noticed more and more throughout my elementary, middle, and high school years, cursing in the school setting has not been so looked down upon, but is still very disrespectful. I have noticed in Denmark that the students and teachers are very open about what is discussed in the classroom. Personally, I think people are better educated when they have open conversations. Before my arrival In Denmark, I have heard and read many things about everyone wearing black, gray, white, the occasional baby pink, AND more black. I never realized how true this was until I got here. In many places in the United States, there is much more color worn, especially bright and flashy colors. These colors are said to express your style, but where I come from, dark colors are mainly worn, possibly because of the extremely long winters. Where I live, in upstate New York, basically in the middle of nowhere, we have a very European, and to be more specific Scandinavian style, to go along with the fair amount of cowboy boots, plaid shirts, and camouflage hats. Immigration rate is also a big difference. In the United States, 12. 8% of the population is foreign-born. In Denmark, 10. Of the people are immigrants, and included in that number, are descendants of the immigrants. I dont really have the opportunity to interact with the foreign population other than exchange students and nurses obtaining parts of their degrees at the local hospital, because I live in rural blinding effect on young people who dont get out to do much in larger cites, because they believe they are the only people who matter, which is definitely not true in the least. In the United States, drinking and smoking at a young age are common, but illegal. The legal drinking age in New York is 21 . That includes buying, and ingesting. It is in fact legal to drink alcohol if you are in the presence of your parent. To buy cigarettes, the legal age is 18, but it is legal to smoke them if under that age. You will not see many teenagers smoking cigarettes in public, but in the privacy of their own home, a few amount do. Here, in Denmark, I have noticed it is not uncommon to see fifteen year-olds walking around the city drunk at night on the weekends, but that is perfectly acceptable. Danish teenagers are very smart about their decisions, especially with alcohol. It is the culture here. American teenagers are not as smart. The driving age is also much higher in Denmark. To get your full license (permission to drive after 9 PM (21 :O) during autumn, winter, spring, and summer), in some states it is usually 16 or 17. In the state of Florida and some parts of New York, it is 15. In Denmark, the cars have some slight differences. Everyone here drives stick shift. There is no manual, which most of the newer cars in the U. S. Are manual. The temperature is also in Celsius, (as it is in every other part of the world) but it still threw me off in my first few weeks of living here. For living in the second largest city in a country, I was expecting there to be many more cars, but then soon realized how expensive cars are, and how much Danes rely on public transport. In larger cities in the U. S. There are busses and trains. In small towns, there are only such things as school busses, and the occasional bus that goes to the next larger city about an hour and a half away. In Denmark, busses and trains go almost everywhere. Which is amazing. Bikes are also used on a daily basis, EVERYWHERE. I did not realize bikes are as big as they are. It is mind blowing.

Life Style Sciences Essay Example | Topics and Well Written Essays - 1000 words

Life Style Sciences - Essay Example As the report declares if statements as the following are readily made by the EPA one wonders why some products are still available for home use. "In addition, some literature suggests children with asthma may be affected by other pollutants found in schools from such sources as un-vented stoves or heaters and common products such as cleaning agents, perfumes, and sprays." (EPA) At the same time, under their section "Asthma and Indoor Environments," you'll read: "Learn more about factors found in the indoor and outdoor environment that can cause, trigger, or exacerbate asthma symptoms and what you can do to reduce their impact. You might be surprised by the list of common environmental asthma triggers and how simple it can be to eliminate them from your environment." This paper stresses that children can be exposed to a number of air pollutants that come from sources inside homes, schools, and other buildings. Indoor sources include combustion sources such as gas stoves, fireplaces, and cigarettes; building materials such as treated wood and paints, furnishings, carpet, and fabrics; and consumer products such as sprays, pesticides, window cleaners, and laundry soap. Indoor air pollutants also can come from outside, as air pollution penetrates indoors. Information on the toxic effects of air pollutants from indoor sources indicates that they could pose health risks to children.

Art critique Essay Example | Topics and Well Written Essays - 250 words - 1

Art critique - Essay Example In most cases, the illuminations covered greatest parts of the pages of Bibles (Gardner and Fred 19). The amount of illumination manuscripts was large to the extent of increasing the weight of Bible. The illuminated manuscripts of the time had brightly colored gold background. The decoration style limited to religion, and artists could only change by improving ability of the work to send more religious messages to people. The figures were flat and formed two dimensions and having draperies made to form geometric shapes. The Gothic art such as those created by Simon Martini has few and small size texts in the pages. Large part of the Gothic manuscripts had gold, and rarely silver around the margins. The illumination during the Gothic period was moving from the Romanesque style that focused more on religious connotations. The Gothic manuscripts diversified and changed to catch up with the current events and environments. For instance, the Limbourge Brothers did a fantastic work by doing landscape painting (Gardner and Fred 33). The work was a sign of diversification of art to start appreciating the environmental

Taxation Essay Example | Topics and Well Written Essays - 1750 words

Taxation - Essay Example Your sources should be fully referenced. (i) Compliance with tax laws: it is the sole duty of tax practitioner to make sure that the clients of the accounting firm comply with all the tax laws as they affect their income, benefits, savings, investments etc. This will prevent a situation whereby tax laws are intentionally or unintentionally broken by people. In the preparation of payroll in accounting process, it is important that tax matters must be ironed out to ensure compliance with tax laws (Gowthorpe and Blake, 1998) (ii) Tax evasion as a crime: The tax practitioner makes sure that people understand that tax evasion is a serious crime that is punishable by prison terms. Ordinary people do not understand this fact, hence it is the responsibility of the tax practitioner to sound the warning in the hearing of the people (Gowthorpe and Blake, 1998). Most importantly, the agents and advisers are easily accessible to the businesses and individuals that want to settle their tax issues. They give tax advice and provide the following tax resources (forms, manuals and tax resources): (1) PAYE forms for employers; (2) Self Assessment Vat form; (3) Corporation Tax form; (4) Tax Credits Manuals; (5) Capital Gains tax form; (6) Tax and Trusts forms etc (HMRC, 2010). Question 3: There are various ways in which the Chancellor can regulate the spending power of individuals in his annual budget. Explain these measures and evaluate the impact on the net income after tax, of an individual aged under 65 with total income comprising earned income of  £ 40,000, by comparing 2008/9 tax rates and allowances with those of 2009/10. (a) Reducing Taxes: when taxes (income, corporation, property etc) are reduced, this will encourage people to spend more. This entails that the tax rates are made lower comparable to that of the preceding or succeeding fiscal year (Weir & Beetham, 1999). (b) Increase Taxes: On the other hand, the

Deconstruction Theory in Architecture

Deconstruction Theory in Architecture â€Å"Architecture is understood as a representation of deconstruction, the material representation of an abstract idea†.[1] Architecture is the art of space: its visual form, its dimensions and scale, the quality of its light- all of these qualities depend on our perception of the spatial boundaries defined by elements of form. As space begins to be captured, enclosed, molded and organized by the elements of mass, architecture comes into being.[2] In 1995, the Victoria and Albert Museum has announced plans for an expansion of their exhibition spaces. After a massive competition, the design that featured a six-story structure dubbed â€Å"The Spiral† by an architect, Daniel Libeskind has chosen by the museum. But the Victoria and Albert Museum has discarded the plan for the expansion, because of the harsh criticism from the press and scholars, as well as lack of funding. When the Victoria and Albert Museum declined the deconstruction style, other museums around the world have come to grasp it.[3] I have found that buildings and museums which with the existence of Deconstructivism both as development and completely new architectures. In this paper, I focus my studies on how philosophical theory of Deconstruction by Jacques Derrida applies to architecture design, specifically in museum settings. I have focused how deconstructivism theory has entered into the realm of architecture as well. Within this paper, I demonstrated how the style of deconstructivism works within a defined and systematic space for exhibition and the impact of this philosophical theory. Before finding the definition of deconstruction in the field of architecture, Jacques Derrida has been philosophical movement with Deconstruction as its foremost philosopher and Martin Heidegger’s writing as the roots. Deconstruction is a school of philosophy that originated in France in the late 1960s. Jacques Derrida was born in El Bair, Algeria in 1930 to Spanish immigrant parents. In 1948 he began his studies of philosophy in France after completed his baccalaureate. He presented his paper at Johns Hopkins University in 1966, where his work became eminence.[4] In the 20th century, Deconstruction symbolizes a complicated response to a range of theoretical and philosophical movements, most particularly Husserlian phenomenology, Saussurean and French structuralism, and Freudian and Lacanian psychoanalysis. German philosopher Martin Heidegger’s Destruktion and Abbau is where the term â€Å"deconstruction† acquires. Heidegger has developed the major foundation bec ame major theory of post-structuralist thinkers, such as Jacques Derrida. Derrida asserts those terms is literally a â€Å"translation’ and what is interpreted is architectural. He describes that Destruktion means â€Å"not a destruction but precisely a destructuring that dismantles the structural layers in the system† and Abbau means â€Å"to take apart an edifice in order to see how it is constituted or deconstituted†.[5] â€Å"Within architectural circles much confusion surrounds the term ‘deconstruction’†.[6] Architectural deconstruction can be expressed as a trend to design with the outcome of chaos, even though the translation of Deconstruction philosophical theory into architectural fundamental has never state clearly. The outcomes are geometrically abstract, apparently unplanned architectural forms. The architects who grasp this philosophy like try to plan architectural details that seem to be output of dismantling, displacement, deformation or partial demolition of pre-existing edifices’.[7] In 1998, the exhibition titled â€Å"Deconstructivist Architecture† presented by Philip Johnson and Mark Wigley, has marked a turning point in the very essence of architecture. The event held at the Museum of Modern Art in New York has presented the work of seven architects to the public and have been summarized with the generic brand of â€Å"Deconstructivist Architecture †.[8] The results are geometrically abstract, seemingly random architectural forms. The architects who embrace this theory thus try to design architectural elements that seem to be products of ‘dismantling, displacement, deformation, or partial demolition of pre-existing edifices.[9] Deconstruction provides a related way to architecture when its objective in philosophy asserts the need to comment current thought. The design is a clear deviation from earlier conventions and esthetics of architecture when first identified.[10] Nevertheless, the theory is I want to relate the previous assertion that deconstruction introduces initially with the existence of a formed object. The characteristics of Deconstructivism architecture essentially use fractured forms that deviate from the previous model of architectural construction.[11] Architect use these forms of acts as a way to deconstruct the concept and guidance to access a building. They are capable to use the philosophical an d dramatic structures combined with Deconstructivism, in order to deconstruct the former ethic in architecture designs. Nevertheless the philosophy of deconstruction can be used to clarity the architecture design, it can also remark the inquiry about the museum as a concept and how it affects the architecture design. I have discovered that there was a direct shift in the function of museum and its attitude in the cultural landscape in my research. I would like to analyze the shift as not origin, but the changes which reflected in museum design. I will also analyze the stylistic changes with the issues of a new objective of museum. This shift in relation to the objective of museum is regarding the practice of deconstructing the model in order to further the structure towards different speculation and function. Another essential shift in this research is the purpose of museum itself, while research about the analysis of the shift approaching design museum with deconstruction. Nowadays, in most of the capital cities, museums are recognized as cultural academy. Museums are playing a role of showing the value of culture in our society and mostly the visits are for educational and tourism purposes.[12] In those years, first museum in Western Europe was initially to assemble private collections, which museums nowadays are diverging the authentic use and status of museums. In past, the private collections were belonging to aristocracy and the royal families, their status and knowledge of the museum’s owners were determined by the quantity of collection.[13] The use of a museum as an academy completely to the exclusive is in direct opposition with how nearly all museums are seen nowadays. Most of them have moved from the cabinet paradigm into the new perspective of museum as entertainment. Nowadays, museum visits have become the significant part of the tourism trips as well as promoted as cultural academy.[14] This has assembled as a turning point in the design and layout of museums nowadays. This turning point in the proposed purpose of the museum has turned from an exclusive academy to cultural playground. The influence of turning the concept of museum is bigger than the visitor of museum. In this research, I want to figure out will changing designs of museums with deconstruction affect the purpose of museums. In this research, I have focused on few museums which designed with deconstruction. The museums are the Militarhistorisches Museum (translated â€Å"Military History Museum†) in Dresden, Germany; Jewish Museum in Berlin, Germany; Phaeno Science Center in Wolfsburg, Germany and Vitra Design Museum in Weil am Rhein, Germany situated outside of Basel, Switzerland. These museums are designed by three outstanding architects, who are Frank Gehry, Daniel Libeskind and Zaha Hadid. Frank Gehry and his architecture design is important in deconstructivism, his influence over Deconstructivism in architecture is great. He also acknowledged as the most significant architect and his design is presented across worldwide. For this research, I have chosen one of his architecture design as one of my research topics, which is the Vitra Design Museum which is a museum for design that located at Weil am Rhein,Germany. In addition, the other reason I have chosen Vitra Design Museum is this museum was one of the examples of fractal architecture[15] in museum composition. Vitra Design Museum was Gehry’s first persuasive architecture designed with Deconstruction style and acknowledged an aspect of Deconstructivism in a smaller scale. The location of this museum is within the campus of Vitra furniture manufacturing company outside of Basel, Switzerland and completed in 1989. Vitra Design Museum is conspicuous since it is Gehry’s first architecture design in Europe. [16] Regardless of the scale of this design is modest, the architecture turned up as a practical work of deconstructivism with a combination of towers, ramps and cubes. The exhibition area is in 700 square metres over two floors. Throughout the faà §ade, the design has promoted Gehry’s specific angular shapes and component. At the same time, it also showed that the starting point of his using curves in his architecture design.[17] The vault is built in cement material and designed upward to maximum the capacity of area for this comparatively small museum. Since there is no window on the faà §ade, the scattered skylights are where the natural light entering. These skylights can be open or close depends on exhibit’s requirement. Furthermore, another museum which also designed by Frank Gehry in deconstruction style is the MARTa Museum in Herford, Germany. This museum is completed in 2005, a smaller architecture of Gehry’s committed to present contemporary works. Similarly, Gehry has applied the similar elements of Vitra Design Museum to MARTa Museum, which are the waving forms that involve the faà §ade and roof. The faà §ade is built by brick, and then the stark metal plating is using on the roof and entrance area. Besides, another similar feature is the skylights which allow the flow of natural lighting and adjustable are placed in the exhibition space as well as the lecture hall. The notable use of fractal and angular forms which influenced by Gehry has left major impact on Deconstructivism architecture and dominates the style. Besides, Daniel Libeskind is another noteworthy Deconstructivist, his design of the Victoria and Albert Museum’s expansion project, â€Å"Spiral†. In that design, â€Å"Spiral† consists of various fractal structures, which has develop into his trademark style in most of his designs. These can be seen in his designs of museums which located in Dresden and Berlin. The signature fractal forms of Libeskind have featured on the Militarhistorisches Museum (translated â€Å"Military History Museum†). In 2011, the museum was extended and reopened afterwards. The architectural expansion is a triangular wedge in dark grey metal, literally popped outward from the original building, which is in in ivory coloured structure built during the early twentieth century. The five-storey pointed steel and glass shard of triangular wedge has made the Militarhistorisches Museum as the largest museum in Germany. The sharp tip of the triangular wedge is pointed towards east, which is the point of firebombs dropped during the war. Besides, the city skyline in the west can be view from the rooftop viewing platform which is 30 metre-height.[18] Moreover, the Jewish Museum Berlin has made his eminence in Deconstructivism architecture, while the Militarhistorisches Museum is one of the latest designs added into his portfolio. The project of Jewish Museum Berlin is highlighting on Jewish history.[19] The design has known as â€Å"Between the Lines† and the title of design is named for various reasons, also it has selected in the design competition. The main building is characterized by two broad line-shaped.[20] The first line is a fragmented-linear outline of the main exhibition building; the second line is a theoretical straight line that cut across the building in conjunction with its thematically placed voids. The voids are used for indicting the presence of line by fitting in accordance with this line. There is also a garden of columns in this architec ture, where the cube forms rectangular model in the complete structure.[21] Hence, the architecture is designed with fragmented shapes and angles. Similarly with Frank Gehry and Daniel Libeskind, Zaha Hadid is another architect who used forms and shapes with deconstruction style in her architectural design. Hadid is an Iraqi-born architect based in London, United Kingdom, her design style is more to large fractal forms. Nonetheless, she is renowned for dramatic and organic style which is visible in her architectural design. One of her designs which designed with organic forms is the Phaeno Science Center in Wolfsburg, Germany that completed in 2005. The form of architecture is like a platform standing with angular forms. The architecture is built with stark concrete walls in smooth finishes, its faà §ade beautify with speckled outlined pattern windows. The shaped windows are mirrored throughout the interior of structure, which consist of platforms, stairwells, and doorways. Hence, the Phaeno Science Center is diverged from the other architecture and designed as the whole structure which enclosed within one organic and solid model. I have studied at several particular elements of the design between these museums as well as their exhibition spaces. In this research, I have identified the way deconstructivist designed museums and how deconstructivism affects the museum designs. Firstly, interior design of deconstructivism museum has affected the exterior design. This can be seen in most of the museums which I have researched. The design has movement effects from the exhibition areas to the benches along walls towards the interior of museum. I have noticed that the architectural trends of deconstructivism museums, the style how the deconstructivist designed the elements, such as doorways, benches, windows, mostly related to the background of museum. So, analyzing the interior of deconstructivism museum is essential, as a museum which designed in deconstruction style will affects the visitors’ perspective view of artworks which displayed in the space. [1] Wigley, M. (1993) The Architecture of Deconstruction: Derrida’s Haunt. Cambridge: MIT Press. [2] Ching, F. D. K. (2007) Architecture: Form, Space, and Order. New York: John Wiley Sons [3] Mandry, S. (2013) ‘Ordered Chaos: the Negotiation of Space in Deconstructivist Museum Buildings’, University of Puget Sound. [ONLINE] Available at: http://soundideas.pugetsound.edu/summer_research/202/. [Accessed 14 March 2014]. [4] Norris, C. (1987) Derrida. Cambridge : Harvard University Press. [5] Wigley, M. (1993) The Architecture of Deconstruction: Derrida’s Haunt. Cambridge: MIT Press. [6] Leach, N. (2005) Rethinking Architecture: A reader in Cultural Theory. London: Routledge. [7] Sallingaros, N. A. (2004) Anti-Architecture and Deconstruction. Germany: Umbau-Verlag. [8] Johnson P. and Wigley, M. (1988) Deconstructivist Architecture. New York: The Museum of Modern Art. [9] Sallingaros, N. A. (2004) Anti-Architecture and Deconstruction. Germany: Umbau-Verlag. [10] Newhouse, V. (1998) Towards a New Museum. New York: The Monacelli Press. [11] Norris, C. (1987) Derrida. Cambridge : Harvard University Press. [12] Newhouse, V. (1998) Towards a New Museum. New York: The Monacelli Press. [13] Giebelhauseun, M. (2006) â€Å"Museum Architecture: A Brief History,† A Companion to Museum Studies. Ed. Sharon Macdonald. Oxford: Blackwell Publishing. [14] Newhouse, V. (1998) Towards a New Museum. New York: The Monacelli Press. [15] â€Å"Fractal architecture model represents a hierarchical structure built from elements of a single basic design.† Tirpak, T. M., Daniel, S. M. LaLonde, J. D. and Davis, W. J. (1992) A Note on a Fractal Architecture for Modelling and Controlling Flexible Manufacturing Systems.IEEE Transactions on Systems, Man, and Cybernetics. [ONLINE]. Vol. 22, May/June, pp. 564. Available at: http://ieeexplore.ieee.org/stamp/stamp.jsp?tp=arnumber=155958[Accessed 08 April 2014]. [16] Newhouse, V. (1998) Towards a New Museum. New York: The Monacelli Press. [17] Cohen, J. L., Colomina, B., Friedman, M., Mitchell, W. J. and Ragheb, J. F. (2001) Frank Gehry, Architect. New York, NY: Guggenheim Museum Publications. [18] Dezeen Magazine. (2011)Dresden Museum of Military History by Daniel Libeskind. [ONLINE] Available at: http://www.dezeen.com/2011/09/29/dresden-museum-of-military-history-by-daniel-libeskind/. [Accessed 02 April 2014]. [19] Schneider, B. (2004) Daniel Libeskind: Jewish Museum Berlin. Munich, Germany: Prestel Books. [20] Jencks, C. (2002) The New Paradigms in Architecture. New Haven, CT: Yale University Press. [21] Schneider, B. (2004) Daniel Libeskind: Jewish Museum Berlin. Munich, Germany: Prestel Books.

The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century

The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination "And the lady of the house was seen only as she appears in each room, according to the nature of the lord of the room. None saw the whole of her, none but herself. For the light which she was was both her mirror and her body. None could tell the whole of her, none but herself" (Laura Riding qtd. by Gilbert & Gubar, 3). Beginning Gibert and Gubar’s piece about the position of female writers during the nineteenth century, this passage conjures up images of women as transient forms, bodiless and indefinite. It seems such a being could never possess enough agency to pick up a pen and write herself into history. Still, this woman, however incomprehensible by others, has the ability to know herself. This chapter of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, titled â€Å"The Queen’s Looking Glass,† discusses how the external, and particularly male, representations of a woman can affect her so much that the image she sees in the mirror is no longer her own. Thus, female writers are left with a problem. As Gibert and Gubar state, â€Å"the woman writer’s self-contemplation may be said to have begun with a searching glance into the mirror of the male-inscribed literary text. There she would see at first only those eternal l ineaments fixed on her like a mask†¦Ã¢â‚¬  (Gilbert & Gubar, 15). In Charlotte Brontà «Ã¢â‚¬â„¢s Villette, the narrator and heroine Lucy Snowe is faced with a great deal of â€Å"reflections† which could influence her self-image and become detrimental to her writing. However, she is aware that the mirrors she finds, whether the literal mirror of the looking glass or her reflection in other characters’ ... ... authors insisted that they are† (43). However, instead of doing â€Å"fiery and suicidal tarantellas out of the looking glass,† (44) Lucy Snowe decides to ignore the inaccurate representations in the mirrors around her and focus her energies toward constructing a mirror of her own – the â€Å"circular mirror of crystal† she is always searching for but that can only be found in the text itself. The line Gilbert and Gubar apply to Brontà « and other successful women writers is also valid for Lucy. â€Å"The old silent dance of death became a dance of triumph, a dance into speech, a dance of authority† (44). Works Cited Gilbert, Sandra M. and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale UP, 1979. O’Dea, Gregory. â€Å"Narrator and Reader in Charlotte Brontà «Ã¢â‚¬â„¢s Villette.† South Atlantic Review 53.1 (1988): 41-57.