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Essay Instructions: Using John Donne's poem "The Cannonization" and the introductory paragraph/thesis which I have already prepared, prove the paragraph and thesis true. You must use 6 sources, only 2 of which may be websites. Scholarly articles and web journals do not count as websites. The introductory paragraph is as follows:

"John Donne’s The Canonization begins relatively simply, as a familiar lyrical ode to his mistress. Gradually it deepens in meaning while approaching the final verses, where Donne reveals the true complexity of his vision of love. The Canonization is undoubtedly still a love poem; it revels in theatrical descriptions of the love he and his beloved share. But there are also many layers of meaning and irony behind the words he chooses to express his feelings. The Canonization is brimming with powerful imagery and symbols, witty jabs at other poets and Elizabethan English society, and a playfully blasphemous attitude toward religion. Although Donne was ordained as a priest and therefore was presumably quite religious, many of his poetic works demonstrate his questioning of society’s deemed superiority of religious love over romantic love. His love poetry often contains naturalistic, vivid bodily and sexual imagery that subverts traditional Petrarchan metaphors for love. In Elegie VIII, Donne compares drops of dew on a rose to drops of sweat on his lover’s breast (Lederer 194). He also utilizes the rather grotesque image of a flea sucking and mingling both his and his beloved’s blood, used as a metaphor to justify her losing her virginity to him in The Flea. Donne never shies away from describing or alluding to the sexual aspect of his romantic relationships in his poetry. He makes it clear that the love he is speaking of is not dreamy, unrequited love but reciprocal, passionate and physical. The opinion of the public referred to in The Canonization condemns the lovers, so we can assume they are not married. Therefore their passion is in direct opposition to the Church’s prescriptions. This is what makes the conceit of lovers as saints in The Canonization so interesting. Through his use of sexual and religious imagery and emblems in The Canonization, Donne suggests that romantic love and religious love are more similar than different, as both represent a desire for unity and spiritual fulfillment."

The introductory paragraph which I included should not be included in the over all word or page count for the paper. Paper should use a variety of examples and quotations.
Customer is requesting that (cdbrychalk) completes this order.

Essay Instructions: I need an Eng Lit termpaper on John Donne with three topics (1) His metaphysical wit (2) His Religious Devotion (3) The Violent Yoke -- Defined by Dr. Johnson as "a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike... The most heterogeneous ideas are yoked by violence together." I also need footnotes at the bottom of the pages or on a seperate page. And I also need a bibliography page. All sources and information must be based on John Donne''s poetries and other poets critical analysis of Donne and his work. In particular -- T.S. Eliot "The Metaphysical Poets" -- Cleanth Brooks "The Language of Paradox" -- Helen Gardner "The Religious Poetry of John Donne". Any of his poems can be used but in particular "A Valediction Forbidding Mourning", "Loves Usury", "The Paradox", "The Canonization", "Loves Infinitenesse", "The Flea", "The Will" and his "Divine/Holy Sonnets". The first paragraph should be about Donne''s complex paradoxical world and his poems that best explores this. The use of citations or quotations must be balanced with the amount of the writers own ideas. Each page must be double-spaced #12 font. Termpaper must be in Microsoft Word format or file. The termpaper must be in MLA format.

Essay Instructions: Objective:
The chapter would pursue the question what are the similarities and differences between ‘The City of Joy’ (1985) by Dominique Lapierre and ‘Song of Kali’ (1985) by Dan Simmons with regard to the theme of fascination-repulsion that inspires the Occidental spatial imaginary of Calcutta. By comparing and contrasting these two popular novels, both embodying the white men’s journey into the other space of the Other, the chapter seeks to achieve a two-fold objective. First, to provide insight on the speculations of the authors on alterity (otherness). Second, to examine the discursive practices of these novels that are in maintenance and production of the spatial metaphors of Calcutta like ‘The City of Dreadful Night’ and/or ‘The City of Joy’. The chapter would further argue that these spatial metaphors commonly sought and employed to imagine and represent Calcutta, are redolent of what Peter Stallybrass & Allon White called “phobic enchantment” of the Occidental social imaginary for the poverty, squalor and the horror of the Third World.

Methodological approach to be used: Textual analysis (detailed interpretation of key passages/images/symbols/metaphors/scenes/situations, narrative techniques & meaning structures to demonstrate how they contribute and relate to the central themes of the novels) complemented by a sociological reading of the world views (ideologies) reflected in the novels. (The biographies of the authors & the summaries of the novels are not required). The methodological approach must be relevant to and consistent with the approaches generally used in the domain of Cultural Studies for fictional analysis.

Main axes of analysis:
a) Fascination?"Repulsion: (On this aspect 15 more pages in addition to what follows here as guidelines)
[What Allon White and Peter Stallybrass have said about the transgressive nature of the ‘high’ cultures can be the contention of this chapter. They say: “Again and again we find a striking ambivalence to the representations of the lower strata (of the body, of literature, of society, of place) in which they are both reviled and desired. Repugnance and fascination are the twin poles of the process in which a political imperative to reject and eliminate the debasing ‘low’ conflicts powerfully and unpredictably with a desire for this Other.” (A reader in the Anthropology of Religion, Michael Lambek (ed.), Malden, Blackwell Publishing Ltd, 2002, p. 278.) According to them, the ‘high’, culture “continuously defined and re-defined itself through the exclusion of what it marked out as low as dirty, repulsive, noisy, contaminating, Yet that very act of exclusion was constitutive of its identity. The low was internalized under the sign of negation and disgust. But disgust always bears the imprint of desire. These low domains, apparently expelled as "Other," return as the object of nostalgia, longing and fascination. The forest, the fair, the theatre, the slum, the circus, the seaside-resort, the "savage": all these, placed at the outer limit of civil life, become symbolic contents of bourgeois desire.” (Stallybrass, Peter and White, Allon. The Politics and Poetics of Transgression. Ithaca, Cornell UP, 1989, p.191.) ]
The Inferno-esque horror myth, the obscenity of poverty, the civic disorder, the disgust of urban blight, provide the inspirations for both the authors. Their works manifest, one can argue, the Centre’s (First World’s) fascination with and attraction to the ‘spectacle’ of misery of the periphery (Third World). Both the books captures this Inferno-esque ‘spectacle’, that at once enthralls & repels the Western imagination, and they themselves are representative of the Western phobia and fascination of the city.
Both the novels reveal a shared allegiance to the Kipling-esque identification with Calcutta as a ‘City of Dreadful Night’. The Kipling link becomes evident when we consider the manner in which both Simmons & Lapierre travel the Kipling’s trope of ‘a descent into the city’s underworld modeled on Dante’s Inferno’.
For instance, inspired by Kipling’s exploration of Calcutta as an ‘off-limits’ journey to the Westerns, Simmons looks up the most evil place on earth, while Lapierre visits & tries to reach out to the ‘poorest of the poor’.
Simmons proclaims, just like Kipling, his hostility toward the ‘City of Dreadful Night’. The ideas of radical alterity once celebrated & championed by Kipling is revoiced & revoked in Simmons’ novel. Simmons revisits Kipling’s racial thesis & clearly situates himself in the same tradition of representing Calcutta as an inferno-esque place/journey. As for Lapierre, he takes the cue of slumming narrative from Kipling to propel a new myth of ‘low life’ (as termed by Kipling) that revolves around inferno-purgatorio-paradisio.
[“Later twentieth-century writers do not (all) share Kipling’s racial diagnosis of the ills of the city, but the trope of infernal descent recurs repeatedly, and the narrative’s title comes to stand for Calcutta’s misery and blight. As the journalist James Cameron despairingly observed in the 1970s: ‘(t)he urban awfulness of Calcutta has become a cliché of such dimensions that one flinches from even trying to say more about it, with such lasting and eloquent disgust has every aspect of appalling place been described since Kipling called it ‘the city of dreadful night’”(p.178). But despite the dangers of repetition, writers are drawn to the scene of horror. Both Cameron and the German novelist, Gunter Grass, write of the compulsion to return to the city. ‘Calcutta is obsessive’, Cameron asserts (p. 187), and in Show Your Tongue (1989), an illustrated journal of a visit to Calcutta, Grass maintains that the ‘horrifying city, the terrible goddess within, would not let him go’. (…) Grass recapitulates the Inferno-esque theme as he is guided to the ‘remotest, blackest corners of the city’ (p.32). The desire to visit Calcutta to indulge in what Cameron terms ‘revulsion and recrimination’ (p.187) is evidently transgressive.” (Teltscher, K., ‘India/Calcutta: city of palaces and dreadful night’, in Peter Hulme & Tim Youngs (ed.s), The Cambridge Companion to Travel Writing, Cambridge, Cambridge University Press, 2002)]
The horrific myth of Kali is well-nigh central to the work of Simmons. Simmons imagines Calcutta as a spatial incarnation of Kali and/or Kali as the ‘psyche’ of Calcutta: In other words, the cult of Kali equips Simmons with a symbolic map of the spatial, psychic & social realms of Calcutta.
[ Barbiani: “The relation between the goddess and the city is articulated in numerous literary works: the murderous Kali and the life ridden overpopulated Calcutta mirror each other, Calcutta the urban body of the goddess, Kali its attitude, its psyche, with the city name bearing the assonance of her patron goddess.” (http://www.socresonline.org.uk/10/1/barbiani.html)]
‘Song of Kali’ is symptomatic of Western subjectivity characterized at once by the fear of and desire for the monstrous. ‘Song of Kali’ is not just a mere horror story about an encounter with the evil and/or with an evil place. It is rather typical of the ambivalence of representations of Calcutta as the book underscores the attraction & repugnance to the darkness & horror that Kali and/or the spatial imaginary of Calcutta stands for in Western mind.
Lapierre too is impelled by the ‘low-Other’. Being on a different ideological plane with Simmons, he attempts, not the negation (as it’s the case with Simmons), rather a symbolic inversion of the ‘low-Other’. His “roman-reportage” project of chronicling & encompassing the sheer horror and total repugnance of the ‘low life’ of Calcutta with its slums (the abject life of leper colony, the horrific state of hospitals, the traffic of human organs, blood, bodies & fetuses, etc.) is in service for the pursuit of idealistic gratification of the white subject. This leads him to fetishize, aestheticize and beatify the Third World poverty. There’s no wonder that Lapierre’s novel does not fail to refer to the mother Teresa myth (‘the other goddess of Calcutta alongside Kali’ in Western eyes) for an illustrative support to its ideological purpose. But besides that, this interplay of his ‘true story’ embedded inside a narrative register and the myth of mother Teresa that exists in Western imagination of the ‘poorest of the poor of Calcutta’ contributes greatly to the reception of Lapierre’s work.
[David Spurr : “Lapierre’s Calcutta shares with Kipling’s the quality of being ‘off limits’ to Europeans; the journey of the Catholic priest is described as ‘an experience considered impossible for a Westerner.’ The European in Calcutta thus finds himself in a boundary situation where, having strayed beyond the limits of civilized life, he confronts the Other as a kind of ethical absolute ?" only for Lapierre, this absolute is not the principle of evil, but rather its opposite: the slum dwellers of Calcutta come to represent a state of beatitude in which the spirit transcends the corruption of the diseased and hungry flesh. In the symbolic universe of Lapierre’s journalistic tour de force, the true Calcutta lies not in the depths of an Inferno but rather upward and outward, at the summit of a purgatory where human souls are purified and made ready to ascend heavenward.”
“Lapierre arrives at this utopian vision by way of fetishization of poverty in which every starved belly, every running sore is made the object of assiduous description. In chapter 5 we saw how the abject may be constituted as the Other, and thus as the object of revilement of the Other also makes him or her available to saintliness: malediction and canonization are merely opposing principles of the same rhetorical operation whereby the Other is defined as lying outside the human world of the speaking subject, or, in this case, of the Western journalist. “
“Lapierre’s moral abstraction of Calcutta is also, of course, a deflection from politics: he helps to manage symbolically the human crisis of the slum dwellers by showing that they have taken the spiritual path out of their misery. … This sublation of politics is consistent with the process of fetishization which seeks to remove poverty from the context of power relations and which seeks, simultaneously, to represent poverty as the way to human and spiritual fulfillment.” (Spurr, D., The Rhetoric of Empire: Colonial Discourse in Journalism, Travel Writing, and Imperial Administration, Durham, Duke University Press, 1993, pp. 133-134) ]
b) Otherness & Self: (On this aspect 5 more pages in addition to what follows here as guidelines)
Both the authors belong to the tradition of writing on India where the journey of the white men into the other space of the Other is framed as a quest or a challenge within self-imposed constraints. The main story telling preoccupation for both the novels is alterity & other space. Calcutta becomes a perfect embodiment as much of the radical Other of Simmons (Kali, the main protagonist as Other) as of its extreme opposite the idealized Other of Lapierre (Hasari Pal, the main protagonist as Other). However, Calcutta also offers a site for the interrogation of the white man’s own self (Robert Luczak, Paul Lambert, Max Lowe).

Essay Instructions: To whom it may concern: I am interested in purchasing a paper which can accommodate these guidelines. I have included topics listed by the professor and I am open to the specific topic to be written, but my deadline is near. The actual digital copy is due online by midnight November 30, 2007. It is my responsibility to turn it in on time and accordingly. I would like to request status updates on the progress of the paper, in which I can answer any questions that may come up along the way. I would be able to fax copies of the text book pages that must be used a 1 source in the paper. Only 1 other outside source is required, if you find a 2nd, please use your judgment in quality. The paper must be MLA format and a works cited must be included.

Literary Analysis Paper
This paper will be a specific analysis of one or more pieces of literature. Focus on an argument with a definite thesis in mind. Use quotations and examples from the literature as support. If outside resources are used, you must submit copies of that research and/or specific web sites. You must include a Works Cited page at the end of the paper and use specific MLA style. Remember that TurnItIn.com will be used to prevent plagiarism. These papers must be 4-6 pages long and must be presented to the class and turned in on the date scheduled for discussion of the literature.

Directions: This paper is a critical analysis of the literature that we are studying. You may choose from any of the literature included in your textbook. Focus your argument on one aspect of the text.
Purpose: A critical analysis is an argument. Focus on a specific thesis and prove your point through examples and quotations from the literature as well as some research.
Length: The paper should be four to six pages double spaced.
Requirements: If outside sources are used, copies of those sources must be provided. The paper should follow proper MLA form including a Works Cited page. A copy of the paper must also be handed in on disk.
Reminders: This paper should not be a summary of the literature. Do not re-state the plot. Assume that your reader has read the material. Use present tense when writing about literature.
Support: Support your thesis with specific examples and quotes from the text. Use a good handbook or the MLA web site for proper form and mechanics. Use MLA form for all papers.
Research: The text must be quoted as support. One outside source is also required. Sparknotes, Classic Notes, or Wikipedia are not suitable resources.
Presentation: Each student will present a short (200 word) presentation of the ideas in your paper through Blackboard. Score: The paper will be graded using the following criteria: argument, literary analysis, organization, support, presentation, mechanics, and format. Pay close attention to MLA form for your in-text citations and your Works Cited page.
Note: A thesis is an original argument--something which you wish to prove through evidence. A thesis should not be accepted common knowledge. For instance, you would not argue that Edgar Allen Poe uses the raven as a symbol in “The Raven.” A good thesis might argue that Poe uses the raven to symbolize the speaker’s death wish. A theme is a topic of discussion such as “survival” or “isolation.”
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Literary Analysis Paper—Additional Information
Thesis: Focus on a specific thesis, an argument that you can write in one sentence. A thesis is not the same as a moral. You should not try to prove something for all humanity. Just argue a point about one or more selections from our readings. Some sample thesis statements are listed below.
• While both Beowulf and King Arthur are strong heroes, Arthur proves himself to be a better leader.
• Ben Jonson shows much more emotion about the death of his son in “On My First Son” than he does about his daughter in “On My First Daughter.”
• Shakespeare uses “Sonnet 130” not only to praise his love, but also to attack the stereotypes of beauty and sonnets.

Topics: Some possible topics are listed below, but you may develop a topic of your own. Review your notes and responses to look for a possible subject.
• Write about changes in heroes/villains over time.
• Develop an essay about differences in the portrayal of love.
• Show how authors use literature to advance political beliefs.
• Analyze an author’s use of a particular literary device such as symbolism or satire.
• Write about the influence of nature in the writings of one of the Romantic poets.
• Compare and contrast two carpe diem poems.
• Explain how the structure of a poem affects its meaning.
• Compare and contrast the works of two women writers.
• Write about the lessons learned by a character.

Support: You must support the essay with quotes from the literary work. You may also use research to help support your thesis. Use correct MLA form for all quotations. You must include a Works Cited page.

Submission Guidelines:
You will submit your paper in two locations when it is ready to turn in. Do not wait until the last minute to submit the paper. Save the paper in Microsoft Word. The file name should be your last name and paper 2. (For example: Smithpaper2)

1. Submit the paper through the Assignment section of Blackboard.
2. You will also submit your paper through Turnitin.com.
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Lectures/Readings

Week Five
Sept. 18, T Response #7—Spenser, The Faerie Queene—pp. 365-423 and Sonnets 67 and 75—p. 436-437
Sept. 20, Th Response #8—Raleigh, “The Nymph’s Reply to the Shepherd”—pp. 447-448 and
Sidney, Astrophel and Stella, #1, 2, and 31—pp. 449-452, 453 and Marlowe,
“The Passionate Shepherd to His Love”—pp. 458-460 and
Shakespeare, Sonnets 18, 29, 30, 73, 116, 130—pp. 493-509
Week Six
Sept. 25, T Response #9— Donne, “The Flea,” “The Good Morrow,” “Song,” “The Canonization,”
“A Valediction: Forbidding Mourning,” “Death, Be Not Proud,” “Batter My Heart,”
“Meditation 17”—pp. 600-628 and Wroth, Pamphilia to Amphilanthus—pp. 650-654
Sept. 27, Th Response #10—Jonson, “On My First Daughter,” “On My First Son,” “To the Memory of My Beloved, The Author, Mr. William Shakespeare”—pp. 638-648 and Herbert,
“Easter Wings”—p. 661 and Philips, “On the Death of My First and Dearest Child, Hector Philips”—p. 675
Week Seven
Oct. 2, T Response #11—Herrick, “Delight in Disorder,” and “To the Virgins, to Make Much of Time”— pp.665-670 and Marvell, “To His Coy Mistress”—p. 677 and Lovelace,
“To Lucasta, Going to the Wars”—p. 670
Oct. 4, Th Response #12—Milton, “When I Consider How My Light Is Spent,” and
Paradise Lost, Book 1— p. 722, pp. 725-743; Review for Midterm Exam
Week Eight
Oct. 9, T Midterm Exam
Oct. 11, Th Response #13—Shakespeare, “Twelfth Night”
Week Nine
Oct. 16, T Response #14—Shakespeare, “Twelfth Night”
Oct. 18, Th Response #15—Montagu, “The Lover: A Ballad”—pp. 1197-1199 and
Behn, “The Disappointment” —922-927 and Johnson, “The Preface to
Shakespeare”—p. 1297-1306 and Dryden, “A Song for St. Cecilia’s Day”—pp. 911-913
Week Ten
Oct. 23, T Response #16—Swift, “A Modest Proposal” —pp. 1114-1120; Gulliver’s Travels,
Part 1—pp. 979-1016
Oct. 25, Th Response #17—Boswell, “Fear of Death”—p. 1327 and Gray, “Elegy Written in a Country Churchyard”—pp. 13332-1335 and Equiano, The Interesting Narrative of the Life of Olaudah Equiano—pp. 1340-1349 and Burney, “First Journal Entry”—p. 1349-1352 Week Eleven
Oct. 30, T Response #18 —Blake, “The Lamb” and “The Tyger”—p. 1412 and p. 1420 and Burns,
“To a Louse” and “A Red, Red Rose”—p. 1447 and p. 1454 and Wollstonecraft,
“A Vindication of the Rights of Woman”—pp. 1459-1462 and Wordsworth, W.
“Lines Composed a Few Miles above Tintern Abbey,” “I Wandered Lonely as a Cloud,” “Composed upon Westminster Bridge,” “It Is a Beauteous Evening,” “London, 1802,” “The World Is Too Much With Us”—pp. 1491-1495, 1537, 1548-1550 and
Wordsworth, D. “Thoughts on My Sick-Bed”—p. 1608
Nov. 1, Th Response #19—Coleridge, “The Rime of the Ancient Mariner,” “Kubla Khan”—1615-1634;
Quiz #2

Week Twelve
Nov. 6, T Response #20—Lord Byron, “She Walks in Beauty,” “When We Two Parted,” “So, We’ll Go No More a Roving”—pp. 1676, 1678, 1680 and Shelley, “Ozymandias,” p. 1741 and Mary Shelley
Nov. 8, Th Response #21—Keats, “When I Have Fears that I May Cease to Be,” “La Belle Dame sans Merci,” “Sonnet to Sleep,” “Ode on a Grecian Urn”—p. 1830, 1840, 1842, and 1847
Browning, E., “How Do I Love Thee? Let Me Count the Ways”—p. 1927 and
Browning, R., “Porphyria’s Lover,” “My Last Duchess,” “Prospice”—p. 2054 and 2058
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