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Saboteur essay irony - Eighty Six Inc,.
'Wedge' and 'cunt', however, seem unlikely associates, as Jane Mills explains: "I know what a cunt looks like, and the word 'wedge' doesn't sort of spring to mind!" (Kerry Richardson, 1994). The 'wedge'/'cunt' link actually rests on their shared cuneiform shape: 'cuneus' led to both 'cuneiform' and 'cunt', with both words describing wedge-shaped triangular formations. The Latin 'cuneat'/'cuneate' and 'cuneare' also derive from 'cuneus', and are the sources of the modern 'coin'. Euphemistically, 'coin' means 'conceive', and 'coiner' can refer to a man who impregnates a woman, thus the word has a demonstrably sexual, if not explicitly genital, connection.
However, in the photograph, Krebs and the other corporal are described as "too big for their uniforms," the German girls as "not beautiful," and the Rhine does not even appear in the photograph (154).
There are two main steps to writing about irony in a literary essay
Curiously, the film’s trailer didn’t even attempt to show any actual footage from the movie itself:Heironymus Merkin may have, in its own way, inspired other reflective mid-life crisis movies, like the Bob Fosse film All That Jazz, but we’re pretty sure that this one stands alone as an example of what can happen when a full-on film/stage/TV star decides to cinematically re-evaluate his life thus far after seeing perhaps one too many foreign-made art films.
Descriptivewords show the narrator's con-sciousness of the boy's response to beauty and the response of theneighborhood people,who are blind to beauty: North RichmondStreet is "blind"; its houses, inhabited by "decent"people, stare un-seeingly at one another-and all this is under a sky of "ever-changingviolet," in a settingof gardens marred by the "odours of ash-pits"and "dark odorous stables." The boy's own house,which had form-erly been inhabited by a priest, is placed in a garden like that ofEden.
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Bellerophon, for instance, "fled in terror from Lycian women advancing on him with genitals exposed, and even the sea god Poseidon retreated, for fear they might swallow him" (Barbara G Walker, 1983), or, as Catherine Blackledge succinctly puts it: "Bellerophon retreats in shame, vanquished by vulvas" (2003). Blackledge cites several examples of "the power of the exposed vagina to repel foes", and female genital displays warding off evil: "Driving out devils, averting vicious spirits, frightening carnivores and scaring opposing warriors and threatening deities away - all these heroic and dangerous deeds are reputed to form part of a woman's genital might. [Pliny and Plutarch] described how great heroes and gods will flee in the face of female genitalia. Elsewhere, the report of a sixteenth-century traveller in North Africa records the belief that lions will turn tail and run from this sexual sight. At funerals, women were hired as mourners, with the express aim of exorcising demons via vaginal display. Delightfully, Russian folklore relates how when a bear appears out of the woods, it can be put to flight by a woman raising her skirt at it". Blackledge describes (and reproduces) an engraving by Charles Eisen which depicts "a young woman [...] displaying her sexual centre for Satan to see. And in the face of her naked womanhood, the devil reels back in fear". She argues that when the vagina is employed to repel foes it is demonstrating its inherent feminine power. However, she also problematises this position, recognising that if enemies flee from the vagina then it must be perceived as an object of terror and/or revulsion. This perception is clearly apparent in illustrations by Charles Eisen ( 1674) and Thomas Rowlandson (, 1817), both of which depict a devil recoiling in horror from a woman exposing her genitals.
The spectre of the vagina dentata is also evident in much of our contemporary slang vocabulary. Tim Healey cites 'fool's trap', 'venus fly trap', 'pencil sharpener', 'suck and swallow', 'fly cage', 'mousetrap', and 'cat' "that catches the mouse" (1980), a lexicon of metaphors which presents the vagina as a place of no escape. Similarly, James McDonald cites 'dumb glutton', 'biter', and 'vicious circle' as "expressions which humorously disguise an element of male apprehension about the vagina" (1988). Jonathon Green writes that "male fear and even hatred of the vagina persists unabated: emotions that are faithfully reflected in slang" (1993), citing examples such as 'snatch', 'snatch-blatch', 'snatch box'/'snatch-box', 'vacuum', 'sperm-sucker', 'wastepipe', 'fool trap', 'fly-catcher', 'bite', 'snapper', 'snapping turtle', 'carnal-trap', 'mangle', 'manhole', 'man-trap', 'prick-skinner', 'eel-skinner', 'eel-trap', 'mouse-trap', and 'skin-the-pizzle'. The perception here is of the vagina as an organ with "hidden dangers lurking within" (Erica Jong, 1973), ready to trap, snap, swallow, skin, or otherwise incapacitate the penis. Other examples include 'bite', 'pig's bite', 'Bermuda Triangle', 'beaver-trap', 'bear trap', 'paper cut', 'oyster', 'serpent socket', 'shark's nose', 'predator's face', and 'man-entrapment'. Jane Mills cites 'snatch' as "at first meaning bite [thus associating] the vagina with a snapping jaw" (1989), and Mark Morton notes that it "implies that a woman's genitals will grab hold of a man and devour him" (2003). The slang word 'clacker' compares to the vagina to a children's snapping toy. Barbara Creed (1993) finds the influence of the vagina dentata in the language used to describe women in general: "The vagina dentata also points to the duplicitous nature of woman, who promises paradise in order to ensnare her victims. The notion of the devouring female genitals continues to exist in the modern world; it is apparent in popular derogatory terms for women such as 'man-eater' and 'castrating bitch'" (however, she is perhaps too broad in her assessment, as she implies that any representation of women juxtaposed with teeth, - or, indeed, any representation of teeth at all - is also an allusion to the vagina dentata).
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We have seen how the Celtic 'cwm' was influenced by the feminine prefix 'cu', a topographical vagina metaphor comparing the shape and fertility of valleys and vaginas. Other water-related terms also have similarly vaginal connotations, such as 'cundy' ('underground water channel'), which is a hydrographical vaginal metaphor derived from 'cunnus'. Similarly, 'cuniculus', also from 'cunnus', means 'passageway', and was applied to Roman drainage systems. Keith Allen and Kate Burridge (2006) cite 'cundy' as an early variant of 'conduit', alongside 'cundit', 'kundit', and 'cundut'; they also suggest that 'channel', 'canell', 'canal', and 'kennel' are related to it. 'Konnos', the Greek for 'vagina', is derived from 'cunnus' and the Sanskrit 'cushi'/'kunthi', meaning 'ditch', as both vaginas and ditches are channels for water. The Spanish 'chocha' ('lagoon') is another vaginal metaphor. The Russian 'kunka' describes two hands cupped together carrying water. 'Cut', a further term meaning 'water channel', is a recognised euphemism for 'cunt', though is not etymologically related to it.
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It strikes me that I might have turned out differently if he’d taken mefor a spin one day in one of the Tiger Moths he loved so much, shown mewhat had turned him on to flying in the first place, emphasized the madjoy rather than the danger.The irony is that, despite my never having tempted death the waydaredevils do, I’m dying anyway.
essay help by LeonMcMillen, August 08, 2017
Newspaper headlines often use the phrase 'the c-word' to pun on other contentious terms beginning with that letter: "the phrase 'the c-word' is sometimes deliberately used to mean something else, while exploiting the intertextuality of the original meaning" (Ruth Wajnryb, 2004); for example 's headline (Andrea Hubert, 2013), in which Moretz compared the c-word in America and the UK: "cunt is a funny word. It's a strong word, sure, but more so in America. In England it's just like any other curse word". The most common example of this is 'Christmas', which, like 'cancer', can be seen as an alternative 'c-word'. The 2001 headline , for example, is about the removal of the word 'Christmas' from secular greetings cards. In the article, Richard Littlejohn asks, rhetorically: "Who, exactly, is offended by the C-word?". He has fun inventing phrases such as "Father C-word", "C-word Eve", and "C-word Day", all attempts to highlight the absurdity of banning the word 'Christmas'. Less festively, he also bemoans the culture of liberalism, 'political correctness', and 'istas' (in other words, his usual targets), asking: "How on earth do you describe these New Scrooges? Difficult, I know. But try the other C-word". As if that wasn't enough, Littlejohn went on to essentially repeat himself two Christmases later, in another article also headlined ("the dreaded C Word [...] Christmas", 2003). Catherine Bennett, in an article also headlined (in , 2003), also criticised the censorship of 'Christmas'. Tim Rider's article (2004) was also about the contentiousness of 'Christmas': "They do not want any mention of what they call the C-Word because they are worried it will offend followers of other faiths" (2004), as was the article (in , 2004) which urged readers to say 'Christmas' despite its controversy. Yet another article, headlined (2004) also concerned the festive season: "Ditch the dreams of a white Christmas", as did Jay Nordlinger's article ("people could not bring themselves to utter the C-word", 2003). used the headline on the front page of its 2013 Christmas gift issue (13/11/2013). After TV presenter Andrew Strauss called Kevin Pietersen a 'cunt', punned that he had been called "charming": "Kevin Pietersen was described live on air by Piers Morgan as "charming". Cricket experts were aghast at the "inappropriate use of the c-word"", in a spoof article headlined (2014).
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