Closing Statement essays Good Morning Jury
The conclusion closes the essay and tries to close the issue
This closing essay to a symposium inaugurating UCLA Law School's Program in Critical Race Studies suggests that the racialized Asian American body can operate as a site for collective memory and thus serve as reminders of past mistakes in order to restrain current and future abuses of power. One of the lessons to be learned is from World War II when extreme subordination of one Asian American group, Japanese Americans, was accompanied by the elimination of certain barriers for another Asian American group, Chinese Americans. A similar dynamic may be happening now following September 11. With the increase in legal and extralegal discrimination against Middle Easterners and South Asians, other previously marginalized groups may experience an apparent lessening of discrimination directed against them. The essay argues that this is illusory or temporary and that discrimination directed against one group ultimately reinforces the system of racial stratification and discrimination that harms all racial minorities.
closing essay Ideas for a Closing Essay Paragraph
The book has its high points. Amiri Baraka riffs like Coltrane blowing prose from his tenor in an homage to Ginsberg that shimmers and eviscerates. Rick Moody seems electrified and intoxicated in his splendid essay "On the Granite Steps of the Madhouse with Shaven Heads," interspersing lines from "Howl" into his own improvisational memorial word-chart. And Anne Waldman, co-founder (with Ginsberg) of the Jack Kerouac School of Disembodied Poetics at Naropa University in Boulder, Colo., contributes a closing essay that bears the marks of beauty, wonder and passion that Ginsberg evidently left on those who knew him.
DeVault believes in "writing carefully," that is with care (precision) and caring (empathy). In addition to essays on how women write, are silenced, and can speak up, she includes an autobiographical sketch, a discussion of "the self as resource," and a section on what she calls "excavation," or the work of recovering unrecognized or suppressed aspects of women's experience. She explores the sources and meanings of feminist methodology, the strategies of reflexive analysis, and the issues that arise when writing and teaching feminist research. Committed to a feminism attentive to oppressions that operate simultaneously with gender, DeVault considers exclusions and distortions in feminist research and strategies for building more inclusive approaches. Including a closing essay that presents "practical advice" for oppositional researchers, reflects DeVault's conviction that feminist insights can and should contribute to a sounder, more rigorous social science.Part Two, misleadingly entitled "Genre and poetic career" is really a catch-all grouping for separate essays on each of the major poems, with a closing essay on closure itself. Martindale, in "Green politics: the ," draws attention to the potential conflicts between "aestheticizing" readings of the poem and the long tradition of reading it politically, both in the more traditional sense of noticing latent political messages in the pastoral discourse and in the more critically aggressive sense of noticing the affiliations of pastoral with implicit structures of authority. Martindale, though clearly sympathetic with many of these latter readings, does not declare himself openly except to note, following Iser, the openness of the text to multiple (political and other) possibilities; he is convincing on the need for a healthy "amoebaean" discourse: "if we can ... recover the Renaissance's sense of the as both a refined artistic enclosure and an oblique mode of addressing and redressing a variety of worldly concerns, then these ten short poems that for so long were one of the cornerstones of the Western canon may again speak forcefully to our condition." William Batstone's treatment of the ("Virgilian didaxis: value and meaning in the ") resists summary, but is one of the gems of the collection. Unlike the discussions of (a few) others who on occasion slip with disappointing ease into predictable critical ploys (and there is a further disturbing tendency among some contributors here to recur to the same passages making largely similar points), Batstone's chapter is an exemplar of "hard reading," an ambitious engagement with his poem, one that seeks to describe the irresolvable play between its tense oppositions. The poem, thus, "provides a place where conflicting realities coexist and inhabit each other. Here, readers may move, be moved and linger -- they may experience in complex figures the violence ofsuccess, the beautiful pathos of failure, and the contingency of 'knowing.'" The essay is a model of thoughtful writing. Duncan Kennedy's shorter piece "Virgilian Epic" is by contrast meant to suggest metacritical possibilities in the interpretation of the It is consequently less focused on questions raised "by the poem" (as traditionally seen by critics) and more on the problematics of Vergilian narrative; David Quint's remarkable work on repetition in the plays a substantial and welcomerole here. Finally in this section, Elena Theodorakopoulos in a modest but interesting chapter examines the "Book of Vergil," the single "poetic space" of the three works together, their closural gestures and thematic echoes.