Indeed the discoveries challenge our intrinsic understanding of our lives and our humanity; however, if we allow complacency to take over the desire to pursue discovery, whether individual, social, or spiritual, that is when discovery becomes an unwanted component of a known existence. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Robert Frost, a well-known turn-of-the-century modernist, explores the (notions of discovery) through his poems “Home Burial” and “Mending Wall”. Through his poetry he conceptualizes the essence of discovery in terms of minutiae, everyday life, the essence of the human condition, pushes us to change our behavior not only to accept what surrounds us, but to question its value , 2006), resonates with Frost's thematic prowess in light of female empowerment. Heller skillfully uses two female protagonists to challenge patriarchal hegemony as a contextual consequence. What creates an intense and integrative cohesion in the film is the disparity of power and, in particular, the characterization of Barbara, whose sexual denial results in the subjugation of her female subliminal psychosexual object There is therefore no solidarity in the threads of dialectical philosophy, rather a general discovery that dualism within knowledge. when combined with power and simultaneously leads to a central disintegration of the moral and personal cohesion of both protagonists. Robert Frost's "Home Burial" employs the use of conversation, a modernist meditation, which allows one to derive meaning in fragments from the simplest interactions. A fracture of the convention of linear poetry and the art of traditional form. The poem shames us, “Tell me if it is something human,” a declarative appeal reveals the husband’s need to alert us to our own numbness, to the existential nihilism that revoked the right to interpersonal interaction on an equal scale. As in Eliot's case, the emasculation of man engendered a physical discovery that brute force could be used to exercise dynamic truisms “a man must partly give up being a man to women.” A contextual finding that Frost was willing to share philosophically is exposed through the conceptualization of acceptance. An emotional revelation that the “blind creature” holds the key to equanimity while the male subjugator “I didn't see right away” punishes himself with his own lack of self-understanding. There is much paradigmatic change within the poem, alluding to how the stasis of relationships at the micro and macro level has been altered. “Can't a man speak of his [lost] son,” followed by the plaintiff's imperative “Amy! Don't go to someone else this time." In essence, Frost rebels against his social and contextual truths, challenging us to realize that the roles are reversed “one is alone and dies more alone” than “someone who comes along the way!” it is the salvation of the woman – the catalyst between the denial and exposure of passion. Frost leaves us with two major contradictions, one being “you think talk is everything” and the return to the male stereotype “I will follow you and take you back by force. I will - ". Frost's ambiguous certainty frames the human condition with expert wisdom. It does not distance us from the awareness that human nature is unpredictable and therefore changeable. Likewise, Heller's intellectualization of psychosexual denial and disconnectionBarbara's social life led to her submission to a life of 'notes' as she watched her 'scandal' realized through a direct and rather obscene divergence of the balance of power between the two women. The staging heralds Bar's confrontation with Sheba's infidelity, implemented through the film actualization of an outdoor set, with intimate proxemics, a perversion of the traditional 'lover's table', in winter. As the temperature drops, Sheba faces her cognitive dissonance; the need for physical replenishment through the boy and its consequences. The shot is compact and level, enlarging the hands of Sheba, young and sensual, juxtaposed with those of Bar, aged and wrinkled. This figurative synecdoche of the 'upper hand', the non-diegetic statement after Sheba asks permission to "come in, I'm freezing" is strangely supported by an extreme close-up of the older face, with the smug, determined expression "I understood from without doing nothing I could have achieved everything.” Bar's internal idealism is expressed externally through the false exculpation of Sheba's indiscretion, compensating for his explicit ability to manipulate the relationship. Frost's 'Mending Wall' is an analysis of the the impermanence of man seen through the perspective of a mischievous farmer and his atavistic “neighbor”. The poem operates on two different levels, the basis is a narrative; however the deeper tone is an intellectual philosophical debate the declarative ambiguity of “There's Something That Doesn't Love a Wall” frames the questioning of social norms, while challenging the reader to question their own need for temporal, spatial, and metaphysical boundaries. Frost reiterates this internal animosity. one's ambivalence in asserting that in the eternal notionality of understanding the human condition belongs through the mystical nuance of an animating force “that sends the frozen ground swelling beneath it.” For Frost, the procedure of “[putting] the wall between us once again” is symbolic as the physical gap is a symptom of the intellectual inability to transcend beyond this human construction. Ironic mystique is never far away as Frost brings to light the sense of the complexity, the delicate balance of the human condition "we must use a spell to make them balance" while belittling the meaning of their "game" with his eidetic "oh", reminiscence of “Do I Dare?” Eliot's contextual metaphor “he is all pine and I am apple orchard” simply allows us to unearth the complexity of the rational contrast between polyphonic expressions, as “Good fences make good neighbors” legitimizes the discourse on the requirements of the older farmer. , and his need to objectively justify the entire bifurcation process through a proverbial aphorism The narrator wishes to stylistically accommodate “a notion in his head,” he questions what he is “walling off or walling off,” on an emotional or protective level. versus bodily defense. However, Frost realizes that he "[would] rather say it himself" an element of internal transcendence from overwhelming prosaic negativism to existential understandings of humanity's inherent alienation encapsulates the divergent ideological landscapes of the two and explains in rather oblique, as humanity is seen, under modernist influence, to have lost its ability to connect, an allusion to Yeats's paradoxical warning about the apocalyptic messiah “the darkness falls again”. Tgus, the character's movement “into the darkness” and a secret mentality “he will not follow his father's words”, result in an ironic cyclical form that mirrors the content with the conclusion of the repeated truism “Good fences are good neighbors .” This use of constructive parallelism and.