I could speak of Joan Didion's use of rhetorical devices. I could describe every subtle simile she imposes and preach of her incredible use of personification, but I think the most important piece of the essay would, then, be neglected. In "Goodbye to All That," Didion compares her experiences in New York to the occurrences at a fair. This metaphor is discussed in a very roundabout way. Ultimately, though, Didion (like anybody) grew tired and dissatisfied with the fair (in her case NYC). Fairs lure people in through the gates with bright lights, loud buzzers, and exhilarating games. These same tactics help to attract tourists to New York City. Like a kid at a fair, Didion becomes enticed by such distractions and cannot She admits, "Even that late in the game I still liked going to parties, all parties, bad parties" (p.687). The connection to the fair in this case stems from a child's ability to be so keyed up and eager to play as many games as they can, that they will even play games they do not like. "Bad" games (Intentional fragment). This view and interest of the city, this time at the fair, ends. The ending is not a definite point in time, but instead a gradual distaste for the details. Like the same child at the same fair, at the same time, every year, Didion outgrows the city and is no longer intrigued. She states, "I stopped believing in new faces" (p.687) and realizes, "It is distinctively possible to stay too long at the Fair" (p.687). She cannot stand the identical conversations at Grand Central, the stuck up women on Madison Ave., Times Square, or the New York Public Library. Eventually, Didion avoids these places. Like a boy who has outgrown the annual fair, she promises to return after a six-month leave of absence. Three years after Didion made that promise, she finds herself returning to the fair. Back in New York, she realizes her acquaintances are no more and her friends had moved. She states, "We stayed for ten days, and then we took the afternoon flight back to Los Angeles"
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So I called up my mentor, and I called up Andy Van Dam. And I said, Andy, I just gave a two-week assignment, and they came back and did stuff that if I had given them a whole semester I would have given them all As. Sensei, what do I do? [laughter] And Andy thought for a minute and he said, you go back into class tomorrow and you look them in the eye and you say, "Guys, that was pretty good, but I know you can do better." [laughter] And that was exactly the right advice. Because what he said was, you obviously don't know where the bar should be, and you're only going to do them a disservice by putting it anywhere. And boy was that good advice because they just kept going. . . .
In that sense, the answer would be:
Randy Pausch believes that his students, although they don't complete any task, they do have a good potential.
Hope have helped.
Answer:
maybe a gettting lost story plot
Explanation:
In a way, Marlowe's Dr. Faustus is both an epitome and a subversion of the Renaissance Man. Having broken free of the medieval rule of theology, he unleashed curiosity and wanted to learn more about the world. Dogma is still strong, but the urges and impulses to challenge it are even stronger. Just like protestants challenged traditional Catholic dogma, and Calvinists challenged Lutherans with the idea of predestination, Dr. Faustus challenges traditional human aspiration to be good, do good, and end up in heaven as a reward. He turns this notion upside down, presuming that there is no way he would be able to end up in heaven.
So, Dr. Faustus is an embodiment of curiosity gone wild. His blase attitude towards humanistic science is, however, some kind of a scientific decadence: he casts away philosophy and law, to embrace magic, as a relic of medieval obsession over mysticism. In this regard, he is a subversion of the Renaissance Man. He thinks he has already learned all there was to learn about this world, so now he yearns for another kind of knowledge - esoteric, otherworldly, knowledge that isn't exactly a knowledge because you don't have to study long and hard for it, you just have to sell your soul to Lucifer.
The Renaissance was torn between two concepts: of a scholar, turned to nature, the globe, the world, and of a religious person who still can't come to terms with the God and the church. Dr. Faustus transcends both of these concepts: he is a scholar who betrays his profession, and a religious person who devotes to Satan, believing (not knowing!) that he has no chance whatsoever to be forgiven for his sins.
In this regard, the play doesn't criticize or support the idea of the Renaissance Man. It simply tries to come to term with the philosophical issues and conflicts of its own time.
