A Room with a View is a 1908 novel by English writer E. M. Forster, about a young woman in the repressed culture of Edwardian era England. Set in Italy and England, the story is both a romance and a critique of English society at the beginning of the 20th century. Merchant-Ivory produced an award-winning film adaptation in 1985. In 1998, the Modern Library ranked A Room with a View 79th on its list of the 100 best English-language novels of the 20th century. The main themes of this novel include repressed sexuality, freedom from institutional religion, growing up and true love. It is written in the third person omniscient, though particular passages are often seen ´´through the eyes´´ of a specific character. A Room with a View is Forster's most romantic and optimistic book. He utilizes many of his trademark techniques, including contrasts between ´´dynamic´´ and ´´static´´ characters. ´´Dynamic´´ characters are those whose ideas and inner-self develop or change in the plot, whereas ´´static´´ characters remain constant. Forster also contrasts the symbolic differences between Italy and England. He idealized Italy as a place of freedom and sexual expression. Italy promised raw, natural passion that inspired many Britons at the time who wished to escape the constrictions of English society. While Lucy is in Italy her views of the world change dramatically, and scenes such as the murder in the piazza open her eyes to a world beyond her ´´protected life in Windy Corner´´.
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This Edwardian social comedy explores love and prim propriety among an eccentric cast of characters assembled in an Italian pensione and in a corner of Surrey, England. A charming young Englishwoman, Lucy Honeychurch, faints into the arms of a fellow Britisher when she witnesses a murder in a Florentine piazza. Attracted to this man, George Emerson—who is entirely unsuitable and whose father just may be a Socialist—Lucy is soon at war with the snobbery of her class and her own conflicting desires. Back in England, she is courted by a more acceptable, if stifling, suitor and soon realizes she must make a startling decision that will decide the course of her future: she is forced to choose between convention and passion.
When discussing normative reasons, oughts, requirements of rationality, motivating reasons, and so on, we often have to use verbs like ´´believe´´ and ´´want´´ to capture a relevant subject´s perspective. According to the received view about sentences involving these verbs, what they do is describe the subject´s mental states. Many puzzles concerning normative discourse have to do with the role that mental states consequently appear to play in normative discourse. Tim Henning uses tools from semantics and the philosophy of language to develop an alternative account of sentences involving these verbs. According to this view, which is called parentheticalism, we very commonly use these verbs in a parenthetical sense. These verbs themselves express backgrounded side-remarks on the contents they embed, and these latter, embedded contents constitute the at-issue contents. This means that instead of speaking about the subject´s mental states, we often use sentences involving ´´believe´´ and ´´want´´ to speak about the world from her point of view. Henning makes this notion precise, and uses it to solve various puzzles concerning normative discourse. The final result is a new, unified understanding of normative discourse, which gets by without postulating conceptual breaks between objective and subjective normative reasons, or normative reasons and rationality, or indeed between the reasons we ascribe to an agent and the reasons she herself can be expected to cite. Instead of being connected to either subjective mental states or objective facts, all of these normative statuses are can be adequately articulated by citing worldly considerations from a subject´s point of view.
Points Of View: W. Somerset Maugham
Another Point of View: Lisa Jardine
Mind the View:A Collection of Poems, Paintings and Mosaics Paddy Creedon
A Lateral View:Essays on Culture and Style in Contemporary Japan Donald Richie