Indeed, the discoveries challenge our inherent understanding of our lives and our humanity; however, if we allow complacency to override the desire to pursue discovery, whether individual, societal, or spiritual, that is when discovery becomes an undesirable component of a known existence. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Robert Frost, a renowned turn-of-the-century modernist, explores (notions of discovery) through his poems 'Home Burial' and 'Mending Mur'. Through his poetry, he conceptualizes the essence of discovery in terms of details, of everyday life, of the essence of the human condition. In this way, it encourages us to modify our behavior not only to accept what surrounds us, but also to question its value. Zoe Heller’s cinematic rendition of “Notes on a Scandal” (Eyre, 2006) resonates with Frost’s thematic prowess in light of female empowerment. Heller cleverly uses two female protagonists to challenge patriarchal hegemony as a contextual consequence. What creates an intense and integrating cohesion in the film is the disparity of power and in particular the characterization of Barbara whose own sexual denial results in the subjugation of her subliminal feminine psycho-sexual object. There is as such no solidarity in the threads of dialectical philosophy, but rather an overall discovery that dualism within knowledge, when associated with power, concomitantly leads to a central disintegration of cohesion moral and personal of the two protagonists. Robert Frost’s “Home Burial” uses conversation, a modernist meditation, allowing meaning to be derived piecemeal from the simplest interactions. A divide between the convention of linear poetry and the art of traditional form. The poem shames us: “Tell me if this is something human,” a declarative plea reveals the husband's need to alert us to our own numbness, to the existential nihilism that has revoked the right to interaction interpersonal on an equal footing. As with Eliot, 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 with women." A contextual discovery that Frost was willing to share philosophically, is exhibited through the conceptualization of acceptance. An emotional revelation that the “blind creature” holds the key to equanimity while the “I didn’t see at first” subjugator punishes himself for his own lack of self-knowledge. There are many paradigmatic shifts in the poem, hinting at how the stasis of relationships on both micro and macro levels has changed. “Can't a man talk about his own [lost] child,” followed by the complainant's imperative “Amy!” Don't go see anyone else this time. In essence, Frost rebels against his societal and contextual truths, challenging us to realize that the roles are reversed: "one is alone and he dies lonelier" than "someone who comes along the road!" ” is the woman's salvation – the catalyst between denial and exposure of passion. Frost leaves us with two important contradictions: one is "you think talking is everything" and the return to the masculine stereotype "I will follow you and bring you back by force." I will - ". Frost's ambiguous certainty frames the human condition with aexpert knowledge. It does not distance us from the awareness that human nature is unpredictable and therefore changeable. Similarly, Heller's intellectualization of Barbara's psycho-sexual denial and social disconnection led to her submission to a life of "notes", while observing that her "scandal" is realized through direct divergence and rather obscene balance of power between the two women. The staging announces Bar's confrontation with Sheba's infidelity, implemented through the film's updating of an exterior setting, with intimate proxemics, a perversion of the traditional notion of "lovers' table", in winter. As the temperature drops, Sheba faces her cognitive dissonance; the need for physical renewal through the boy and its consequences. The shot is compact and horizontal, zooming in on Sheba's hands, young and sensual, juxtaposed with Bar's hands, aged and wrinkled. This figurative synecdoche of the "top hand", the non-diegetic statement after Sheba asks permission to "go inside, I'm freezing", supported eerily by an extreme close-up of the older face, the smug, determined expression “I realized by doing nothing, I could win everything.” Bar's internal idealism is expressed outwardly through the false exoneration of Sheba's indiscretion, compensating his explicit ability to manipulate the relationship. Frost's "Mending Wall" is an analysis of man's impermanence seen through the perspectives of a mischievous farmer and his atavistic "neighbor." The poem operates on two different levels: the basis is a narrative; however, the deeper connotation is an intellectual philosophical debate. The inverted syntax and declarative ambiguity of “Something That Doesn't Like a Wall” frames the questioning of societal norms, which subliminally challenges the reader to question their own need for temporal, spatial, and metaphysical boundaries. Frost reiterates this animosity within his own ambivalence asserting that within the eternal notionality of understanding, the human condition belongs through the mystical tinge of an animating force “that sends beneath it the frozen swell of the ground.” For Frost, the procedure of "[establishing] the wall between us again" is symbolic in that the physical fracture is a symptom of the intellectual inability to transcend this human construct. Ironic mystique is never far away as Frost uncovers the complexity and delicate balance of the human condition "we must use a spell to balance them" as he diminishes the significance of their "game" with his eidetic "oh ". », reminiscent of “Do I dare?” » by Eliot. The contextual metaphor "he is all pine trees and I am an apple orchard" simply allows us to unearth the complexity of the contrast in reasoning between polyphonic statements, because the "Good fences make good neighbors" legitimizes the discourse required by the he older farmer and his need to objectively justify the entire bifurcation process with a proverbial aphorism. The narrator wishes to stylistically introduce "a notion in his head", he wonders about what he is "walling in or walling in", on an emotional level or protection versus bodily defense. However, Frost realizes that "[he] prefers to say it for himself." An element of internal transcendence ranging from overwhelming prosaic negativism to existential understandings of the humanities. Intrinsic Alienation summarizes the divergent ideological landscapes of the two and explains in rather oblique terms how humanity, under modernist influence, seems to have lost its ability to connect, an allusion to a paradoxical warning by Yeats regarding the apocalyptic messiah “the darkness falls again”. Tgus, the.