The Black Cat

This paper argues that the structural linearity of language is revealed in General American English morphemes and phonemes of-Trees‖ by Joyce Kilmer and-The Black Cat‖ by Edgar Allan Poe. It analyzes the phonological and morphological structures in select textualities. It focuses on phonemic structures in terms of segmental and suprasegmental phonemes and morphemic structures according to lexical and grammatical free morphemes, inflectional and derivational bound morphemes, and word-formation processes. Findings reveal that for segmental phonemic analysis in terms of vowel sounds, the central vowel [ə] or schwa is the most dominant vowel phoneme in both poems against diphthong [oy], which never appeared in both textualities. Meanwhile, in terms of consonant sounds, nasal [n] dominated the poems. Fricative [zh], affricate [ch], and syllabic consonants ['l] and ['n] are absent in the textualities of these poems. Both poems also show suprasegmental features in their textualities as they display stress patterns, pitch level combination of 2-3-2/2-3-1, sustained or level 1 juncture, and non-final intonation level 2-3-2 patterns. Both poems contain 71 lexical morphemes or content words and 43 grammatical morphemes or function words on their textualities. They contain eight (8) inflectional morphemes, such as suffix-s, and 5 derivational morphemes, such as suffix-ly and-y, that cause the change in the meaning of the words. Word formation processes of the two poems reveal more folk etymology and derivational processes. Therefore, the linearity of phonemes and morphemes are revealed in the linguistic structure of the textualities of-Trees‖ by Joyce Kilmer and-The Black Cat‖ by Edgar Allan Poe. It is recommended that these poems are to be used as learning materials, specifically in phonology and morphology lessons.

I demonstrate an approach fostering inventive interpretation of short stories in Literary Studies and higher education generally. It involves constructing an 'assemblage'-at its simplest, an evolving network of unusual connections for creative outcome. The assemblage of this article combines freshly located research literature, directly and indirectly related to a story's themes, and/or the personality type of protagonists. Importantly, this assemblage also utilizes text analysis software revealing the relatively invisible (e.g. (in)frequent words, parts of speech, and topics) and Large Language Model (LLM) Generative AI to enrich the interpretation. The use of all these elements helps productively exceed initial intuitions about the story, facilitating creativity. I model the approach using Edgar Allan Poe's short story, The Black Cat, whose protagonist is a homicidal psychopath. Specifically, the assemblage here includes relevant software-based research (a corpus analysis of homicidal psychopathic language), non-software-based research (psychoanalytical literary criticism of The Black Cat using the empirically validated concept of transference), text analysis software (WMatrix and Datayze), and the LLM Generative AI, 'ChatGPT' (using the freely available LLM GPT-3.5). One use of this approach is as a pedagogy in Literary Studies employing text analysis software (e.g. on a digital stylistics course). Yet given creative adaptability is a key 21st-century skill, with digital literacy-including the use of Generative AI-an important contemporary competence, and with the short story genre universally known, I highlight too the utility of this approach as a university-wide pedagogy for enhancing creative thinking.

They see the development process of English literature, its modernisation, its influence on American culture and support them with words. They reinforce their knowledge by seeing how America, a multinational state, reflects the culture of British society.The American journal The Saturday Evening Post published "The Black Cat" in 1843. It was warmly greeted by most people and has since maintained its popularity. Due to the similarity of the narrators and topics, it has frequently been compared to Poe's "The Tell-Tale Heart," which was also published in 1843. Poe examines the harmful repercussions of alcohol abuse in "The Black Cat," and it's possible that he did so because of his own difficulties with the drug. Through its narrator, "The Black Cat" connects excessive drinking to extreme violence and madness. Poe examines the struggle between what is good and bad in humanity, notably the impulse to use violence, through the narrator's character.

Author(s): Toikkanen, Jarkko Title: Failing description in Edgar Allan Poe's "The Black Cat" Main work: Kokemuksen tutkimus IV : Annan kokemukselle mahdollisuuden Editor(s): Koivisto, Kaisa; Kukkola, Jani; Latomaa, Timo; Sandelin, Pirkko Year: 2014 Pages: 270-281 ISBN: 978-952-310-996-4 Publisher: Kokemuksen tutkimus IV : Annan kokemukselle mahdollisuuden Discipline: Literature studies School /Other Unit: School of Language, Translation and Literary Studies Item Type: Article in Compiled Work Language: en URN: URN:NBN:fi:uta-201508142222 Abstract: Poe's short story "The Black Cat" (1843) begins with the narrator stressing his verve and lucidity in relation to "the most wild, yet most homely narrative" that follows. The paradox, however, is that while the he claims to be in command of his faculties, the strange events to be described present a case where, the narrator says, "my very senses reject their own evidence", making the truthful...

The present paper aims at demonstrating Poe’s depiction of domestic violence as a technique to demonstrate his chaotic loss in between his Psychological Struggle and his Egoistic Masculinity. It shows how readers sometimes get lost in search of a judicious cause for the extensive use of violence amongst the chaotic sociopolitical conditions that prevailed that period then. A psychoanalytical perspective was provided to unveil some of the hidden and unsaid facts within some of the gothic literary scenes that were analyzed and examined in light of the narrator’s internal struggle between his traumatic psychology and egoistic masculinity. Among others, the present researchers have found that there are intrinsic and extrinsic factors that genuinely contributed to the increasing scenes of persistent violence committed by the unnamed narrator, but not limited for alcoholism and the unbalanced psychological disorder as the narrator wished to display.

The original short story is in the public domain in the United States and in most, if not all, other countries as well. Readers outside the United States should check their own countries' copyright laws to be certain they can legally download this e-story. The Online Books Page has an FAQ which gives a summary of copyright durations for many other countries, as well as links to more official sources. This PDF ebook was created by José Menéndez.

This paper looks at Edgar Allan Poe’s “Hop-Frog” in connection with various types of revenge, one of the oldest and richest themes in literature.  First, I distinguish the story from two classic American fictions appearing during the next two years, The Scarlet Letter and Moby-Dick, which likewise feature vengeful characters with some kind of disability or deformity.  Hop-Frog not only lacks the long-term, egocentric monomania of Nathaniel Hawthorne’s Roger Chillingworth and Herman Melville’s Ahab, but also acts primarily in defense of someone else, his friend and compatriot Trippetta, whom he frees, along with himself, from long-term captivity and cruel treatment in a foreign country.  Second, as I have done in connection with “The Cask of Amontillado,” another revenge story by Poe published two and a half years earlier, I offer a generalized biographical interpretation of the tale.  Expanding on an observation by James M. Hutchisson, I link it to Poe’s “Some Secrets of the Magazine Prison-House” (1845), which places an emphasis on “fat,” exploitive “editors and proprietors,” and his September 1845 Marginalia entry, in the process disputing previous arguments that Poe used the tale to settle personal scores with specific people.  Third, in support of this new reading, I stress the King’s demand that the jester provide “characters” and “something novel—out of the way,” similar to Kenneth Silverman, prior to discussing Poe’s allusions in the story to his own writings, including “Maelzel’s Chess Player,” “The Masque of the Red Death,” “The System of Doctor Tarr and Professor Fether,” “The Murders in the Rue Morgue,” “The Black Cat,” “Berenice,” “The Raven,” and “The Tell-Tale Heart.”

espanol“Berenice” de Edgar Allan Poe ha sido estudiado de forma diacronica desde numerosas perspectivas y, a lo largo de los anos, algunos investigadores han conectado la historia con la biografia del autor. Ademas, la eleccion del nombre del protagonista por parte de Poe, Egaeus, hecho que podria indicar influencia helenica en la produccion literaria del autor, no ha sido ignorada por los investigadores. Aun asi, incluso en estudios meticulosos como el de Silverman (1992) se puede observar que las implicaciones de Poe con el pasado heleno de Berenice no han sido examinadas en profundidad. El presente estudio tiene como objetivo delimitar estas alusiones helenicas, ofreciendo una conexion adicional entre la narrativa de Poe y la Grecia clasica, que no ha sido suficientemente estudiado por ningun miembro relevante en el campo de estudio de Poe.palabras. EnglishEdgar Allan Poe's “Berenice” has been investigated from a number of different perspectives and, over the years, scholars ...

Although American Writer Edgar Allan Poe is mainly popular for his tales of mystery and the macabre, he also contributed to the genre of crime fiction in a most impressive way. In particular his 1841 short story The Murders in the Rue Morgue is widely regarded as the very “first modern detective story” (cf. Silverman 171, or Meyers 123). According to
Grimstad, “a remarkable number of the genre’s defining features were already in place” (83). Poe’s story clearly meets the requirements of the traditional detective story, which e.g. the Encyclopaedia Britannica defines as a “type of popular literature in which a crime is
introduced and investigated and the culprit is revealed” (“Detective Story”). However, Edgar Allan Poe’s short story The Black Cat, published for the first time in the Saturday Evening Post in 1843, does not belong to the genre of detective fiction. It simply lacks a detective who is investigating a case. Moreover, the identity of “the culprit is [not]
revealed” at the end (ibid), but is in fact perfectly known to the reader from the very beginning. Since there are both murder(s), murderer, and victim(s), The Black Cat, nonetheless, falls into the general category of crime fiction. The many literary critics who have examined and analyzed the text, have focused on completely different aspects though, arriving at results which are often quite incompatible with each other. Stephen Rachman credits The Black Cat as having something to do with Poe’s supposed alcoholism (“Poe’s Drinking, Poe’s Delirium: The Privacy of Imps”), whereas Sean J. Kelly examines the way masturbation, or onanism, was dealt with1 (“I blush, I burn, I shudder, while I pen the damnable atrocity”). John H. McElroy sees The Black Cat as an example of Poe’s sense of humour (“The Kindred Artist; or, the Case of The Black Cat”), Susan Amper questions Poe’s reliability and seriousness as an author (“Untold Story: The Lying Narrator in The Black Cat”). Last to mention here, Kousik Adhikari investigates the role played by psychology in Poe’s short stories (“Psychology in Crime and Confession: A Critical Study into Poe’s Short Stories The Tell-Tale Heart and The Black Cat”). These are only a few examples, many other aspects dealt with by other authors could easily be added. Though the findings of all the papers mentioned are undoubtedly valuable in many ways, few authors interpreted The Black Cat as a crime story. By analyzing and reading The
Black Cat as crime fiction then, this paper attempts to take a fresh and independent look at the text. More specifically, through literary analysis, its author will pay particular attention to the way Poe makes the narrator of The Black Cat render his confession, as well as present and
examine his crime(s) and motive(s). Other aspects of Poe’s tale are not analyzed, since that would clearly exceed the scope of this paper. Its principal purpose remains to look at the nature of the narrator’s crimes and his motive(s) for committing them.

The aim of this essay is to clarify how Edgar Allan Poe establishes between illusion and reality by a bad luck that deals with the omen of black cats, and irrational mental conditions that are particularly specified in an ominous spirit extant within the narrator.

This paper focuses on the relationship between the gaze of the other and the alienation of the individual and how they are related to free will in terms of existentialism through “The Black Cat” by Edgar Allan Poe, The Dark Knight by Christopher Nolan, Notes from the Underground by Dostoyevsky, and “The Judgment” by Franz Kafka.

The following discussion’s aim is to shed light on how Edgar Allan Poe demonstrated an ebb and flow action between illusion and reality by the help of the implementations of two items which are the superstitions that dealt with the adverse belief on black cats and moral insanity conditions that are particularly specified as the spirit of perverseness. Poe pens a pleasant and merry narrator who, truly soon as the story goes, turns into a short-tempered, ireful one. When the story is superficially overlooked, this sharp shift may be comprehended ordinarily as a rough, unfortunate psychological stage that the narrator is going through. However, Poe straight-out points to some elements that indicate the explicitly in sight psychological changes indeed acquire by existing of the narrator’s mental disorder issues that are, his spirit of perverseness and hidden belief on superstitions.

In this essay I will analyze the psycological effects used by Poe to cause the
horror in the shortstory
T he Black Cat and its symbols presented throughout the
story. Poe had his own theory about the mind, and he knew what he needed to do to
mislead and deceive our rational beings to believe in the supernatural. In the article
Poe and the Powers of the Mind the author Robert Shulman explains that with “The
Black Cat he dramatizes his insights into the unconscious tendency of the mind to
protect itself by rigidly suppressing threatening inner forces” (256).

Edgar Allan Poe is indeed one of the most influential writer, critic, poet and editor in American history and very well-known, in the literature world. With his "Gothic" style of writing, The Black Cat is considered as one of his best works. Stylistics is a discipline that studies style by using modern linguistic theories and methodology. Based on the literary stylistic theories, this paper focuses on analyzing The Black Cat from the following aspects: lexical features, syntactical features, rhetorical features and point of view. By doing so, this paper finds that Allan Poe uses these stylistic devices to create the fear and horror of the gothic story. By means of this gothic style in The Black Cat, Poe conveys the idea that the evil is always punished and implies the eternal moral of humanism which is also important nowadays.

Story Award. It enters into the mind of a retired plastic surgeon, who is drawn to a waitress at a cafe in Buenos Aires. The story throws us straight into his thoughts and we follow the man as he goes about his strange new routine. He walks to a museum, during the early hours of the morning, which belongs to his family, where he contemplates his position and the importance of his wealth, followed by his discovery of the quiet cafe. There he meets the waitress, whose scarred hands capture his attention. The story skips to a point in time when this activity has become a regular occurrence. Every morning the surgeon reflects on his life and experience of the world, sat by the window at the cafe, served by the same waitress. Eventually they have a conversation and become acquainted; we learn her name is Beatriz. He tells the waitress that he is a surgeon, allowing her to believe that he is a regular doctor, rather than someone who performs cosmetic surgery.

Story Award. It enters into the mind of a retired plastic surgeon, who is drawn to a waitress at a cafe in Buenos Aires. The story throws us straight into his thoughts and we follow the man as he goes about his strange new routine. He walks to a museum, during the early hours of the morning, which belongs to his family, where he contemplates his position and the importance of his wealth, followed by his discovery of the quiet cafe. There he meets the waitress, whose scarred hands capture his attention. The story skips to a point in time when this activity has become a regular occurrence. Every morning the surgeon reflects on his life and experience of the world, sat by the window at the cafe, served by the same waitress. Eventually they have a conversation and become acquainted; we learn her name is Beatriz. He tells the waitress that he is a surgeon, allowing her to believe that he is a regular doctor, rather than someone who performs cosmetic surgery.

Edgar Allen Poe, in his short stories, is well-known for his portrayal of strange behavior among his protagonists who usually commit a series of heinous crimes and either get away with it or are punished severely when discovered. In this paper, the actions of and thoughts spoken by Poe's protagonist in his short story "The Cask of Amontillado" are interpreted in terms of the psychoanalytic concept of projection as articulated by Sigmund Freud. We believe projection is employed by Monstresor as an ego defense to exercise his aggressive drives of hatred and envy towards the victim, Fortunato, which culminates in premeditated murder. Fortunato is unaware of Monstresor's plan to eliminate him permanently, while the reader is not informed about the unforgivable actions which have resulted in so much grievance and hatred in Monstresor's mind, hence leaving the victim helpless and the reader baffled by Monstresor's unjustified crime. By using Freud's concept of projection, we conclude that the projective mechanism is a useful tool for understanding Monstresor's motif in killing one of the social elite, Fortunato, and his actions in committing this gruesome crime. Monstresor is unconsciously projecting his own feelings of jealousy and arrogance onto Fortunato and imagining and believing that Fortunato has those same feelings towards him. So, obsessed with feelings of revenge, Monstresor takes the life of his innocent friend.

Poe's short story "The Black Cat" (1843) begins with the narrator stressing his verve and lucidity in relation to "the most wild, yet most homely narrative" that follows. The paradox, however, is that while the he claims to be in command of his faculties, the strange events to be described present a case where, the narrator says, "my very senses reject their own evidence", making the truthfulness of his experience suspect. In consequence, he proceeds to "place before the world, plainly, succinctly, and without comment, a series of mere household events" for the reader to judge and make sense of – in other words, for the reader to experience for herself the awesome events, share their descriptive power, and satisfy the narrator's plea in doing so.

In my article, the key idea is that of failing description: as Poe's narrator feels that the reliability of his own reporting skills may have been compromised, he cannot be sure that his descriptions will be in accord with reality. He can only promise to tell the story "plainly, succinctly, and without comment", that is, to try to fail as little as possible in describing what happened. This is unsettling for him, and the readers share the effect, a fusion one can study through the concept of experience. I will do this, inspired by the current theoretical interest on emotion and affect. Methods include the rhetorical devices of ekphrasis (verbal representation of a visual representation) and hypotyposis (vivid description of a visual image), and Wayne C. Booth's notion of the unreliable narrator.

For the most wild, yet most homely narrative which I am about to pen, I neither expect nor solicit belief. Mad indeed would I be to expect it, in a case where my very senses reject their own evidence. Yet, mad am I not -and very surely do I not dream. But to-morrow I die, and to-day I would unburden my soul. My immediate purpose is to place before the world, plainly, succinctly, and without comment, a series of mere household events. In their consequences, these events have terrified -have tortured -have destroyed me. Yet I will not attempt to expound them. To me, they have presented little but horror -to many they will seem less terrible than baroques. Hereafter, perhaps, some intellect may be found which will reduce my phantasm to the commonplace -some intellect more calm, more logical, and far less excitable than my own, which will perceive, in the circumstances I detail with awe, nothing more than an ordinary succession of very natural causes and effects.

The symbolic nature of “The Black Cat” embodies the psychological intensity of narrator who experienced unbalanced psychology and crisis which enable the  reader to  the unity of effect. “The Black Cat” as one of the examples of American gothic tradition reveals “the unity of effect “  on the reader which is suspense and mystery emerges from the spirit of perverseness, using the symbolism Pluto, the second cat, and the image of cat  regarding  the psychoanalysis literary criticism.

This article discusses a novel approach to the possibility of interpretation of Edgar Allan Poe’s narrative “The Black Cat”. It offers an interpretive model of the narrative on the basis of the psychoanalytical approach with the focus put on anti-social behavior coupled with the psychological phenomenon of emotional transference. The analysis of the story’s narration focuses on the unreliability of the narrator with respect to the transparency of the events unfolding during the course of the story. It also uncovers the element of the social realm of human experience within the story which asserts itself as a pivotal part of the narrative.

the setting is a symbol for deception and confinement. It takes place during a carnival and then later in the catacombs. In this story the carnival setting is very deceiving. Everything seems to be joyful, but Montresor has very evil plans, which leads him to the catacombs where he traps Fortunato.

This paper is a literary analysis of the short stories The Black Cat (1843) and The Tell-tale Heart (1843) written by Edgar Allan Poe. Its aim is to comprehend how binary oppositions in the text help form different themes that can be found in the stories.

Edgar Allan Poe was an American poet, editor and literary critic. But he's best known as a mystery tales writer and the inventor of the detective -fiction genre. Most recurring themes in his writing are dealing with questions of death, including its physical signs, the reanimation of the dead and mourning. But there are also satirical stories, humor tales and hoaxes.

From his prison cell, the unnamed narrator is writing the story of how everything in his life fell apart. Since he will die the next day, he wants to set the record straight, and tells us the story of his life… From the day he is born, he is mild and kind. He loves animals and has lots of them. As he gets older up these qualities grow stronger. Taking care of his pets and hanging out with them is his favorite thing to do. His favorite animal companion is his dog.

FOR the most wild, yet most homely narrative which I am about to pen, I neither expect nor solicit belief. Mad indeed would I be to expect it, in a case where my very senses reject their own evidence. Yet, mad am I not --and very surely do I not dream. But to-morrow I die, and to-day I would unburthen my soul. My immediate purpose is to place before the world, plainly, succinctly, and without comment, a series of mere household events. In their consequences, these events have terrified --have tortured --have destroyed me. Yet I will not attempt to expound them. To me, they have presented little but Horror --to many they will seem less terrible than barroques. Hereafter, perhaps, some intellect may be found which will reduce my phantasm to the common-place --some intellect more calm, more logical, and far less excitable than my own, which will perceive, in the circumstances I detail with awe, nothing more than an ordinary succession of very natural causes and effects.

Edgar Allen Poe, in his short stories, is well-known for his portrayal of strange behavior among his protagonists who usually commit a series of heinous crimes and either get away with it or are punished severely when discovered. In this paper, the actions of and thoughts spoken by Poe's protagonist in his short story "The Cask of Amontillado" are interpreted in terms of the psychoanalytic concept of projection as articulated by Sigmund Freud. We believe projection is employed by Monstresor as an ego defense to exercise his aggressive drives of hatred and envy towards the victim, Fortunato, which culminates in premeditated murder. Fortunato is unaware of Monstresor's plan to eliminate him permanently, while the reader is not informed about the unforgivable actions which have resulted in so much grievance and hatred in Monstresor's mind, hence leaving the victim helpless and the reader baffled by Monstresor's unjustified crime. By using Freud's concept of projection, we conclude that the projective mechanism is a useful tool for understanding Monstresor's motif in killing one of the social elite, Fortunato, and his actions in committing this gruesome crime. Monstresor is unconsciously projecting his own feelings of jealousy and arrogance onto Fortunato and imagining and believing that Fortunato has those same feelings towards him. So, obsessed with feelings of revenge, Monstresor takes the life of his innocent friend.

Edgar Allen Poe, in his short stories, is well-known for his portrayal of strange behavior among his protagonists who usually commit a series of heinous crimes and either get away with it or are punished severely when discovered. In this paper, the actions of and thoughts spoken by Poe's protagonist in his short story "The Cask of Amontillado" are interpreted in terms of the psychoanalytic concept of projection as articulated by Sigmund Freud. We believe projection is employed by Monstresor as an ego defense to exercise his aggressive drives of hatred and envy towards the victim, Fortunato, which culminates in premeditated murder. Fortunato is unaware of Monstresor's plan to eliminate him permanently, while the reader is not informed about the unforgivable actions which have resulted in so much grievance and hatred in Monstresor's mind, hence leaving the victim helpless and the reader baffled by Monstresor's unjustified crime. By using Freud's concept of projection, we conclude that the projective mechanism is a useful tool for understanding Monstresor's motif in killing one of the social elite, Fortunato, and his actions in committing this gruesome crime. Monstresor is unconsciously projecting his own feelings of jealousy and arrogance onto Fortunato and imagining and believing that Fortunato has those same feelings towards him. So, obsessed with feelings of revenge, Monstresor takes the life of his innocent friend.

is one great writer in the world of literature. He has done various forms of writings whether in short stories, poems, and rational write ups that somehow influenced the history of literature around the world. In fact, he is recognized as a major progenitor of the many modern literary art works having inimitable, complex, self conscious forms that dominantly influenced the twentieth century manner of writing. To consider Poe as a writer and have his works analyzed is like discovering indubitable treasures that in all aspects deserves merit.

The human mind is one of the most complex structures that God has created. It is difficult to understand each brain process as every human being possesses his/her own distinguished thought patterns with different levels of complexities. A person's mind greatly influences his behavior, which eventually transforms into his habit by becoming embedded into his character.