The Turn Screw I need the attached document, proofread and re-written. The directions are attached. Kobe Thomas-Joshua ENGL 2331.701 (13669) 02/23/2022 Wh

The Turn Screw I need the attached document, proofread and re-written. The directions are attached. Kobe Thomas-Joshua
ENGL 2331.701 (13669)


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I need the attached document, proofread and re-written. The directions are attached.

Kobe Thomas-Joshua

ENGL 2331.701 (13669)


What conception of evil does The Turn of the Screw present to the reader?

How do we understand the problem of evil in the story if the governess is reliable and the ghosts are real? (Be sure to anchor your discussion in a specific passage or two-to-three narrative details.)

We can interpret the governess and narrator of The Turn of the Screw as both heroine and villain of the tale. If we take the ghosts to be real and the governess sane, then the governess seems to be a successful heroine who protects her charges at all costs and rids Miles of his demon, thus ending the demon’s evil work. If we take the ghosts to be imaginary and the governess increasingly insane, then the governess seems to be the true villain of the story, concocting imaginary ghosts and terrifying one of her students into a fever and the other into death. With deliberate ambiguity, James allows for and encourages both interpretations of the governess. He has constructed a two-sided character who will be of one nature for one group of readers and of another nature for a second group of readers. These two groups of readers are established in the prologue, when Douglas introduces the governess and singles out the anonymous narrator by telling him “you will easily judge” her character. In this way, James alerts his readers that they will have to judge the nature of the governess for themselves.

How do we understand the problem of evil in the story if the governess isn’t reliable and the ghosts are a figment of her imagination? (Be sure to anchor your discussion in a specific passage or two to three narrative details.)

By titling his work The Turn of the Screw, James suggests that the phrase “the turn of the screw” is a fitting representation of the tale. The phrase works as a metaphor that compares a tale’s effect on its recipients to a screw boring into a hole. With each turn of the screw, the story’s point is driven home, and its recipients are pierced further and on a deeper level. James turns the screw several times to amplify his novella’s ability to penetrate. He preambles the tale with an intriguing but ambiguous prologue that foreshadows “delicious” dread. James turns the screw when Douglas does, with the introduction of a story involving not one but two children falling prey to supernatural events. The screw turns again when we understand that the children of the governess’s tale are not merely victims but participants in the realm of ghosts and may even be plotting deceits and evil deeds themselves. With the suggestion that the governess is insane and that she, not her imaginary ghost world, is the villain, the plot thickens even more.

In this paragraph, bring together your preceding discussions and answer the overarching question. What is the relation among the two ideas about evil you developed in your first two paragraphs? Don’t just assert, explain. More importantly, don’t just summarize what you’ve already said, synthesize your answers from the three preceding paragraphs by putting them into conversation with one another. What’s further revealed about the idea of evil in the work by juxtaposing your previous findings? Develop a nuanced claim that answers the overarching question. Add a final twist to your discussion by considering why James would present this idea about evil in a text with unlikely elements.

At its core, The Turn of the Screw is fundamentally a story about the struggle between good and evil. “Good” and “evil” are eventually discarded by the end of this book; the growing ambiguity of all the characters makes it impossible to continue to define any of them as such. The Turn of the Screw explores and complicates the relationship between youth and innocence. Youth and innocence are difficult to pin down in the book, the children seem precocious and (in the governess’s words) wicked, but at the same time they are presented as innocent and honest victims of a difficult situation. The ghosts are real and evil; the governess is heroic and good; Miles’ death and Flora’s illness are proof of the ghosts’ malignant effect and no responsibility of the governess, who did everything possible to save the children from perdition. Ghosts are just figments of our imaginations. There is no science or scientific evidence behind ghosts. If there were, such evidence would have been produced for scientific examination long before now and cannot be scientifically verified. Ghost are caused by the need for the human mind to fill the gaps in knowledge with “something,” and when nothing substantial can be found, insubstantial things are fabricated up to fill the blank spaces. Many people have frightening personal experiences that to them are real, but to others they can be seen as thoughts of the imagination or illusions in response to intense fear. The ghosts are sort of real but not really that awful; the governess isn’t totally crazy but sometimes intolerable; the children’s fate is at least partially her responsibility. Henry James was known to have had an interest in the inner lives of children, as both intelligent and mature members of the world, and as innocent victims of that same world; we see how sharply Henry James has drawn the children as innocent victims of adult concerns. At the same time, though, the children’s victimhood their difficult pasts with Miss Jessel and Peter Quint, their abandonment by almost all adults in their lives grants them a kind of seriousness and maturity not typically associated with innocently youthful children. This is a ghost story in which the fantasy of one level of meaning ironically reveals the moral and psychological reality of another level of meaning. The symbolic significance of the ghosts should be sought in the governess’s reaction to them, as it is ironically qualified by the logic of the narrative itself. Neither hallucinations nor representatives of a Manichean dualism or a Puritan asceticism, the ghosts symbolize the origins of human fear in the adult’s sense of sexual guilt a sense which is inevitably passed on to the child. Thus, the governess is neither mad nor abnormal, but quite tragically typical, in her inability to accept the genuine innocence of the children. The loss of innocence, James felt, could be understood only as a failure in the individual’s personal life failures which, like original sin, are self-perpetuating as they are passed from generation to generation.

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