Input: Modern criticism of Pope focuses on the man, his circumstances and motivations, prompted by theoretical perspectives such as Marxism, feminism and other forms of post-structuralism. Brean Hammond focuses on Pope's singular achievement in making an independent living solely from his writing. Laura Brown (1985) adopts a Marxist approach and accuses Pope of being an apologist for the oppressive upper classes. Hammond (1986) has studied Pope's work from the perspectives of cultural materialism and new historicism. Along Hammond's lines, Raymond Williams explains art as a set of practices influenced by broad cultural factors rather than simply the vague ideas of genius alone. Hayden Carruth, wrote that it was "Pope's rationalism and pandeism with which he wrote the greatest mock-epic in English literature." In Politics and Poetics of Transgression (1985) Peter Stallybrass and Allon White charge that Pope drew upon the low culture which he despised in order to produce his own "high art". They assert Pope was implicated in the very material he was attempting to exclude, not dissimilar to observations made in Pope's time. Colin Nicholson reads the poetry in terms of the Financial Revolution, showing how Pope responded to the corruption of the traditional 'landed interest' by the newly dominant 'moneyed interest'. Feminists have also criticised Pope's works. Ellen Pollak's The Poetics of Sexual Myth (1985) argues that Pope followed an anti-feminist tradition, that regarded women as inferior to men both intellectually and physically. Carolyn Williams contends that a crisis in the male role during the 18th century in Britain impacted Pope and his writing.
"Who are Pope's supporters?" is "Carolyn williams"?
Output: yes
Input: Alexis de Tocqueville and Gustave de Beaumont in America: Their Friendship and Their Travels edited by Oliver Zunz, translated by Arthur Goldhammer (University of Virginia Press; 2011) 698 pages; Includes previously unpublished letters, essays, and other writings Du systeme penitentaire aux Etats-Unis et de son application en France (1833) - On the Penitentiary System in the United States and Its Application to France, with Gustave de Beaumont. De la democratie en Amerique (1835/1840) - Democracy in America. It was published in two volumes, the first in 1835, the second in 1840. English language versions: Tocqueville, Democracy in America, trans. and eds., Harvey C. Mansfield and Delba Winthrop, University of Chicago Press, 2000; Tocqueville, Democracy in America (Arthur Goldhammer, trans.; Olivier Zunz, ed.) (The Library of America, 2004) ISBN 978-1-931082-54-9. L'Ancien Regime et la Revolution (1856) - The Old Regime and the Revolution. It is Tocqueville's second most famous work. Recollections (1893) - This work was a private journal of the Revolution of 1848. He never intended to publish this during his lifetime; it was published by his wife and his friend Gustave de Beaumont after his death. Journey to America (1831-1832) - Alexis de Tocqueville's travel diary of his visit to America; translated into English by George Lawrence, edited by J-P Mayer, Yale University Press, 1960; based on vol. V, 1 of the OEuvres Completes of Tocqueville. L'Etat social et politique de la France avant et depuis 1789 - Alexis de Tocqueville Memoir On Pauperism: Does public charity produce an idle and dependant class of society? (1835) originally published by Ivan R. Dee. Inspired by a trip to England. One of Tocqueville's more obscure works. Journeys to England and Ireland 1835
"Was De la democratie en Amerique only written in French in one volume?" is "No"?
Output: yes
Input: He continued to lie in place, still breathing heavily. I tried to keep myself calm. Then, with a sigh, he said, "I have need of a certain stone that I once possessed. It would allow me to leave this bed, despite my current illness. My problem is that it was not made in this realm, but by a human, and only a human may handle it. The herb vendor will tell you where you can find it. If you would fetch me this stone, I would tell you what I can." "Of course we will fetch you the stone," Nepthys assured him. "You have our thanks." Outside, the thing at the herb cart nodded when we mentioned the stone. He told Nepthys the name of a woman who lived on a certain street, and we set off. When we reached the street, I expected some sort of temple, or a row of antiquaries, or at least a sleazy, black-market relics merchant. Instead, it looked like we were in the red-light district: women who probably wanted more than our money eyed us from the alleys. Nepthys didn't need to warn me not to speak to them. He took us to the door of a building like a short pagoda that had a sign hanging over it showing a face with hands uplifted, like a saint under G d's light, and handcuffed. Inside, the entrance room was hung with bright silks and scattered with velvet cushions. Sails of obscene orange and a green that insulted springtime hung draped across reds that might have been sensual elsewhere but here were only offensive. A large woman, similarly decorated, quickly drifted up to us. "Good evening, gentlemen," she said. "May I invite you to have a cup of tea?" "No, thank you," said Nepthys, "we regret that we cannot take up your kind offer. Are you the proprietor of this shop?" "Yes," answered the woman. "I am Madame Entera, at your service.
"What does the speaker need to leave the bed?" is "A certain stone"?
Output:
yes