In Desdemona, Toni Morrison uses language effectively to explore the issues of race. In the afterworld scene, where Othello and Desdemona discuss their failed marriage, Othello passionately claims that Desdemona never loved him, "You fancied the idea of me, the exotic foreigner ... How comforting it must have been [to be] protected by a loyal black warrior." The use of the words "exotic" and "black warrior" directly hint at fetishism. In "Recitatif," Morrison also uses language to demonstrate racial tension and prejudice. In the cafe, when Twyla asks Robert why she was rude to her in Howard's diner, Roberta says "You know how it was in those days: black--white. You know how everything was." This subtlely alludes to racial tensions and biases between whites and blacks in that period.

Lisa Delpit uses language to explore the controversy of prescriptivism and whether AAVE-speaking children should be allowed to use their dialect of nurture in the classroom. She uses language to explore these issues by giving a little anecdotal story about her daughter's use of AAVE after being integrated into a predominately black school, and Delpit fears that her daughter would be judge by employers and the education system if she continues to speak this dialect.

In Toni Morrison's "Playing in the Dark," she explores the obsession that many authors had with contrasting symbols or abstract metaphors of whiteness with "Africanism" in their literary work. Through verbose language, the author discusses how this is steeped in a racial obsession with the African slave/Africanism, which is uniquely American, and that there is a use of whiteness in literary work to lessen the presence of the Black character in the literary work.

In James Merril's "Body," there is a sense that the language used in the poem suggests a youthful or healthier body, perhaps a theater star performing a play, and "now that body shines no longer," this perhaps suggests that the playfully-spaced letters that make up the word "Body" actually represent one body, perhaps a theater performer, who in his/her youth had an agile body, that could withstand hours of performing on stage, now that the body shines no longer, this could suggest failing health, or simply aging, and therefore the "shine" of the body is now dulled. Merril cleverly uses language to express this: "How like a little kohl-rimmed moon o plots her course from b to d."

Merril vividly and hauntingly uses language to express a theme of mortality. This is personified through a Christmas tree, who, cut down from its home, has only weeks to live. But through this language, Merril captures the individual's acceptance of its impending mortality: "No dread. No bitterness. The end beginning." Mortality is also expressed through language, in the author's poem "Farewell Performance," where see the sadness of someone who loses their partner. The metaphorical description of cremation and the sprinkling of ashes into the lake shows the final farewell which death brings

In Merril's "Sawfish," the author uses expertly uses language to express a sense of loneliness, imprisonment, sexual-identity, and disillusionment. The narrator seems to find some similarities between themselves and this isolated sawfish in aquarium tank. Perhaps the visitor knows how the fish feels, for the narrator seems feel imprisoned too by something, "A fellow captive, lips that kissed and told." This suggests the narrator may be struggling to express his/her true sexual orientation. And the narrator is disillusioned by love. This suggests his/her heart was broken in the past.

Leslie Jamison's "The Empathy Exams" powerfully shows the feeling of isolation one gets when they believe that no one is responding appropriately to their trauma. For instance, the narrator bursts out in tears because she believes her doctor has responded to her coldly concerning her abortion. Jamison perfectly manipulates the language in this piece to reveal an individual's misperception about other people's ability to empathize correctly.

In Andrew Marvell's "To His Coy Mistress," he vividly uses language to express the eventual mortality of the narrator's young love. The narrator wishes there was more time for the lovebirds to be together. He knows youth is fleeting and fears the aging and eventual death of his lover. This poem suggests that time is short, and death is always guaranteed, therefore his shy mistress should become his lover. John Dunne, another author who expresses through language the individual health and mortality. In his piece "Devotions," man's paranoia about his health stems from one moment his body is fine, the next he is afflicted with some illness/disease, and no matter how much he maintains his physical health, illness is bound to happen. Susan Sontag similarly uses language to express how others use metaphors in regard to the human body, suggesting that there are some metaphors to avoid using when discussing the body. She also discusses historical use of metaphors with the body.

In Aphra Behn's "The Willing Mistress," the author effectively explores through her language the sensuality of the lovers under the shaded trees: "A many kisses he did give: and I returned the same which made me willing to receive that which I dare not name." This effectiveness of language creates vivid imagery in which all the senses are alive for the reader. One gets a sense of bright sunshine, nice weather, and beautiful greenery all around.

Lili Loofburrow uses language to express the gender discrimination between male and female art. She discusses that the "male glance" is an occurrence in which male critics simply skim over women's works, such as films, shows, literature, instead of critically analyzing their work, and finding deeper meaning in it, as they do with male art.

In Gale Salamon's "Life and Death of Latisha King," the author expertly uses language to discuss that the victim's every movement was a threat to those who associated these movements with belonging to the gender they viewed as being associated with the biological sex of a female.

In Kim F. Hall's "Othello and Blackness," the author uses language to critically analyze Othello's blackness in Shakespeare's literature: Is he North African or Sub-Saharan? In Shakespeare's "Othello," race is a significant part of the story because the European characters in the play use racial slurs and constantly remark on Othello's skin-color.

Chris Ofili powerfully explores the human emotions through language in a medium of etchings. Each portrait of Othello conveys a range of forceful emotions--anger, grief, sadness, despair--and every line is placed strategically to convey these emotions.

In Montaigne's "The Art of Discussion," the author uses language emotively to explore the idea that the use of anger is no good in a discussion/argument. The author admits that when the arguments of his debater are incohesive, he tends to get angry, and his following arguments in the discussions tends to show that.

In Marie de Gournay's "The Ladies' Complaint," the author uses impassioned language to express the constant misogyny women face by men who are intimated by their intellect. Her piece perfectly demonstrates discrimination women face because of their gender.

In Franz Kafka's "Before the Law," the author explores with haunting language the many barriers some people face when trying to seek legal recourse. Emotion can be felt throughout the piece, which has a feel of dejectedness and gloomy sadness.

In Erasmus' "On Copia of Words," the author explores through surprisingly sensual language the various ways to say, "Your letter has delighted me very much." Quite a few of the various ways of writing the abovementioned have an unmistakable voluptuous quality about them. For instance: "Your letter has covered my soul with unusual pleasure."

In Kenneth Burke's "Persuasion," the author effectively uses language to show the various definitions many scholars had concerning persuasion through oratory. In Marianne Constable's "How to Do Things with the Law," the author expresses through law-sounding language the many different speech acts employed in American law. She expresses this by delving into performative/constative utterances, etc.

In Francois Rabelais' introduction to Gargantua, the author explores language with humorous emotion. The author urges readers not to judge a book by its front cover. Literally. He urges readers to take the time to read the texts inside, because therein lies a wealth of substance. Rabelais, using language filled with jollity throughout the introduction, further encourages readers to read his work in a happy and joyous mood.

In Francis Bacon's "Of Truth," he expresses language and speech by discussing what truth is, how it inhibits free will, and that as soon as man discovers truth, he is vulnerable to lies because truth has hindered his mental reasoning.

In "Encoding/Decoding," Stuart Hall uses language and speech to effectively discuss the criticism of the linearity of models in mass-communication. He goes on to discuss the many processes involved in the above-mentioned. In Raymond Williams' "The Magic System," the author expresses the history of advertising and how its influences extend past commercialism into the realm of politics, etc.; and that it is viewed as the art of capitalism.

In Bolter's and Grusin's "Remediation," the authors use language to effectively express immediacy, hypermediacy, and remediation. In Raymond William's "Medium," the author uses language to effectively express the origins of media/medium. In Walter Benjimin's "The Work of Art in the Age of Technology," the author uses language to vividly express the cons and pros of original art versus its reproduction: Original art has a history and authenticity; a reproduction can microscopically highlight things that go unnoticed in the original, etc.