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AS and A Level: Other Authors
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How do the writers Sylvia Plath and Ken Kesey portray the struggle of the individual in The Bell Jar and One flew over the Cuckoos Nest?
While Esther feels her segregation is with society, Bromden, the narrator of Cuckoo's Nest, and the other patients of the asylum, continuously struggle against the restrictions placed upon the ward by the tyrannical Nurse Ratched. Bromden states that the other patients in the ward think he is mute and deaf, but in reality, he chooses not to speak, primarily due to being ignored and later combined with fear for Nurse Ratched. Although Bromden is the narrator, his descriptions cannot be fully trusted.
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The discussion of these elements is focused on considering the discourse between these two very different strategies and the effect it and they have upon the reader's interpretation of the text and characters it contains. Word count: 298 Contents Page Title Page page 1 Abstract page 2 Contents Page page 3 Essay page 4 Introduction page 4 Investigation page 5 Conclusion page 17 Bibliography page 18 Introduction In considering the context of this question, initially we must ask ourselves both what authorial strategy is and in turn who our author is.
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"This (novel) is a failure, and had to be, since it was written by a pillar of salt." What is Vonnegut's main purpose in writing Slaughterhouse Five and how effectively does he achieve it?
However due to Pearl Harbour, Vonnegut joined the U.S. Army in January 1943. Due to his action, it led to his mother's suicide the following year. Having been placed in the German prison camp, Vonnegut personally witnessed the Dresden Firebombing in February 1945. That experience itself allowed Vonnegut to look back and created Slaughterhouse Five. Billy Pilgrim, the novel's protagonist character, who is able to travel to certain part of his life uncontrollably. The novel describes Billy's experience during the Dresden firebombing and his struggles in life before and after the war. From Slaughterhouse Five, we grasp the feeling that Vonnegut does not view war to be an enterprise of glory and heroism, but an "uncontrolled catastrophe for all" .
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"While both novels in their different ways and at a different moment in history certainly function as damning critiques of colonialism, in each case their central concerns go further than this"
Heart of Darkness clearly does function as a damning critique of colonialism. It explores the issue, illustrating the way indigenous people are exploited and expresses how wrong this issue is via the guilt Marlow feels. Due to Marlow's complicity in serving under his manager he feels a great amount of remorse for his role, however subsidiary it may be, within such a regime. Marlow tries to deal with his guilt by using irony as a shield from the horror he has to witness. When he first arrives in Africa he says, "We called at some more places with farcical names, where the merry dance of death and trade goes on", and refers to the " decent young citizen in a toga".
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"The double-faced Hazard/Chance family is served up the reader as a model for Britain and Britishness."
The 1930s depression lead largely to the Second World War, which destroyed much of England, and refugees from Nazi Germany and Communist Russia arrived. In the 50s, the "teenager" and Rock and Roll developed. Britain was still recovering from the War when Caribbean immigration began, as we see with the development of Black characters in the novel. Increased Americanisation of British culture and Conservative Thatcher's Britain provide the backdrop for Wise Children. Britain's divided classes can be seen through the upper-class Hazard family and the working-class Chance family.
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A critical exploration of Irish Society at the end of the 19th century. How far would you agree with this comment on The Real Charlotte?
These families were collectively known as the Irish Big House and Somerville and Ross were born into this class at a time when its social, political and financial influence was in decline. This was due to a number of factors among them the Irish Famine of 1845-48, the Land War of 1879-82 and the passing of the Irish Land Acts. We see evidence of this decline in 'The Real Charlotte' as we get to know the novel's Big House family: the Dysarts of Bruff.
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In death, Carlo is described as 'the perfect figure of the perfect man.' To what extent do you agree with this epitaph?
A relevant theme in this novel is the conflict of heroism and barbarism. The word 'hero' is closely linked with the 'perfect man', it is defined as 'a man, often of divine ancestry, who is endowed with great courage and strength, celebrated for his bold exploits and favoured by the Gods.' The character of Carlo Guercio represents the noble love between men celebrated as the ideal in the time of Plato. A critical ironic contrast is that between the status of homosexuality in ancient Greece and modern Greece.
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However, it is more Beloved's actions and effect on Paul D. which indicate she is not human. Beloved has a hold on Paul D. which seems inhuman; she makes him copulate with her against his will, though she does this without force and with only a few small words: "You have to touch me... And you have to call me my name". It appears as though Beloved has hypnotised Paul D, as he is utterly powerless. Also, Beloved's effect on Paul D's psyche overall indicates she is from the past; she helps Paul D. to accept his past and move on with only a few words.
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'Juan' in this novel represents the quintessential saint and martyr, whereas the priest, in many ways, doesn't fulfil Catholic ideals of sainthood. How does Graham Greene use this contrast to question the very nature of martyrdom and sainthood?
Indeed, the priest himself succumbed to lust, in conceiving Brigitta, his illegitimate daughter. 'Unhappy love' in itself is an interesting binary pair, as one usually associates love with happiness; Greene is here subverting our expectations associated with the word 'love', perhaps suggesting that the archetypal connotations of love are often illusory. The priest's time in prison also gives us an insight into his own views on martyrdom; when a prisoner suggests he is a martyr, he replies 'I don't think martyrs are like this... Martyrs are holy men'. The fact that he giggles first shows us that he's no Juan; giggling is a childish, unmanly thing to do.
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"'We Need to Talk About Kevin' presents us with unsympathetic characters who nevertheless attract our sympathy." To what extent do you agree with this judgement?
Maybe it seems unfair, but you've really got to wonder about the parents.")) The older Eva is much more sympathetic than the picture she presents of her younger self, who seems extremely unobservant ("Casting my own eye down Fifth Avenue as my belly swelled, I would register with incredulity: Everyone of these people came from a woman's cunt... Like the purpose of breasts, it's one of those glaring facts we tend to suppress." - this is the sort of thing which would be glaringly obvious to most people; her tendency to present them as original insights is rather irritating).
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This sets a melancholic tone for the novel and ties in very well with De Bernieres' "Captain Corelli's Mandolin" as both explore the repercussions of war and many characters from the novel derived from the images of the soldier in the poem. It is true that De Bernieres presents a stereotypical view of nations in this novel, "Germany is taking everything, the Italians are playing the fool, the French have run away, the Belgians have been overrun whilst looking the other way...".
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The use of narration through the fairytale helps remind the reader that the first book is being narrated by Jeanette as a young child and also shows how Jeanette's mind wonders. It is the first of many mythical fantasies in the novel and is actually a mythic retelling of what happens in Jeanette's world. Jeanette's tone in the first book shows how comfortable she feels in her own home at the age of seven and the chapter demonstrates Jeanette's admiration and love for her family.
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The characters in the story The boy | The boy's friends - Edmund and Gerald | The boy's family | Miss Webster. This story does not have fully developed characters as we might meet in a novel or a play. Not only that, but we seem to be looking outward - the writer does not describe the characters directly. But there are many details that enable us to form a sense of some of them. So who are these characters?
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Discuss the relationship between Keith and Stephen that is presented in the first Six chapters of the novel 'Spies' the riveting novel written by Michael Frayn is narrated
It sounds like he felt that he didn't exist or that he was always in the background, a shadow. He led quite a dull life with little excitement, quite the opposite to how he is now, in fact his grandchildren laugh in 'disbelief.' He must have completely transformed himself as he even says ' I share their incredulity. I shouldn't have the slightest idea what Stephen Wheatley looks like' which exaggerates how he has changed physically that you wouldn't even be able to recognise him.
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To begin with, Ethan was studying in a college in Worcester on his way to become an engineer. From what he says it is understood that he enjoyed that time, being with his friends and having an education. But then fate took over and his father died putting 'a premature end to Ethan's studies' and bringing him back to the farm, which he grew up in to take care of his mother. He never did return to the college to complete his studies and continued to work on the farm. Ethan's decision was most likely driven by, firstly, poverty.
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