Compare and contrast the ways in which the writers of 'Frankenstein' and 'The Picture of Dorian Gray' encourage the reader to apportion blame for the crimes committed in the novels.
Compare and contrast the ways in which the writers of Frankenstein and The Picture of Dorian Gray encourage the reader to apportion blame for the crimes committed in the novels. Throughout Frankenstein and The Picture of Dorian Gray, Mary Shelley and Oscar Wilde influence the way in which blame is apportioned to certain characters for the crimes committed in order to communicate the underlying themes and morals of the novels. The apportioning of blame is necessary in both authors' examination of the causes of criminal behaviour, particularly the common 'nature vs. nurture' debate. Throughout the novels the authors question and criticise the motivations of their protagonists, contrasting the concept of an intrinsically evil being with one who is born innocent and later corrupted. Both authors strive to expose the essential duplicity of existence: the concept of the shades of light and dark contained within humanity, but also of how the expectations and pressures of society can force a person to lead a double life. It is particularly interesting to compare the characters of Frankenstein's monster and Dorian Gray in light of this, as despite their obvious differences both are depicted as committing horrific crimes. Both authors link physical appearance to an assessment of character. The initial physical description contributes to how a reader would immediately respond to a
Devil In Disguise
Hannah Mumma English 113 Devil in Disguise "Where Are You Going, Where Have You Been?" by Joyce Carol Oates is a story about a young fifteen year old girl named Connie who knows she is very pretty. She often will check her reflection in mirrors and check other people's faces to see what they thought of hers. She has a rocky relationship with her critical mother; she has the nonattendant father, and the plain sister. Connie's parents seem to have no idea where she really goes at night, or who she spends her time with. Therefore, when Connie really needs her mother to pay attention and help her, she is not there. The symbols of Arnold Friend, his disguise, and the music that runs through the story contribute to an overall feeling of devilishness, trickery, and unease. Arnold Friend could be seen as the devil incarnate. His nose is "long and hawklike" (514) and he has a "slippery smile" (515). His "greasy" boots don't fit him right, "as if his feet don't go all the way down" (518). This could mean that he has hooves like Satan. When he draws 'his sign' - the letter X - in the air, it "stays there, almost still visible," (515) as if he has magical powers and burnt it into the air. Arnold's name can easily be changed into "An Old Fiend" which is another name for the devil, or could be seen as A. Friend, which is inviting to Connie because it makes him seem like a friend. Arnold
Women in the Gothic are often presented as one-dimensional as either the virgin or the temptress. How far do you agree with this assessment of the female characters in the Gothic texts that you have studied?
"WOMEN IN THE GOTHIC ARE OFTEN PRESENTED AS ONE-DIMENSIONAL - AS EITHER THE VIRGIN OR THE TEMPTRESS." HOW FAR DO YOU AGREE WITH THIS ASSESSMENT OF THE FEMALE CHARACTERS IN THE GOTHIC TEXTS THAT YOU HAVE STUDIED? The role of women in Gothic texts is often reduced to two stereotypes: one is the virginal maiden, vulnerable and innocent, waiting for a man to save her; the other is the temptress, the strong, dangerous predator who is beyond male control. Such is the case in many Gothic texts, including the seminal work 'Dracula'. While this is the case in Milton's 'Paradise Lost', in Carter's 'The Bloody Chamber' and Webster's 'The White Devil' it is not always possible to classify women in such a clear way. The females in both texts are rarely one-dimensional, and if they ever are (as they occasionally are in Carter's 'The Bloody Chamber') they are made so consciously in order to contribute to a pointedly more complex destination. There are very few females in Books I and II of Milton's epic poem 'Paradise Lost'. Of course, Eve is alluded to in passing ("... say first what cause/Moved our great parents in that happy state/... to fall off from their creator"), but in both books only one female appears in the course of the narrative: Sin. Even from her initial description, it appears that she is not 'one-dimensional', that she is a complex character, though
The enticing themes of human desires and dreams in the city acts as a vessel for the American Dream, reinforcing its slow emergence into reality. This is demonstrated in both Toni Morrisons Jazz and Arthur Millers A View from the Brid
English Coursework A2 The enticing themes of "human desires and dreams" in the city acts as a vessel for the American Dream, reinforcing its slow emergence into reality. This is demonstrated in both Toni Morrison's "Jazz" and Arthur Miller's "A View from the Bridge" by using the city as a focal place of "possibility, success and threat", contributing to the assertion and erosion of the American Dream. In this way, the American life can either be fulfilled by the prosperity and opportunities it brings or shattered by the falsity of its ethos. The protagonists in "Jazz" are Joe and Violet; both of whom have experienced the gradual transformation of the city, which has become the central point in the American society, and compels them into uncertainty. In "A View from the Bridge", Eddie plays the role as the Invidia; where in roman mythology suggests a sense of envy and jealousy. The emotional experience of the Invidia might also be passive; the odium that is incurred in others results the catastrophe experienced at the end of the pivotal scene. He refuses to let go of his niece Catherine of which he has incestuous desires for, and becomes the "animal" resulting him being alienated from American society. Evidently, the "human desires and dreams" within the city is asserted or obliterated through the collective society as a whole, where only the submissive characters are allowed
Research Into Topic Romanticism and Blake.
RESEARCH INTO TOPIC ROMANTICISM AND BLAKE ROMANTICSM AND THE ROMANTICS: ORIGINS: Romanticism was a literary movement that swept through virtually every country of Europe, the United States, and Latin America that lasted from about 1750 to 1870. However, the Romantic Movement did not reach France until the1820's. Romanticism's essential spirit was one of revolt against an established order of things-against precise rules, laws, dogmas, and formulas that characterized Classicism in general and late18th-century, Neoclassicism in particular. It praised imagination over reason, emotions over logic, and intuition over science-making way for a vast body of literature of great sensibility and passion. In their choice of heroes, also, the romantic writers replaced the static universal types of classical 18th-century literature with more complex, idiosyncratic characters. They became preoccupied with the genius, the hero, and the exceptional figure in general, and a focus on his passions and inner struggles and there was an emphasis on the examination of human personality and its moods and mental potentialities. CONTRAST WITH 17TH AND 18TH CENTURY CONVENTIONS: EFFECTOF SHAKESPEARE ON THE ROMANTICS: As Shakespeare was a popular rather than a courtly writer, the Romantics exaggerated his simple origins. In fact he had received an excellent education, which, although it fell short of
Discuss this interpretation of Iagos role in the light of the critical views you have read
"Iago's special relationship with the audience unbalances the morality of the play and comes close to turning the villain into a villain hero." Discuss this interpretation of Iago's role in the light of the critical views you have read. Iago is one of the main characters in this Shakespeare play. Shakespeare presents him as a compelling villain, who seems to revel in his ability to destroy. His role leads to the deaths of Othello, Desdemona, Emilia and Roderigo and according to D.R. Godfrey, is one of "the most completely villainous characters in all literature." In this play Iago is the external force according to Aristotle's definition of tragedy. He uses the weaknesses of Othello - the hero of the tragedy - to get his revenge after Othello gave the job of lieutenant to Cassio and not Iago. Jealousy is one of the mains motives in his role. Iago is eaten up by sexual jealousy. He hates the Moor because he thinks the Moor has slept with his wife and yet there is no evidence that Othello takes any interest sexually in his wife. "Twixt my sheets he's done my office" (1.3.379). Here, we know that Iago doesn't understand love or loving relationship as he is eaten up with sexual jealously. This does make him a fascinating character as he telling Roderigo and the audience that Othello slept with his wife but he doesn't care. Jealously is his initial motive for disgracing
Themes and Issues in Jane Eyre, Cinema Paradiso and Philadelphia Here I Come. - A comparative study.
Theme and Issue Exploring a theme or issue through interesting texts raises interesting comparisons. Exploring a theme or issue raises interesting comparisons. This can clearly be seen when examining the theme of Identity in the three texts I have studied, which are: "Jane Eyre" by Charlotte Bronte, "Philadelphia Here I Come" by Brian Friel and "Cinema Paradiso" directed by Guisseppe Tornatore. In each of these three texts we can explore the theme of Identity. All three texts chart the path each protagonist takes on their way to discover their true identity, that is, who they are, why are they who they are and what makes them what they are. Along these paths things affect them and influence their final, true Identity. Interesting comparisons can be raised when we look at the factors affecting each protagonist and the final outcome of their search for Identity. These factors include: The importance of name, family, religion and duality of character. Comparisons can be made when we examine the importance of name in the three texts. Name plays an influential role in how one perceives himself. In Jane Eyre, Jane feels plain. This is compounded by the fact that she is constantly reminded of this by the reeds through their bullying. She is reminded she has no money and is only in Gateshead due to Mrs. Reeds kindness. John shouts at her for reading the house's library books and
How do the authors of 'The Bell Jar' and 'Surfacing' depict madness?
How do the authors of "The Bell Jar" and "Surfacing" depict madness? In Sylvia Plath's 'The Bell Jar' and Margaret Atwood's 'Surfacing', the concept of madness is an essential component for the exploration of the novels main characters. However, the two protagonists are shown to be affected, and react, in very different ways, making a considerable difference to the ways these two characters are dealt with. On the one hand there is Plath's Esther, who is shown to be a source of interest to the public, as shown by the articles Joan shows her. Yet the unnamed narrator of 'Surfacing' feels alienated by her friends, who don't understand her at all, and she is left alone to deal with her state of mind. The two novels go very far in their exploration of mental instability, yet the extent of both characters illnesses is debatable; is Esther really ill, or does she feel she needs to suffer in order to gain recognition? In addition to this, the character in Surfacing loses grip on her sanity only momentarily, so how far can it be described as madness? It could just as easily be interpreted as an exploration of herself, a reaction to either her father's death, or the return to her childhood home. The most integral part of both novels is how both protagonists see themselves, their lack of responsibility for themselves, as well as their interpretation of other characters. The notion
Sex and Love in the Sorrow of War and the Unbearable Lightness of Being
In what manner and to what purpose are love and sex presented as discrete in Ninh's The Sorrow of War and Kundera's The Unbearable Lightness of Being. It is rare to find two such dissimilar entities so irrevocably entwined. Sacred, fragile and emotional, love inhabits a higher plane, while carnal activity is rough, dirty and basic. The steps taken to distance ourselves from our simian cousins and amoebic forefathers seem altogether futile when potential sexual activity can still reduce us as a species to primitive cavemen hell-bent on procreation. However, by connecting the two in our concept of marriage, we are able to elevate this nasty pleasantry to love's higher plane. Nonetheless, in moving towards secular society, giving into temptation or consciously desecrating moral codes of old, the fragile trial separation of intimacy and sex increasingly coagulates. It is perhaps no coincidence that Bao Ninh's the Sorrow of War and Milan Kundera's The Unbearable Lightness of Being, both having been published in the last fifty years, present this separation. However, while Kundera seems content to describe without prejudice, Ninh's presentation of this separation shows fundamental moral disapproval, indicating the vital disparity that characterises the two texts. The great love story of the Sorrow of War is one painted with nostalgia, disappointment and a pathetic sense of
With reference to Wuthering Heights and Memoirs of a Geisha analyse the role of women within these novels.
'We don't become Geisha because we want our lives to be happy; we become Geisha because we have no choice.' With reference to 'Wuthering Heights' and 'Memoirs of a Geisha' analyse the role of women within these novels. Within the novels 'Memoirs of a Geisha' and 'Wuthering heights' the role of women are very different this could be because of the different time period in which the novels were written as 'Memoirs of a Geisha' was set in 1930s where as 'Wuthering Heights' is a much earlier book being written in 1847 but set in the 1700s. Alternatively the difference of the role of women within these novels could be because of the different countries and cultures that the women live in, one being on the outskirts of a small village in Yorkshire the other being set in a pre-war Japan. These two major differences in lifestyle and time between the novels does mean the women have different roles within their societies but it also shows many similarities in the women's way of life, how they are treated, by men especially men, and the way in which they conduct themselves throughout the novels. In both of the novels, 'Memoirs of a Geisha' and 'Wuthering Heights' the women are not in total control of their lives. This is shown in many different ways throughout. I will be looking at how the roles of the women within the novels are shaped by the environment and over characters around
