Analysis of Italian novel I'm not Scared
The book being titled "I'm not scared" is very appropriate as the common theme of the book is orientated around many characters facing fears and overcoming them or giving in to them. Furthermore the progression of the story is determined by characters not being "scared". The book is based in 1970s Italy. More specifically in an isolated village named Acqua Traverse. Acqua Traverse is typical of southern Italian villages at the time geographically with contact with the outside world being very limited and the villages being of a small scale. This fictional village represents the situation of the majority of typical southern agriculture villages in Italy at the time who suffered financially due to their failure to develop their industry, in which the north had much success. Due to instability in these regions many fled to the north in search of opportunities for wealth. This instability also provoked the regular occurrence of kidnappings in southern Italy. "I'm not scared" also embodies typical culture references throughout, with a society influenced strongly influenced by the males of the village, being present the book. A main character of this thrilling novel is that of Michele, a boy possessing such strong curiosity and strong morals that is unique of a child his age. Also proving to be an influential character is the kidnapped Fillipo who is discovered by Michele
To what extent can 'The strange case of Dr Jekyll and Mr Hyde' be viewed as a 'gothic novel'
To what extent can 'The strange case of Dr Jekyll and Mr Hyde' be viewed as a 'gothic novel'? Jekyll and Hyde is a gothic novel. It was written by Robert Louis Stevenson, he got the idea for the story after a dream he had. The word 'Goth' is originally from a German tribe and has come to mean 'barbarian' and later know as 'Gothic'. In Gothic Literature certain features are expected. These are supernatural events, have villains and hero characters, strange weather, horror, mystery and deaths. Older Gothic literature was in castles and deserted buildings. Modern Gothic novels were written is more populated areas. Another text that can be classed as 'Gothic' is the novel 'Frankenstein'. The reason for it being a 'Gothic' novel is the way it has a mutant character. Frankenstein is a mutant and is made by a crazy scientist 'I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life and stir with an uneasy, half-vital motion. Frightful must it be, for supremely frightful would be the effect of any human endeavor to mock the stupendous mechanism of the Creator of the world.' Here the crazed scientist is describing his creation coming to life. This quote describes the vision of the scientist looking at the monster he created. The images in this quote evokes some of the key gothic themes, such as the horrific
Duty and desire in Jane Eyre
How is the conflict between duty and desire explored in these texts? Desire is a term conveying a longing for a certain object, person or outcome. It is an emotion from the heart and is unaffected by social opinion. Duty, in contrast, is a moral obligation to an act, which is perceived to be selfless. The decisions made regarding these emotions are significant throughout 'Jane Eyre' and 'Wide Sargasso Sea'. However, these definitions were more extreme during the time that Brontë and Rhy's texts were written. In the 19th century, it was considered a completely selfish act for women to show desire, it was a vulgar emotion that women were expected to control and conceal. The female role during the 1800's was limited; they were expected to be passive and were passed from father to husband, similar to a possession. To perform one's duty to society was regarded as an unspoken rule imposed on all women, therefore, women never truly had the chance to express their true identity or gain real independence. The 19th century conflict between duty and desire was a key topic written about by many authors, predominately women, who illustrated personal experiences and beliefs through the characters and their decisions. In both Bronte's and Rhy's novels the authors illustrate the limitations imposed on women, society's views and expectations concerning the conflict, and the importance of
How far do you agree that Jane Austens novel Pride and Prejudice is no more than an entertaining study of the surface of polite society and its trivial doings?
How far do you agree that Jane Austen's novel 'Pride and Prejudice' is 'no more than an entertaining study of the surface of polite society and its trivial doings'? In 'Pride and Prejudice there certainly is a great deal of comedy, and will appeal to many readers for what Claire Tomalin calls 'its good-humoured comedy, its sunny heroine, its dream denouement'. The two main characters appear to be part of what Vivien Jones calls a typical 'rags-to-riches love story', maintaining happiness after a series of vicissitudes, which might incline readers to think it rather superficial. The critic talks about the surface trivia of Austen's society, which seems to comprise only of balls, scarlet coats and Muslin gowns, but she probes beneath the surface of her society, and concerns herself with the real confinement of the lives of women in her period. Jane Austen explores how women were victims of a patriarchal society, by presenting the unfairness of the entail. She presents Mr. Collins as a fool, by bluntly stating through the critical objective narrative that he 'was not a sensible man'. By this we see that it is ridiculous that such an imbecile should be able to turn out the two rational sisters Jane and Elizabeth from their own home, since should they not be married they could be facing the same options as Jane Fairfax in Austen's 'Emma', left to 'the governess trade', with it's
Critics suggest that Wuthering Heights is a novel concerned with boundaries. Explore the effect of these boundaries in relation to the relationship of Catherine and Heathcliff.
Critics suggest that 'Wuthering Heights' is a novel concerned with boundaries. Explore the effect of these boundaries in relation to the relationship of Catherine and Heathcliff. Throughout 'Wuthering Heights', physical and metaphorical boundaries are crucial in communicating Emily Brontë's moral messages about the position of women in 19th Century society and the barriers separating individuals of different social status. Both of these themes are conveyed by the relationship between Catherine and Heathcliff as Catherine is forced to forsake her true love and instead marry Edgar Linton because he is socially acceptable, "And he will be rich, and I shall like to be the greatest woman of the neighbourhood, and I shall be proud of having such a husband" and Heathcliff is of lower social standing, "It would degrade [Catherine] to marry Heathcliff". The social barrier between Heathcliff and Catherine manifests itself in a myriad of ways during the novel and is eventually broken by Hareton and Cathy- the new generation of residents on the moors. This conclusion was clearly a statement of intent from Emily Brontë which suggested the oppressive boundaries of the 19th Century patriarchal society would ultimately be eradicated by a new generation of Britons- a view which was vindicated after Brontë's tragic death, as the Suffragettes earned women the right to vote and various
Is it possible to see Elizabeth Bennet as a feminist heroine?
Is it possible to see Elizabeth Bennet as a feminist heroine? Elizabeth Bennet is perhaps the least conventional of Austen's characters, and certainly does not conform to what her society expected of her in the way of being submissive. Austen herself admitted that 'pictures of perfection ... make me sick and wicked', and so our lovable protagonist Elizabeth is set apart from the traditional heroine with her independence of mind, and courage to challenge accepted role of women. To the modern day reader her refusal to be the demure, submissive ideal woman of the conduct books written by such a Hannah Moore, insisting 'girls ... should early acquire a submissive temper and a forbearing spirit' allows her to appear a feminist heroine. By refusing two offers of marriage Elizabeth exercises her only available method of choice, as Henry Tilney of Austen's Northanger Abbey points out 'Man has the advantage of choice, woman only the power of refusal'. This demonstration of control earns our respect for Elizabeth as a heroine, and it certainly challenges the society's insistence on the significance of class distinction, appealing to the modern reader. Feminist critics Gilbert and Gubar assert that 'Elizabeth stands out as a young woman who has no intention of following the prescription of restraint and submission for the achievement of happiness'. She demonstrates this with the manner
The Gothic Elements of Wuthering Heights
'The Gothic elements of Wuthering Heights are made credible by the novel's setting and narrators.' How far would you agree with this view? Some would argue that the novel's setting is particularly important in establishing the novels Gothic elements, in particular relations between past and present, the medieval and modernity. The contrast between the two houses, Wuthering Heights and Thrushcross Grange, for instance, which has been seen as carrying such metaphysical significance, is not left a generalised level, but is grounded in specific details which reveal the time, place, and class of their opponents. The house at Wuthering Heights is a functional place, marked by dogs, guns and oatcakes which are part of a feudal agricultural economy, while Thrushcross Grange is a place of leisure, distinctly Victorian aristocratic, characterised by products of other people's labour - carpets, chandeliers, sweet cakes, and lap dogs. It is therefore possible to extract historical opposition between these two settings, with the Earnshaws, the yeomen farmers who work of the land, being replaced by the genteel way of the Lintons who live of their rents. This relationship with the past, which is juxtaposed with the 'new' world of Victorian decadence, is an important element of the Gothic which is brought to life by Bronte's description of these different abodes and their occupants. The
How does Jane Austen present Mr Collins in Pride and Prejudice
How does Jane Austen present the character of Mr Collins in chapters 13-16 of Pride and Prejudice? The character of Mr Collins is introduced by Jane Austen once the initial stage has been set for the novel-that of the Bennet family, Mr and Mrs Bennet and their five unmarried daughters. Mr Collins is a cousin of Mr Bennet and stands to inherit their property as the only male heir. Mrs Bennet refers to Mr Collins as 'that odious man' and also 'a man whom nobody cared anything about'. However this opinion was formed before the two were acquainted and is based on her feelings of injustice that Mr Collins stands to inherit Longbourn on the death of Mr Bennet. Mr Collins is a clergyman and would have held a respectable position in Jane Austen's society. He wishes to obtain a wife because in the eyes of society it is time for him to settle and be married, his sponsor Lady Catherine de Bourgh has advised him to marry and he is keen to comply with her wishes. Pride and Prejudice was originally called First Impressions and it is through the letter that Mr Bennet receives that we learn of Mr Collins and our very own first impressions are formed. Jane Austen's choice to introduce Mr Collins to us in the form of a letter gives us an idea to his formal personality and to his social awkwardness. The letter shows him to be very pompous in style, referring greatly to the fact that he was so
Chapter 35 essay on Jane Austen's "Pride and Prejudice".
AS English Literature How does Austen tell the story in Chapter 35? (20 marks) Pride and Prejudice written by Jane Austen is a well written and respected novel. Throughout Pride and Prejudice Austen uses a range of different narrative techniques in order to interest and inform her audience. Austen takes on a different aspect in Chapter 35 in the form of letters. In this essay I will attempt to show how Austen tells the story in Chapter 35 and the effect it has on the novel. Austen opens Chapter 35 with 'free indirect style', this is a form of narrative voice in which a character's thoughts and feelings seem to be directly expressed, freely taking on views and often the language of that character. 'Elizabeth awoke the next morning to the same thoughts and mediations which had at length closed her eyes'. This is an obvious example of free indirect style it takes on the thoughts and feeling of Elizabeth and allows the reader to emotionally engage with her. Austen cleverly uses this technique to allow the reader to create an intimate and emotionally engaging relationship with Elizabeth. By using this narrative technique at the opening of the chapter this allows the reader to connect to the character so throughout the chapter the reader can take on the thoughts and feelings of Elizabeth. 'Free indirect style' is a subtle take on 'stream of consciousness' and refers to the
Dracula Essay. Focussing on chapter fourteen, to what extent do you think that, in Dracula, Stoker cannot provide answers to every question?
Focussing on chapter fourteen, to what extent do you think that, in Dracula, Stoker cannot provide answers to every question? During the Victorian era the advancement of technology was immense. Van Helsing and Dr Seward are the two characters who do the most debating on science and scientific method. In chapter fourteen Dr Seward describes his predicament: 'I do not know what to think, and I have no data on which to found a conjecture'. It is, therefore, quite clear that these two characters face difficulties, this is because, the supernatural events in Dracula conflict with their rational and religious beliefs. Significantly, Van Helsing asks Dr Seward 'To believe in things that you cannot', seemingly highlighting the apparent conflict between science and the supernatural. Stoker introduces the supernatural in chapter one, with the 'wolves, with white teeth and lolling red tongues' that the coach driver - presumably Dracula - appears to control, as well as the 'blue flames'. This early introduction of supernatural phenomena prepares the reader for the horrific and violent acts in the novel, whilst also, presenting a sense of uncertainty as there appears to be no explanation for these uncanny events. It could, therefore, be suggested that Stoker is setting up the idea that there is not always an answer to every question. Van Helsing acknowledges that there are some
