How is the LuLing that springs to life in her manuscript different from the figure Ruth grapples with on a regular basis?
How is the LuLing that springs to life in her manuscript different from the figure Ruth grapples with on a regular basis? Upon reading the manuscripts that have been written by LuLing, one can clearly spot an amazing amount of differences between the two LuLings that have been described in this book. The first LuLing represents the modern life that she lives as seen through the eyes of her daughter Ruth. The second LuLing is the autobiography that gives us a totally different image of her earlier life. By reading these manuscripts one can easily forget that those two are actually the same person. However, even if there are so many differences, one can spot the odd one or two similarities that can be linked to both LuLings. It is also essential for us to see how certain events in the past tie up with the present and how they have had impacts on LuLing which psychologically altered her behaviour and way of thinking. It is important for us to note down the different changes that she goes through while she's living in China. The first difference that we notice about LuLing as a child is that she is full of energy and will power. She is eager to learn. She was very playful as a child and sometimes a little naughty like the time when she visited the End of the World. In many cases this LuLing could easily have reflected upon Ruth. There are certainly some similarities between
How The Mayor of Casterbridge reflects the social, historical and cultural influences of the period and place in which it is set and during which Hardy lived.
Name Date Can No: Centre No GCSE English coursework The Mayor of Casterbridge-Thomas Hardy How The Mayor of Casterbridge reflects the social, historical and cultural influences of the period and place in which it is set and during which Hardy lived. The Mayor of Casterbridge was written in the second part of the nineteenth century by the novelist Thomas Hardy. He based it on Dorchester and how he remembered the town from his boyhood days during the 1840's. The story circles around a prosperous businessman, Michael Henchard, his shady past and his prosperous present. It shows the power of the corn trade in the early years and also the impact of a newfound belief in the period- Fate. In this essay I will be analysing the book and its contents to see how it reflects the social, historical and cultural influences of the era in which it is set. As a skilled architect, and having a great eye for detail, Hardy included large pieces of narrative about Casterbridge and the key buildings in his novel. His first, general description about the layout of Casterbridge came early on in the book: "It was compact as a box of dominoes. It had no suburbs- in the ordinary sense. Country and town met at a mathematical line." "From the centre of each side of this tree bound square ran avenues east, west and south into the wide expanse of corn-land and coomb to the
To what extent can Jean Rhys's Wide Sargasso Sea and Jamaica Kincaid's Ovando be classified as Postcolonial Gothic texts?
To what extent can Jean Rhys's Wide Sargasso Sea and Jamaica Kincaid's Ovando be classified as Postcolonial Gothic texts? Before starting this essay, it is important to acknowledge the fact that the term 'postcolonial gothic' is quite difficult to define accurately. For the most part of this essay, I will be taking for granted the fact that these texts are essentially postcolonial in form, in so far as they are texts that have 'emerged in their present form out of the experience of colonization and asserted themselves by foregrounding the tension with imperial power.'1 It is with this certainty in mind that I will be looking more specifically at the gothic elements of the pieces, which separate the texts from other typically postcolonial works. Nevertheless, certain distinguishing postcolonial features will arise throughout the essay and this will be especially explicit when I look at the contextual aspects of the pieces. Turcotte identifies the fact that 'it is certainly possible to argue that the generic qualities of the Gothic mode lend themselves to articulating the colonial experience in as much as each emerges out of a condition of deracination and uncertainty, of the familiar transposed into unfamiliar space.'2 As such, the idea of displacement presents itself clearly though the two texts. In Wide Sargasso Sea for instance, we feel a strong sense of Rochester's
The £1,000,000 Bank Note by Mark Twain - summary
The £1,000,000 Bank Note (1893) By Mark Twain The book I have chosen to do is The £1,000,000 pound Bank-Note, it's a classic book written in 1893. The reason I read this book was because it was written by Mark Twain a world renown author and also I enjoyed a movie which was slightly based on this book (Trading Places, staring Eddie Murphy and Dan Acroyd)(1983). It is quite a popular story which has been reproduced in movie form many times. This book is slightly cofusing because at one stage it says the man has 5 one million pound note but at all other occasions he only has one. the main characters name is not given until near the end of the book. Entry 1 This story is a recount it is being recounted by the main character of the story, who is currently nameless. In the first paragraph he explains that he is alone in the world and is bound to sucsess because of his wits and clean reputation. He then goes on saying that every Saturday he would spend his time sailing in a small boat but one day he had traveled to far and got lost. Luckily a boat had picked him up and took him to London (from USA). When he arrived in England he had only one dollar which kept him alive for a day but the next 24 hours he ramained in the street. The when he was on the streets, a butler asksed him to come into a house, there he met two old rich brothers who gave him an envelope, the old men tell
An exploration of Jane Austen's use of the outdoors in Emma
An exploration of Jane Austen's use of the outdoors in Emma This essay explores the different uses of the outdoors in Emma. It also briefly touches on Austen's Pride and Prejudice and Persuasion. It examines the way Austen subtly uses the attitudes of various characters towards the outdoors to reflect their levels of self-awareness and perception. Emma herself is deluded and snobbish, and she views the outdoors as a tool for her matchmaking, whilst Mr Knightley is much more perceptive and self-aware, and both uses the countryside in farming and enjoys it, cultivating a tasteful garden in Donwell Abbey. The other main function of the outdoors is to aid Austen in contrasting the two principal relationships by the setting in which they begin. Emma's gradual romantic awakening takes place in the countryside, where proper society's morals reign, but Jane Fairfax gets engaged to Frank Churchill in the traditionally debauched setting of the seaside town of Weymouth, keeping the relationship secret for months and deceiving those around them. There are parallels to be found in some of Austen's other novels, with both Pride and Prejudice and Persuasion featuring inappropriate seaside romance. Austen seems to condemn the decadent morals of the young people who frequent seaside resorts, and by implication seems to approve of the genteel country manners displayed by characters such as
Textual Readings
English In Australia 133 TEXTUAL READINGS TWO APPROACHES TO READING PRACTICES Alex Guthrie Palm Beach-Currumbin State High This paper presents the two of the four main reading approaches to reading a text. In this paper, Jane Austen's novel Emma will be used to demonstrate these approaches; providing a detailed description into both reading practice, including reader-centred and author-centred. As it is now widely acknowledged that no text is neutral, these practices are one way of conceptualising changes in the theories and practices of literary study that have occurred during the twentieth century. Each approach is characterised by particular assumptions and values and therefore places greater or lesser emphasis on the interactions that occur between both the author and the reader as we read. To justify these approaches, I have also used defenses. Reader-Centred Approach Since its release in the early years of the nineteenth century, the novel Emma has never ceased to impress and intrigue. While being criticised for its lack of action and development, the novel, I found, provides the reader with a remarkably accurate and surprisingly hilarious portrayal of life in the upper middle class during the Victorian period. With the ability to one minute have me ready to pull out my hair and the next be in hysterics as Jane Austen repeatedly pokes fun at the characters and
The Black CatFor the most wild, yet most homely narrative which I am about to pen, I neither expect nor solicit belief
The Black Cat For the most wild, yet most homely narrative which I am about to pen, I neither expect nor solicit belief. Mad indeed would I be to expect it, in a case where my very senses reject their own evidence. Yet, mad am I not - and very surely do I not dream. But to-morrow I die, and to-day I would unburthen my soul. My immediate purpose is to place before the world, plainly, succinctly, and without comment, a series of mere household events. In their consequences, these events have terrified - have tortured - have destroyed me. Yet I will not attempt to expound them. To me, they have presented little but Horror - to many they will seem less terrible than barroques. Hereafter, perhaps, some intellect may be found which will reduce my phantasm to the common-place - some intellect more calm, more logical, and far less excitable than my own, which will perceive, in the circumstances I detail with awe, nothing more than an ordinary succession of very natural causes and effects. From my infancy I was noted for the docility and humanity of my disposition. My tenderness of heart was even so conspicuous as to make me the jest of my companions. I was especially fond of animals, and was indulged by my parents with a great variety of pets. With these I spent most of my time, and never was so happy as when feeding and caressing them. This peculiarity of character grew with my
The Black Cat
The Black Cat For the most wild, yet most homely narrative which I am about to pen, I neither expect nor solicit belief. Mad indeed would I be to expect it, in a case where my very senses reject their own evidence. Yet, mad am I not - and very surely do I not dream. But to-morrow I die, and to-day I would unburthen my soul. My immediate purpose is to place before the world, plainly, succinctly, and without comment, a series of mere household events. In their consequences, these events have terrified - have tortured - have destroyed me. Yet I will not attempt to expound them. To me, they have presented little but Horror - to many they will seem less terrible than barroques. Hereafter, perhaps, some intellect may be found which will reduce my phantasm to the common-place - some intellect more calm, more logical, and far less excitable than my own, which will perceive, in the circumstances I detail with awe, nothing more than an ordinary succession of very natural causes and effects. From my infancy I was noted for the docility and humanity of my disposition. My tenderness of heart was even so conspicuous as to make me the jest of my companions. I was especially fond of animals, and was indulged by my parents with a great variety of pets. With these I spent most of my time, and never was so happy as when feeding and caressing them. This peculiarity of character grew with my
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
Essay: 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 by Stephen Wheatley himself as he realises that he must take a trip to the destination: Memory Lane. He's looking for "the last house before you go round the bend and it turns into Amnesia Avenue," because of something sensual that triggered a remembrance, in this case the "vulgar" smell of privet hedge. The odour takes him back to a terrible summer during World War II when he and his friend Keith were caught up in the adolescent fantasies of wartime. They lived in a nameless suburb of London on a claustrophobic cul-de-sac or "close" of ordinary houses where privet hedges were great hiding places. Stephen Wheatley can be described as a 'dopey, dreamy lad' and he forms an unlikely friendship with Keith Hayward who is the opposite to him. keith is a polite, fiercely disciplined, quite sinister boy with a vicious and sinister father and a nice charming mother. Stephen and his best friend, Keith Hayward, contribute to the war effort by proposing terrible goings-on in their neighbourhood that need investigating: murderers, smugglers, and secret societies. One day, Keith announces that his mother is a German spy, and a new game begins. In the first chapter Stephen refers to himself as 'the awkward
A Picture Of Dorian Gray - from the Perspective of the Picture. (with commentary)
Nathan Gornall Candidate Number: 3076 Center Number: 50415 English Literature and Language Coursework Original Texts by Oscar Wilde English Text Transformation Coursework This radio transcript is a transformation of "A Picture of Dorian Gray" by Oscar Wilde, from the perspective of the painting. Transformation CAST: * Main voice (the picture of Dorian Gray) * Lord Henry (male speaker) * Basil (male) * Dorian (male) * Maid 1 (female) * Maid 2 (female) Scene 1 VOICE: What's this? A thought? I am thinking? How am I thinking? I must have a mind! But if I have a mind, I must be a...thing. What am I? Ooh, hang on, I can see something, I can see something! I have an eye! Who is that? What is that man doing? Oh...no...stop that! Stop rubbing my eye with that brush! I have only had an eye for fifteen seconds and you are trying to paint over it. Oh, hang on. Ohhh now I see, you are making it beautiful! Yes, that eyebrow, a little bit more of an angle. Yes yes yes! Wonderful! Gosh I am a good looking eye! (pause, sombre tone) One eye. I am a passive observer to a man with a paintbrush. Is this to be my life's purpose? (voice becomes inspired) If it is, I will achieve my goal to great success; I will be the greatest observer of a man with a brush this world has ever seen! So come on man, get ready to be watched with the eagle stare of my eye. (Pause) Oh no, where
