Hero's Journey "Mulan"
Hero's Journey "Mulan" By: Jarmonique Smith Stage 1: Departure Step1. The Call to Adventure This paragraph will consist of the call for Fa Zhou which soon after becomes Mulan's call. Mulan is only in the stage of adolescent. She goes to the matchmaker to see who she is going to marry, she messes up and end up setting the woman's dress on fire the woman sends her away immediately. She young and has a lack of maturity. Mulan is therefore displaying the stage of adolescence. I see several things coming for Mulan at this point. I see her taking the place of her father, I also see her returning to the matchmaker in the future unless she finds someone new. There is one thing that could cause Mulan to leave home and that is her replacing her father in the war against The Huns. Mulan would not leave home for just anything. Her father is hurt so she does not want him to go to war. When the call comes Mulan and her father Fa Zhou are having a conversation with her father in their back yard. All of the sudden a messenger of the emperor came and called the names of the families living there and said one man from each family must be in the war. Fa Zhou accepted the call even though he was injured. The call was dreaded because of her father's injury. Stage 1: Departure Step 2. Refusal of the Call This paragraph will consist of whether or not the hero refuses the call. The call is
Plot-Construction of Pride and Prejudice
JANE AUSTEN'S PLOT-CONSTRUCTION In contrast to the simplicity of her style, Jane Austen's plots are unexpectedly complex. She is not content to simply draw two or three characters in isolation. She prefers a family, with their many friends and acquaintances and she tries within her limited range to make things as difficult as possible. SETTINGS OF HER NOVELS Jane Austen's field of study is man. She is, therefore, more preoccupied with human nature than nature in the nineteenth century usage of the word. The background and the scenery of the provincial town is rich in its beauty and grandeur. But there is no attempt to look into the spirit of this country. Thus although, she has some sense of locality yet she does not paint an English community like the other writers of her time. She rather avoids those very elements of the population in which the local flavour, the breath of the soil is most pronounced. She is further incapable of evoking a scene or a landscape and cannot conjure up the spirit of Bath as Emile Bronte could conjure up the spirit of the Moorlands or Hardy that of Wessex. All this, one may say, would be fatal to her dramatic quality of construction. In all her novels, we see only a limited range of human society. Most of her characters are the kind of people she knew intimately, the landed gentry, the upper class, the lower edge of the nobility, the lower
Discuss the view that in "Behind the Scenes at the Museum" and "Catcher in the Rye" Holden and Ruby can be regarded as unreliable narrators
Julia Christie Coursework Discuss the view that in "Behind the Scenes at the Museum" and "Catcher in the Rye" Holden and Ruby can be regarded as unreliable narrators ---------------------------------- In both "Behind the Scenes at the Museum" and "Catcher in the Rye" there are obvious signs that Holden and Ruby are troubled and unreliable characters. The informal conversational tone that Holden uses is meant to be spontaneous and unrehearsed; so instead of getting a focused autobiography, we get a scanty account of a few days that often trail into other stories that are what we use to draw a picture of Holden. Holden states his intentions from the beginning. He has no intentions of telling his 'whole goddam autobiography or anything' and states clearly that he doesn't want to write 'all that David Copperfield kind of crap'. This also suggests that Holden has no concern with what has happened previously, which we later see is not the case. "Catcher in the Rye" is only spread over a few days unlike "Behind the Scenes at the Museum" which can be seen as more of a bildungsroman and appears to be a child's viewpoint in an adults voice. This is characterised by the use of vocabulary and descriptions and also marked by the use of parenthesis. Parenthesis often follows descriptions such as after the description of the guest bed Ruby adds in brackets 'much nicer than the camp bed'
Explore how the theme of love is presented in Birdsong and a selection of poems by Wilfred Owen.
Jennie Patrick Explore how the theme of love is presented in Birdsong and a selection of poems by Wilfred Owen. Loving attitudes, though perhaps not as prominent as themes such as violence and pride, are intimately observed and explored in Sebastian Faulks' Birdsong and in many of Wilfred Owen's War poems. Each aspect of love, as seen through the eyes of this First World War soldier and Faulks' characters, is as interesting as it is diverse, allowing an impervious insight into the psychological effects that the War had on these men. Such a formidable event as war has a devastating effect on all parties involved. In total, the First World War saw the deaths of 420,000 English, 450,000 German, and 205,000 French civilians. Through the bleak and most shattering of ordeals, love will show itself in the strangest fashions; surfacing in new and unforeseen places, and overriding all tribulations. I believe the two texts I have selected support this view, portraying clearly many different features of the love that war made apparent, love that was forced to survive horrendous difficulties, and the love which was occasionally lost. Propaganda for The Great War sold a message of equality, duty and devotion, striking a patriotic chord throughout England with slogans such as: "Everyone should do his bit", and "God bless dear daddy who is fighting the Hun and send him HELP". This image
A later poet said 'Old men ought to be explorers'. What do you think he meant by that? Do you think he would have approved of the Ulysses who speaks in this poem? What would be your own assessment of Ulysses' character?
Naomi Burrell Year 12 4th March 03 A later poet said 'Old men ought to be explorers'. What do you think he meant by that? Do you think he would have approved of the Ulysses who speaks in this poem? What would be your own assessment of Ulysses' character? Lord Tennyson's Ulysses was written in 1833, which although was actually before the Victorian era began (in 1851 with the year of the Great Exhibition), still contains many of the changes in thought that were common during the time. For the first time publicly, the idea that God created man was essentially questioned through the publication of Darwin's Origin of Species. He explored in depth, the revolutionary theory of 'evolution' and the idea of 'the survival of the fittest'. Not only were there these scientific explorations, but the Victorian era was also a time of huge industrial development, detailed exploration into technology allowing this to be possible. 'Well-educated women' were beginning to go to University (though not yet to be awarded degrees) and were demanding the vote. There is no doubt that these profound changes and discoveries had an influence on the writers and poets of the time, Lord Tennyson included. However, this later poet has made a profound statement about being an 'explorer', where firstly one needs to establish what he may have meant by this word. It seems to me that he may have
Nature vs. Art in The Tempest
The conflict between Nature and Nurture, between the forces of instinctual passion and civilising rationality and the innocent realm of nature and the controlling forces of European culture all clash in The Tempest. Shakespeare reflects the philosophic debate that grew out of 17th century colonisation which meditated on natural man (those who were being colonised), and civilised man (the Europeans), and which one was superior. Those who advocated 'civilised man' portrayed natural man as savage, barbaric, brutal, and most importantly, inferior. However, one could argue that 'civilised man' was probably just as savage in their manipulation and politics, and more power-hungry than their natural counterparts. In the Tempest, Caliban represents natural man, Prospero the civilised, but both have most obvious flaws, and Shakespeare does not appear to wholly condemn either of these polar opposites. Prospero alights onto the island and deprives Caliban of his rights, which is problematic for those arguing that 'civilised man' is kind and genteel, and Caliban is said to have raped Miranda, which is problematic for those arguing the other case. Contextually, Art in The Tempest represents the art of Prospero, or his magical powers. Prospero's art is used at first for revengeful purposes, which seems to be another argument against colonisation as it represents the European colonisers as
'Who for the Game' By Jesse Pope, 'Dulce Et Decorum Est' By Wilfred Owen, and 'Disabled' by Wilfred Owen.
GCSE Coursework English Literature - War Poetry During the First World War many poets published their poems to encourage people to enlist in the army. Special spaces were left in newspapers for recruiting poems, for writers such as Jessie Pope. However, there were also some individuals such as Wilfred Owen who were against the idea of glorifying war. In this coursework I have firstly decided to analyse two poems by the war poet Wilfred Owen, taken from his writings on the First World War. Both 'Dulce et Decorum est' and 'Disabled' show the true reality, horror and vivid imagery of war. Then I will analyse a very different poem 'Who's for the Game?' written by Jessie Pope, and finally contrast this with the poems by Owen. The First poem I am going to analyse is "Dulce et Decorum est" written by Wilfred Owen. Dulce et Decorum est Pro patri moria translated in to English means It Is Sweet And Fitting To Die For Ones Country. Owen wrote "Dulce et Decorum est" in order to inform people about the terror, torment and realism which was experienced during the war. It was written through his own eyes and based on his own experiences and views of the war. The recruiting poems make the war seem like a game and that you would be missing out on a big opportunity if you don't go, when really you would be better off safe at home! Verse one tells us a lot about the condition, both
Write an essay on the following passage (3.1.80-135) from A Midsummer Night's Dream.
TMA 01 - AA306 Write an essay on the following passage (3.1.80-135) from A Midsummer Night's Dream. You should give consideration to such matters as: (a) how the episode relates to the rest of the play (be careful not just to tell the story); (b) the distinctive features of the language; and (c) the performance aspects of the extract. The focus of this discussion will be upon the language and performance possibilities of this extract from the Dream1, following brief consideration of the manner in which the extract relates to the rest of the play in terms of plot development and the reflection of certain of the play's themes. Performance aspects are considered alongside the distinctive features of the language, as it is suggested that the nature of the language employed governs performance. Broadly speaking, it is argued that while the language of the extract lends itself to a humorous performance on more than one level, in certain respects the humour seeks to convey a serious message and the extract's comedy should not mask unexpected instances of sincerity. As suggested above, this extract relates to the Dream as a whole through simple plot development and the illustration of some of the play's recurring themes. The extract progresses two of the play's four principal plot lines. As it structurally occupies a central point in the play, it also represents a mid-point
In What ways is Sexuality portrayed as central to the conflicts of the individual-v-society in Ken Kesey's 'One flew over the cuckoo's nest' and Tennessee Williams 'A street car named desire'?
In What ways is Sexuality portrayed as central to the conflicts of the individual-v-society in Ken Kesey's 'One flew over the cuckoo's nest' and Tennessee Williams 'A street car named desire'? The capacity of sexual feelings within the individual is central to both the development and fundamental basis of any significant character. As observed in both 'One flew over the cuckoos nest' (AKA Cuckoo's nest) and 'A Street car named desire' (AKA. St. car) sexuality emerges as a principal device used in defining a character to the audience. By the reliance on and close association of the text with the stereotypical characters found within society, the characters presented to the audience can be made more identifiable with. The physical description of a character can therefore be said to be symbolic of its sexuality, "Broad across the jaw...shoulders and chest"1 and in likening a description to a stereotype "I fight and fuh..too much"2 this can be greater reinforced. As you can see the physical description of McMurphy is twinned with boastful memoirs of his masculinity via his sexual prowess. This also being evident in St. car with the introduction of the character Stanley Kowalski, "blood stained package"3 is symbolic of the instinctive masculine act of the hunter-gatherer, this in collaboration with the description that precedes it "Roughly dressed in blue denim work clothes"4
Explore the "loving mother-son" relationship between Gertrude and Hamlet, with focus on language.
Ramya Sr. 4 D Q. Explore the "loving mother-son" relationship between Gertrude and Hamlet, with focus on language. Ans. Very evident in Hamlet is the "loving mother-son" relationship between Queen Gertrude and Prince Hamlet. Their mutual affection for each other can be seen right from the first act when they address each other as "Good Hamlet" and "good mother". This seems rather polite and formal but shows their deep underlying love for each other. However as the play progresses and Hamlet learns through the ghost of his father the truth about his uncle (whom his mother has married), the actual intensity of the mother-son relationship is brought out. This happens as Hamlet learns of his father's murder. Our first impression of Hamlet sets the tone for the whole play. Even without Shakespeare providing an elaborate description of Hamlet's features, we can imagine his pale face, tousled hair, intense, brooding eyes. Dressed totally in black, Hamlet displays all the 'forms, moods and shapes of grief'. His speech is punctuated with harsh sounding words and he repeats the 'd' sound often with words like " dead, sullied, windy, dejected, denote". This shows his extreme despair. Gertrude, as his mother, cannot help but notice Hamlet's outward appearance of mourning, but Hamlet makes it clear that the outward signs of grief do not come close to conveying how much sorrow he
