The Catcher In The Rye - Chapter one; summary and analysis.
The Catcher In The Rye Chapter One: The Catcher in the Rye begins with the statement by the narrator, Holden Caulfield, that he will not tell about his "lousy" childhood and "all that David Copperfield kind of crap" because such details bore him. He describes his parents as nice, but "touchy as hell." Instead, Holden vows to tell about what happened to him around last Christmas, before he had to take it easy. He also mentions his brother, D.B., who is nearby in Hollywood "being a prostitute." Holden was a student at Pencey Prep in Agerstown, Pennsylvania, and he mocks their advertisements, which claim to have been molding boys into clear-thinking young men since 1888. Holden begins his story during the Saturday of the football game with Saxon Hall, which was supposed to be a very big deal at Pencey. Selma Thurmer, the daughter of the headmaster, is at the game. Although she is unattractive and a bit pathetic, to Holden she seems nice enough, for she does not lavish praise upon her father. Holden, the manager of the fencing team, had just returned from New York with the team. Although they were supposed to have a meet with the McBurney School, Holden left the foils on the subway. The fencing team was angry at Holden, but he thought the entire event was funny in a way. Holden does not attend the football game, instead choosing to say goodbye to Spencer, his history teacher,
A Production of An inspector calls.
A Production of An inspector calls As a fan of theatrical production I was pleased to find that I would be analysing a well known play as part of my GCSE English course. The production that I viewed of "An Inspector Calls" was a television version. I occasionally feel that television versions of valued productions sometimes kill the playwrights intentions, to entertain and to stimulate the audience. When I read "An Inspector Calls" I had my own version in my head to help me imagine the play in the way that I hope J.B. Priestley would have wanted it to be perceived. Unfortunately when I watched the television version of "An Inspector Calls" I felt it didn´t actually give the play justice to its intentions. However, that was only my opinion. At the beginning of the play, J.B. Priestley gives a very elaborate and detailed amount of stage settings, lighting and character descriptions. I feel that these were so detailed as Priestley wanted the mood of the first scene to linger through out the whole play. For example "The general effect is substantial and heavily comfortable, but not cosy and home like." I felt that this was actually taken in to account as the extremely large table was the central point of the beginning. The size of the table showed that although the characters were a family, they weren´t close, not even to eat and celebrate with each other. At the very
'Macbeth' gives us a classic example of the literary definition of a 'tragic hero'. The title character is a Thane, of high birth, and an influential leader whose decisions affect many others.
Assignment one 'Macbeth' gives us a classic example of the literary definition of a 'tragic hero'. The title character is a Thane, of high birth, and an influential leader whose decisions affect many others. He possesses a number of admirable qualities, among these honesty and conscience. Along with these positive attributes, he also possesses a fatal flaw, namely ambition. And like so many other tragic heroes, he rapidly falls from grace before encountering a moment of enlightenment. The first indication of Macbeth's moral demise is plainly illustrated from the very first scene of the play, where the three witches are gathered amid an ominous backdrop - that of stormy weather, signalled by thunder and lightning. The tempestuous weather serves as an indication of change and upheaval of a negative nature, so that from the outset, it is evident that all shall not run smoothly during the course of the life of the title character. The witches' final words of the scene, 'Fair is foul and foul is fair', are eerily echoed by Macbeth later on, when he remarks, 'So foul and fair a day...' establishing a subconscious link between them. Macbeth can be described as a tragic hero since he possesses certain attributes of character and circumstances, which conform to the traditionalistic view of the literary tragic hero. Some of these characteristics are shown to us in the second scene
Romeo and Juliet theatre production essay.
Richard Tandy English coursework: Romeo and Juliet theatre production essay * Introduction For this piece of coursework I will explore and explain five tense and dramatic scenes from the play Romeo and Juliet by William Shakespeare. Using these scenes I will explain how a production at the Globe Theatre could have been presented to the audience of the time, to maximise the drama and the characterisations. In addition, I will consider how audience reaction and participation have changed over the centuries with varying approaches to the presentation of the story. Before proceeding with this essay I will now briefly explain some of the factors which coincide with the requirements of this essay question. For example, I will give a brief summarization of the story of Romeo and Juliet, an outline of some details about the Globe theatre, and a brief review of the rest of the essay question, for example, some of the factors which would influence how a production at the Globe Theatre could have been presented to the audience of the time, to maximise the drama and the characterisations. The famous story of Romeo and Juliet, based on the narrative poem, The Tragicall History of Romeus and Juliet by Arthur Brooke is a story of two lovers, as the prologue famously refers to as "A pair of star-cross'd
What is striking about Much Ado About Nothing is that it is written largely in prose.
What is striking about Much Ado About Nothing is that it is written largely in prose. This contrasts with the blank verse that fills many of Shakespeare's other plays although it seems more familiar to modern audiences used to plain prose. Unlike the bland modern speech that we are so used to, Shakespeare's prose is rich, full of colorful imagery, and plays with words. He even allows Benedick to make fun of the prose used by Claudio, commenting that Claudio used to speak plainly whereas he now uses orthography. Benedick as a character derives his mannerisms from a manual by Baldassare Castiglione titled The Book of the Courtier. Published in English translation in 1561, the book describes a conversation between several intellectual men and women through which they discuss that qualities that a perfect courtier would possess. They create a courtier who can make both love and war, assist the Prince, dance elegantly, and fully grasp diplomatic situations. Their courtiers also should be able to sing, engage in philosophical musings and tell humorous stories. Benedick is the archetype of this ideal figure, a man called upon to perform all of these roles in this play. It is important to realize that "nothing" was pronounced "noting" in Shakespeare's time. This is in fact a play obsesses with noting, or the lack of it. As a result, there is a special effort made by the characters
Examine the different marriage relationships and attitudes towards marriage presented in 'Pride and Prejudice'. Is it possible to draw any conclusions about Jane Austen's own views on the subject?
Examine the different marriage relationships and attitudes towards marriage presented in 'Pride and Prejudice'. Is it possible to draw any conclusions about Jane Austen's own views on the subject? "Pride and Prejudice" was called "First Impressions" before it was finally published in 1813 under the title "Pride and Prejudice". The novel was written in the early 19th century at a time when social class and status determined a person's lifestyle and marriage partner. Marriage played the most important part in the life of women and men alike and a mother's main aim was to marry off her daughters to rich, eligible men and a man's was to marry a suitable wife. This was important because if the father died, the married daughters would have to be able to support the mother and family financially. Women could achieve a higher social status through marriage. The family's social status would rise if the daughter married into a higher status. If a man married a lower status woman, he would probably become outcast from his family, or if he married into a higher status he would become richer. Men would normally marry in the social class they were born into unless they made more money or got a promotion in their job. The social ranks that could be found in the gentry class are baronets, ladies, knights and dames, squires, gentlemen and ladies. Lady Catherine De Bourgh was a lady and Mr
The Crucible - summary.
Act One Summary: Miller prefaces the action of the play with a historical description of the Puritan society in which the play is set and an analysis of the Salem witch trials. To the rest of the European world, the inhabitants of Massachusetts were considered fanatics who shipped out products of slowly increasing quantity and value. At this time the town of Salem, established only forty years before, is barely more than a small village. The Puritans lived a strict and somber way of life, and had a predilection for interfering in others' affairs to guard against immorality. The Puritans carried with them an air of innate resistance and believed that they held in their hands "the candle that would light the world," a belief that modern Americans still share. Miller claims that the Salem tragedy developed from a paradox: for good purposes, even high purposes, the people of Salem developed a theocracy to keep the community together, but all organization is grounded on the idea of exclusion. The witch hunt was not mere oppression, but also an opportunity for everyone to express publicly his guilt and sins under the cover of accusations against the victims. The play is set in Salem, Massachusetts in the spring of 1692, and the first act begins in a small upper bedroom of the home of Reverend Samuel Parris, who kneels in prayer at the bed of his daughter, Betty, a ten year old
To kill a mocking bird - Chapter 14 Summary onwards.
Chapter 14 Summary Scout asks her father what rape is. He tells her it is "carnal knowledge of a female by force and without consent." There is a family scene when Aunt Alexandra finds out that Scout and Jem went to the black church with Calpurnia. Aunt Alexandra tries to forbid Scout from going to visit Calpurnia in the future, and tries to make Atticus fire Calpurnia. Atticus refuses on the grounds that she's done an excellent job of running the house and raising the children, and the children love her. Jem takes Scout aside and tries to tell her not to antagonize their aunt. He and Scout get into a fistfight, which Atticus breaks up, saying that Scout doesn't have to obey Jem unless he can make her do so. That night Scout and Jem discover Dill hiding under Scout's bed. He tells a long story about being locked and chained in a basement and escaping with a traveling animal show, then the real story about stealing money from his mother's purse, and walking and hitching his way from the train station to the Finches' house. Scout gets him some cornbread to eat and notes mentally that he is now "home." Jem says that Dill should let his mother know where he is. Jem¹s next action causes Scout to remark that he "broke the remaining code of our childhood" by calling for Atticus. Atticus is lenient, however, and calls Miss Rachel to ask if Dill can stay the night while Scout gets
A FRACTURE IN FICTION
TONY KLAVA PERIOD 3 MAY 2007 A FRACTURE IN FICTION BASED ON THE DA VINCI CODE BY DAN BROWN WRITTEN FOR THE TELEVISION BY TONY KLAVA MGRP 2007 NAFRA PRODUCTIONS TABLE OF CONTENTS ) Prologue..................................................................................................................3 2) Characters of A Fracture in Fiction.................................4 3) Summary of The Da Vinci Code......................................................5 4) A Fracture in Fiction Script......................................................6 5) Double Voice Poem Reference.........................................................6 6) Song Parody Reference........................................................................26 7) Newspaper Article Reference......................................................38 8) Cryptogram & Crossword Puzzle Reference..................46 9) Song Parody Lyrics.................................................................................47 0) Lyrics to Hundred (original lyrics)..............................48 1) Double Voice Poem....................................................................................49 2) Crossword Original.................................................................................50 3) Crossword
What boudaries does the vampire threaten? Discuss possible answers to this question with reference to at least two critical or theoretical essays and at least two tellings' of the Dracula story._______________________________________________
The Vampire What boundaries does the Vampire threaten? -------------------------------------------------------------------------------------------------------------------------------------- Discuss possible answers to this question with reference to at least two critical or theoretical essays and at least two tellings' of the Dracula story._______________________________________________ The Vampire in Dracula threatens the very existence of Victorian England. Stoker constructs the vampire as an embodiment of threat by surpassing his Gothic novelist predecessors to bring the threat of the Gothic home to Victorian England (Arata 119). This in turn crosses the boundary between what is foreign and what is national; and dually East and West. Dracula is open to many interpretations, each accompanying their own boundaries the Vampire threatens. Marxist's view Dracula as a metaphor for capitalism, whilst the queer perspective views it as a struggle between homosexuality and heterosexuality. Others such as Auerbach argue that "Dracula is in love less with death or sexuality than with hierarchies, erecting barriers hitherto foreign to vampire literature; the gulf between male and female, antiquity and newness, class and class, England and
