Compare Elizabeth Bennett in 'Pride and Prejudice' in their judgments upon their parents. How do Ivan Turgenev and Jane Austen use narrative techniques to 'show' and 'tell'. In this essay, I attempt to show that both Elizabeth and Arkady exist in different eras of the century, however, they are not totally affected by the predominant social perceptions widely adopted by the society, namely, values pertaining to marriage, love, beauty of art and nature. Nonetheless, their social and personal beliefs have affected their judgments upon their parents. Both Turgenev and Austen have used various techniques in 'showing' and 'telling' to capture the reader's interest as well as enable the reader to understand the viewpoints of each character in the respective passages. In the first passage, Arkady shows no intention of pretence by replying very promptly yet cheerfully: "Fenechka?" (Turgenev,12). However, this may have appeared too embarrassing to Nikolai who blushes at the loud announcement of the name. In fact, Nikolai's stuttered reply displays that he is indeed self-conscious that probably a man of his age should be dating a young peasant girl of a different social class. Arkady expresses surprise with a hint of reproach - "You ought to be ashamed" - that Nikolai should apologise for the inconvenience of appropriate accommodation. He is actually telling his father that
How is Justine Presented in this Chapter? How Does Shelley Use Language to Create Effect in this Chapter? How Does Shelley Present Women as a Whole in the Novel?
Gabriela Belmar-Valencia 12CA 7th March 2003 a) How is Justine Presented in this Chapter? b) How Does Shelley Use Language to Create Effect in this Chapter? c) How Does Shelley Present Women as a Whole in the Novel? a) At the opening of Chapter Eight, the character of Justine is presented as dignified and composed, not, as might be expected, ridden with hysterical terror; "The appearance of Justine was calm", "she appeared confident in her innocence and did not tremble". At this point Justine appears to be resilient and strong as she had "collected her powers" and is described as speaking "in an audible although variable voice". However it is implied that this is simply a façade "as her confusion had before been adduced as proof of her guilt, she worked up her mind to an appearance of courage". The fact that courage does not come naturally implies that she is far from brave, as initially described. This is later confirmed as it is clear that she is unable to keep up the appearance of composure "She was tranquil, yet her tranquillity was evidently constrained", "A tear seemed to dim her eye when she saw us; but she quickly recovered herself". As the trial progresses, she quickly loses control; "her countenance altered. Surprise, horror and misery were strongly expressed. Sometimes she struggled with tears". Justine is presented
'Two basic kinds of narration exist - the omniscient and the limited' Tomashevsky). Consider the implications of this distinction in your chosen texts. It has been said that 'two basic kinds of narration exist - the omniscient and the limited' (Tomashevsky). In this essay I shall consider the implications of this distinction in Northanger Abbey by Jane Austen and Equiano's Travels. Where Omniscient narration is used, the narrator has a 'godlike' perspective giving the reader an insight into the thoughts and feelings of the characters and can describe to the reader events taking place in multiple locations at the same time offering a variety of point of views simultaneously. Limited narration offers only the viewpoint of a single character, from whose perspective the story will be told. However, the reader may be able to deduce further information about events from what is shown, although this may be the reader's interpretation rather than what the author intended. It is worth remembering however, that Tomashevsky s statement reduces a much broader of possible narrative forms to the two basic types. Omniscient powers may be focused upon one character, as is seen in limited omniscience, and dialogue can be used in limited narration to show the views of a range of characters, depending on whether it is written in the first person - 'I', 'me', 'us' or the third person - 'he',
Spare the Rod and Spoil the Child?: Representations of Mothers in Jane Austen's Sense and Sensibility
Spare the Rod and Spoil the Child?: Representations of Mothers in Jane Austen's Sense and Sensibility "I can no more forget it, than a mother can forget her suckling child". Jane Austen wrote these words about her novel, Sense and Sensibility, in a letter to her sister Cassandra in 1811. Such a maternal feeling in Austen is interesting to note, particularly because any reader of hers is well aware of a lack of mothers in her novels. Frequently we encounter heroines and other major characters whom, if not motherless, have mothers who are deficient in maturity, showing affection, and/or common sense. Specifically, I would like to look at Sense and Sensibility, which, according to Ros Ballaster's introduction to the novel, "is full of, indeed over-crowded with, mothers" (vii). By discussing the maternal figures in this work, I hope to illustrate the varying possibilities of what mothering and motherhood can entail in Austen, and what this curious spectrum of strengths and weaknesses means for the heroine involved. When discussing the mothers in Sense and Sensibility, it is only logical to begin with Mrs. Dashwood, Elinor and Marianne's mother. We meet her just a few pages into the novel, and are immediately told of her genuine and unassuming interest in Elinor's relationship with Edward Ferrars. Unlike most of Austen's mothers, Mrs. Dashwood is neither calculating nor
Commentaryon the passage from Wilkie Collins' The Moonstone is taken from chapter four of the narrative.
English Kate Etienne Commentary The passage from Wilkie Collins' The Moonstone is taken from chapter four of the narrative. The passage suggests that this work is a fictitious novel due to the form of prose as well as its lack of factual reference. This section of prose is one which contains great amounts of description and is effective in pulling the reader into the narrative in a short period of time. The reader is introduced to two characters in this section and is allowed to learn much about both in a short period mostly through description and not through delving into inner thought. Much of this is achieved through the use of narrative voice. The narrative voice used by the author of this passage is that of first person narrator. The narrator of this passage is Mr. Betteredge. Mr. Betteredge is speaking to us, the reader, which is an affective way of drawing the reader further into the narrative. He is an elderly gentleman; we know this by the reference he gives to the difficulty he has sitting down on the beach, "When you come to my age, you will find sitting on the slope of a beach a much longer job then you think it now." Through the language used by the narrator, it can be seen that he is a well spoken man, educated, and by the reference to "the plantation" as well as his "bandanna handkerchief - one of six beauties given to [him] by [his] lady" and his job as
A major theme in 'Les liaisons dangereuses' is seduction, not least the seduction of the reader by Merteuil and Valmont. Discuss.
Colleen Stopforth Week 2. A major theme in 'Les liaisons dangereuses' is seduction, not least the seduction of the reader by Merteuil and Valmont. Discuss. Merteuil and Valmont's characters are crafted by Laclos in a subtle and allusive way through the epistolary form so that the reader is not aware of their own seduction until they are entrapped. As the book develops and these characters orchestrate the seduction, entrapment and destruction of other characters, the reader's dependence on and relationship with them becomes evermore important. Valmont is a character of wit, charm and social graces, unashamedly aware of his role as a libertine in a morally aware society. His audacity is an attractive feature of his character and it quickly revealed. He tells Merteuil in letter 4, 'Je vais vous confier le plus grand projet que j'aie jamais formé,' which immediately draws the reader to his character and intentions. He is an educated, intelligent man who enjoys the present, but plans the immediate future to his advantage. Merteuil is equally as enterprising, if not more so, a quality which is obvious even from her first letter to Valmont, 'il m'est venu une excellent idée.' This description of her plan to corrupt the young naïve virgin Cécile has a hint of humour, a prevalent feature in the correspondence between her and Valmont, and one that the reader is inevitably
Trans-American Voices of Feminity: the Strengths and Angsts of Mujica’s “Frida” and Wurtzel’s “Prozac Nation”.
EXTENDED ESSAY Subject: English Literature Presented by: Catalina Echeverri TRANS-AMERICAN VOICES OF FEMINITY:THE STRENGTHS AND ANGSTS OF MUJICA'S "FRIDA" AND WURTZEL'S "PROZAC NATION" Number of Words: 3012 November 2003 ANGLO COLOMBIAN SCHOOL Bogotá, Colombia ONTENT Contents .... Page 1 Extract .... Page 2 Main Body .... Page 3 Bibliography .... Page 13 "Prozac Nation" by Elizabeth Wurtzel and "Frida" by Barbara Mujica are two amazingly similar texts, deriving from unbelievably different socio-cultural contexts. Elizabeth Wurtzel is a character of amazing wit and courage who is trapped between the bars of clinical depression. Through a profound and touching biography, Wurtzel portrays the typical life of young females in contemporary America. Frida Kahlo is a woman of admirable intelligence and unique personality, constantly tortured by a physically mutilated figure. Despite obvious contrasts of location and upbringing, both principal protagonists' experience remarkably parallel sentiments in terms of vulnerability and
Decoding and Interpreting Virginia Woolf's Writing StyleA Room of One's Own is one of the most significant feminist texts of the twentieth century
Meghan Juuti (Cox) Professor Zukowski English 180 23 February 2005 Taming the Woolf: Decoding and Interpreting Virginia Woolf's Writing Style A Room of One's Own is one of the most significant feminist texts of the twentieth century; modern female writers look to Virginia Woolf's work for empowerment and literary inspiration. There are many occasions throughout this essay where it is obvious that Virginia Woolf is undoubtedly a distinguished and intelligent writer. From the very beginning, the text detours from conventional expectations of style and presentation; it seems that Woolf is intentionally contradicting to the writing status quo of the 1900's as she writes about women, fiction, and a literal and metaphorical room of one's own. Throughout the following paper, the effects and accomplishments of Virginia Woolf's unique writing style, in particular her use of atypical paragraphs and long sentences, will be presented and examined. Before analyzing the intricate and unfamiliar style of Virginia Woolf's writing, it is beneficial to understand the purpose and context of her words. A Room of One's Own seems to be an inner dialogue where Woolf mainly presents her ideas and opinions. For example, consider the three opening lines of the essay, "But, you may say, we asked you to speak about women and fiction-what has that got to do with a room of one's own? I will
Commentary on passage (A) from "Novelas Ejemplares" In the lines preceding this passage, Rinconete and Cortadillo are scouted by one of Monipodio's lookouts after stealing from the sexton. His invitation to see the great leader and their walk to the house is mainly comical in that the thief's apparent quick wit is let down by his constant malapropisms. He also justifies his profession by saying that he is a member of the most holy and pious order of thieves. It is ridiculous and comical therefore; that he should juxtapose this idea with a series of brutal punishments that other rogues have suffered. The thieves' piety is only superficial however: they only pray and go to church when it suits them and when there is little chance of being excommunicated. There is little surprise when the lookout says that they never attend confession. One of the recurrent themes in this story is how the rogues refer to brutal punishments and malicious acts in such as matter of fact way. The lookout's answer to one of Cortado's questions is typical of his lifestyle: "-Pues ¿Que tiene de malo?-replicó el mozo- ¿No es peor ser hereje o renegado, o matar a su padre y madre, o ser solomico?" The house is a contrast of cleanliness and defective ornaments. Again, we question the thieves' devotion when we see a cheap and vulgar statue of the Virgin Mary. The people within the house are a curious
Maureen McKenzie Jane Austen Chesley 29 October 2008 Midterm Written Celebration Mansfield Park: What role does sense play in character development? Jane Austen used sense and sensibility as personality gauges for her characters within her novel. Sense was a measurement of a character's intellect, judgment, and self-knowledge, while sensibility was a measurement of emotions, taste, and responses. These characteristics are used to define characters as to their virtue in the Jane Austen world. The sense shown in the relationship between Edmund, Fanny, and Mary Crawford in Mansfield Park is an example of how Jane Austen uses sense and one's change in sense to define her characters' virtue and how the character's personal storyline turns out in the end. Edmund Bertram is a character who fluctuates in his sense, but as long as he fluctuates back to good sense, he is worthy of a wedding in the Jane Austen world. Fanny Price is the character who displays good sense. She displays intellect, good judgment, and has a sense of self; though by modern definitions her muteness would probably not be counted as such great sense. But the modern woman wouldn't be deemed to be so sensible in Jane Austen's time. Mary Crawford, with her outspokenness and willfulness should not be mistaken for the modern feminist. In Jane Austen's time this disregard for sense was a strike to Mary's