Novels of the 1890s are different in so many ways from the novels of the rest of the Nineteenth-Century that they seem almost to belong to a different genre. To what extent would you agree with this claim?
TMA 06 W6186059 Sean Delahoy Option A 'Novels of the 1890's are different in so many ways from the novels of the rest of the Nineteenth-Century that they seem almost to belong to a different genre.' To what extent would you agree with this claim? Written in 1897, Stoker's Dracula exists as more than just a part of the Nineteenth-Century; it belongs to the period known as the fin de siécle, a French term used to describe the period between the end of one era and the beginning of another and the consequent anxieties and expectations that marked this change. In this period the Nineteenth-Century novel transgressed, adopting less secure, traditional methods to epitomise the instability of its time. The conventional styles and rules of realist fiction that had been developed throughout the century were being changed by novels such as Dracula in order to incorporate and emulate the turbulence that existed for Victorian society at the end of the century. Illuminating the fear and social apprehension of the unknown future in unrealistic, unconventional ways helped to capture the trepidation of what the turn of the century would bring from home and abroad. This removal of the rules that clarified the genre of the Nineteenth-Century novel makes the novels of the fin de siécle seem to belong to a
Jane Austen's use of irony in Pride & Prejudice, Emma and Persuasion.
SHABNAM ABUBAKER EXTENDED ESSAY 2001 Q: JANE AUSTEN'S USE OF IRONY IN: PRIDE & PREJUDICE, EMMA AND PERSUASION. Irony is a humorous or mildly sarcastic use of words to mean the opposite of what is said. Irony can be used in a satirical, humorous or sarcastic manner. It can be used to indirectly put a message across to someone as a joke. In Austen's books the characters sometimes valued irony because that is how they earn their success and to some it just made their life worse. However the characters are not fully aware of the irony used. This in itself is another aspect of irony. So, the question is why does Jane Austen use irony so much? "To Jane Austen irony does not mean, as it means to many, a moral detachment", (Encarta online encyclopaedia). To her it was all about humour and fun. I have discovered that she uses irony in most of her works. Her mother "had a great sense of humour" (Brodie's notes 1990:7) and it was probably genetically passed on to Jane. The convention within which she lived and wrote demanded a certain code of conduct, and this influenced her writing a great deal. Her way of showing what she thought of this way of living is by being ironic without being cruel, satirical without being complacent. In most of her books I have noticed that quite a lot of the characters are snobbish and their lifestyle is very
"With reference to at least two novels published after 1870, examine ways in which they disclose anxieties about male and/or female sexuality at the end of the nineteenth century."
"With reference to at least two novels published after 1870, examine ways in which they disclose anxieties about male and/or female sexuality at the end of the nineteenth century." Alex Coby, Physics III H.10. MODERN LITERATURE AND DRAMA Dr Siv Jannson The end of the nineteenth century was, like the end of the twentieth, a time filled with fear, anxiety and panic. All major issues in society at any time are generally represented in the literature of the time and this was certainly the case at the end of the nineteenth century. There were many reasons for anxiety; the collapse of empire, the rising Women's emancipation movement and the rise of the theories of Darwin and Freud, amongst others. The primary anxiety at the time, in my opinion, was the fear of 'perverse' sexuality, be it the empowerment of women and the 'decadent', or homosexual man. The Picture of Dorian Gray, by Oscar Wilde and The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson both illustrate this fin de siècle sexual anxiety to great effect, and it is on these two novels that I will concentrate. They approach these anxieties in different ways, and while Dorian shows the personal anxieties felt by the homosexual in fin de siècle England, Jekyll and Hyde exposes the anxieties felt towards the homosexual: As Showalter said, Jekyll and Hyde can be most convincingly read as a fable of fin de
From Pride and Prejudice, vol II, ch x
From Pride and Prejudice, vol II, ch x Please analyse this passage in no more than 1000 words, discussing ways in which the narrative voice and dialogue are used. This chapter opens with a line from the omniscient narrator confiding or 'telling' us about Elizabeth's unexpected encounters in the park with Mr Darcy. Austen's use of the 'telling' technique here is economical and saves the reader actually having to read through each of these meetings to know that they took place. In the next line the narrator slips into Elizabeth's mode of speaking with the use of free and indirect speech, to convey her feelings about the so-called accidental meetings. The irony can be picked up in the statement: 'She felt all the perverseness of the mischance that should bring him where no one else was brought;' was it really coincidental that Darcy was walking there? If we back up to the previous chapter we notice that Mrs Collins had even suggested to Elizabeth that Mr Darcy was possibly partial to her, so did not these encounters somehow arouse Elizabeth's suspicions and confirm this in some way, especially as she had taken care to tell him that this walk was a favourite haunt of hers? Was she somehow lying to herself here when she described the second and third encounter with Darcy as odd? Here the narrator wants us to believe that Elizabeth had no suspicions whatsoever concerning Darcy's
Compare and contrast the ways in which women writes connect 'writing' with'the body'.
Compare and contrast the ways in which women writes connect 'writing' with 'the body'. The two texts that I am going to consider are Jeanette Winterson's 'Written on the Body' and Charlotte Bronte's 'Wuthering Heights'. They will form some interesting contrasts and unexpected comparisons, due to the context, of different time periods. Bronte's references to the body are somewhat subtler and do not reveal explicit sexual references, but it will be fascinating to contemplate whether either text conforms to the conventions and ideas of the body within the romantic genre. I will delve into the writes attitudes to the body and how they divulge these through style, language, metaphors and above all the major theme of love. I will additionally take into account the feminist perception, particularly that of Judith Butler, and literacy criticism of the body and furthermore, touch on Freud's theory and its connection to the texts. The body has numerous definitions but even the body itself as "a. The entire material or physical structure of an organism, especially of a human or animal. b. The physical part of a person. c. A corpse or carcass."1 denotes a great deal. The body can signify numerous things within a narrative due to its sexual connotations, complexity, social values and above all connection to our identity. Both, Winterson's 'Written on the Body' and Bronte's 'Wuthering
An Exploration of D.H. Lawrence's, "The Odour of Chrysanthemums" brings to light the true fragrance of chrysanthemums set in contrast to Katherine Mansfield's, "The Garden Party".
An Exploration of D.H. Lawrence's, "The Odour of Chrysanthemums" brings to light the true fragrance of chrysanthemums set in contrast to Katherine Mansfield's, "The Garden Party", which makes for an interesting discovery into the reality of human class construction and distinction through the depiction of interpersonal human relations and the effect on them of class. "From the mechanical monster terrifying the cantering colt at the beginning, (a brilliant bit of Lawrence this - demonstrating the way that the iron horse may be able to carry more than the animal but that it can't beat it's pace) to the un-weeping widow at the end, we may think that this is just a 'tale'. But hours after the story is finished, the images are still with the reader." - Helen Croom An opposition between nature and society creates the central, juxtaposing theme of D.H. Lawrence's, "The Odour of Chrysanthemums". A verification of this theme is evident in Elizabeth's recognition of the absolute differences between her world and the world of her now dead husband, based on her perceptions. Elizabeth is confronted with the shocking reality that she only knew the body of her now dead husband, but never gained knowledge of his true existence; his soul. "The Odour of Chrysanthemums" functions as a depiction of human relations and the effect on them of class, as portrayed by the third person,
Bram Stoker's Dracula.
ESSAY: BRAM STOKER'S DRACULA Throughout the years, many authors have combined their thoughts and believes into a written project which later became a novel. In every book, the reader can learn between the lines about the author. Of course, from a year to another, beliefs were born related to the way of life. In the 18 th - 19 th centuries, Christianity made a great part of people's life. A man who was considered religious would be ashamed of talking about the devil and compromise his beliefs. Bram Stoker and Mary Shelley are two big writers who brought up a new style to the English Literature. Although with very controversial ideas, they described the society in two opposite ways. Gothic novels were always characterized as horror books. In many cases, it was not always true. It's a combination of super-natural, fear and domination (Men, leaders of the society were driven by their ambition for power and success in the upper-class society). In the novel, Dracula, Stocker brings to his characters the typical description of a human being as in real life. Often, the main character will keep his role of importance but a less important one at the beginning will obviously raise his role and will be more focused at. Characters will show qualities of rebelliousness and independence while at the beginning they were seen as regular as the others. Bram Stoker has a unique
A103 Introduction to the Humanities
A210 - Approaching Literature TMA 02 A key difference between a Gothic novel and a realist novel lies in the use of setting. Discuss with reference to Frankenstein, and either Father and Sons or Great Expectations. Frankenstein Great Expectations The term "setting" can be used for a variety of situations. In order to answer the above question, we must look for geographical locations and the buildings and environments within those locations. We must also look to both the time in history these events took place, so we can ascertain any historical relevance, and also what time of day events are taking place (for example, the brightness of day or the gloom of night). Gothic and realist novels use all of these different forms of setting to accentuate the mood they wish to convey, according to the rules often applied to each genre. Frankenstein contains a veritable feast of fascinating destinations, taking us on a journey around Europe. There are a plethora of places visited, from beautiful Geneva, Italy and Ingolstadt to the bleakness of the Orkneys, Ireland and the Arctic. Frank Darabont (Screenwriter and Director) makes the point that for contemporary readers of Frankenstein, the "novel was the only way people could go on tours of the world" (TV1, A210, The OU). This would have added to the reader's sense of amazement during each fantastical event. These different
The cask of Amontillado by Edgar Allen Poe.
Joanne Alldritt 10d Pre 20th century coursework: The cask of Amontillado by Edgar Allen Poe 'The cask of Amontillado' is a horror story written by Edgar Allen Poe in 1845. Poe was born in 1805 and in his lifetime was well known for his poems, short fiction stories and literary criticism. 'The cask of Amontillado' is the story of a man called Montressor who seeks devilish revenge on a man called Fortunato. The story is set largely in the dark catacombs of Venice. Montressor uses these isolated surroundings as a place to murder his victim. The title is relevant to the story because Montressor uses Fortunato's fondness for Amontillado to coax him into following him down into the isolated catacombs. When really Fortunato would not be lead to any Amontillado or do anything of that sort, instead he would meet his death. After reading the introduction to the story 'the cask of Amontillado,' I felt unsettled by the atmosphere portrayed. The first person narration creates horror and suspense because you feel as if you are being drawn into Montressor's world. The reader is somewhat ashamed of being so gripped because of the evilness of the story. Initially I felt slightly sympathetic towards Montressor because you realise Fortunato had done something to Montressor first and it obviously had
Good vs. Evil.
Mohemmed El-Aloul El-Aloul 1 ENG 3U1 Mr. Seifert May 12, 2003 Good vs. Evil The history of super-villains and superheroes in literary works is long and well documented. Almost all villains and heroes have one or more extraordinary ability, which is offset by one serious weakness, which will play an elaborate role in the story. A perfect example of this is a literary classic that stands the test of time and still appeals to the modern reader is Bram Stoker's, Dracula. Bram Stoker, did not invent the vampire or the vampire's mystical powers, they were brought on by superstition to explain the unexplainable. Dracula's abilities and limitations were often influenced by superstition. Dracula has the ability to command the behavior and thoughts of animals, his can shape-shift into the form of mist, a wolf or a bat. On the other hand he must obey certain laws of nature, why we do not know. During the time Dracula is in England he often travels in the shape of a bat, wolf, or mist so he can have the freedom of going unnoticed by the people. . "Then outside in the shrubbery I heard a sort of howl like a dog's, but more fierce and deeper. I went to the window and looked out, but could see nothing, except a big bat." (Stoker 150) 2. " 3. "He can come in mist which he creates-that noble ship captain