The light associated with an image in each chapter is an ‘entirely new vision’ for Lucy, which sheds light on her world. ‘Knowledge comes only in flashes’ is the epigraph for part two also being enforced again in the epigraph for part one. The language of the novel is often as dense as poetry and contains highly original and interesting figures of speech; many of these are associated with the light and dark imagery. There are many examples throughout the novel but 1 universal language feature is similes. Similes are the most common figures of speech used in the novel; ‘…a hat which curved around her face like a materialising halo’.
Good afternoon/ Good morning class and teachers. In this speech I will explore the ways that the director, Amy Heckerling has transformed and re-contextualised Jane Austen’s popular novel ‘Emma’ into the satirical, humourous, parody film, ‘Clueless’. Storylines are often familiar in terms of plot, theme and purpose across many cultures and eras. There are common themes and plots that are used again and again within texts. While particular characteristics vary, the essence of the narratives are frequently simply reworked and adapted to suit different needs, times, circumstances, values and locations.
Fear is created by Bronte in chapter two as the room is remote in comparison to the rest of the house, and once inside, Jane is isolated from the rest of its inhabitants. She “resisted all the way” which shows us that Jane is scared of going into the bedroom; as she has previously stood up to her cousin, who we know hurts her physically, the fact that an otherwise brave girl is scared of and trying to avoid going into a room makes us think that it is something to be feared. Bronte also created fear in the chapter through the words of Miss Abbot, who says “something bad might be permitted to come down the chimney and fetch you away” telling a child this is bound to scare them and created fear in the child and in the audience. The mystery in which the room is presented also makes it seem frightening, it is not mentioned to have a purpose, and is only mentioned by a colour, “the red room”. Whilst red is the colour of passion and lust it is also the colour of a more sinister thing; blood.
A simple way to explain what a portraiture is, would be a person that paints/draws/creates portraits. c. Fine Art Photography - is photography that is created with a specific vision of an artist that is as a photographer. Fine art photography relates with photojournalism, which can provide a story or a documentary which covers a specific subject or event. 2. What is the definition of ‘fine art’ and how, if at all, does photography qualify as fine art?
BRIAR ROSE-JANE YOLEN Yolen has created an ingenious story of great significance in Briar Rose. Aside from the novel itself being a fictional text, the book stresses the intrinsic importance of fairy tales to the responder. The resilience and power of these tales are emphasised as is the significance of true stories form the past. It is through the examination of the allegorical story told by Gemma and the characterisation used by Yolen that the concept of the hero and heroine is explored. Yolen has enabled her readers to understand the value of the past for the present and to witness both the true horrors as well as the acts of courage in her novel Briar Rose.
Furthermore, one may come to the conclusion that perhaps Octavia Butler’s style of revisiting history through a different genre than the usual historical narrative can lead to a deeper understanding of the time period itself. Elaborating on the use of time travel, Butler utilizes Dana as the main vessel connecting both the past and present, and in doing so the reader is able to use Dana’s observations and thoughts about the world around her to mirror their own questions. For instance, Robert Crossley in his “Critical Essay” in Kindred writes that Octavia Butler’s main achievement in using Dana as her main character is the fact that she sees “individual slaves as people rather than as encrusted literary or sociological types” (270). Without the time travel aspect of the plot and the contrast it provides, the reader would not be able to see through Dana’s eyes the reality of slavery. In fact
As the story transpires, Jane's unknown figure becomes all that is known to her; however, because of what is expected of her as a woman it is difficult for her to acknowledge her own self as she is afraid of her own monstrosity. Her repression is what initiates her transgression of becoming this unknown figure, and through excessive behaviour and desire she is able to recognize her situation as everything she is initially told is meant to keep her in the dark. Living in the nineteenth century, Jane has an extensive amount of pressure to be the perfect housewife and comply to her domestic expectations. Women have little rights and respect, and they must pursue their roles as women and tend to their husband and children's needs without complaint. Jane is very aware of these pressures placed upon her, as she is constantly describing how she must make John happy, and get well for John and the baby.
I'm convinced that to understand this movie, one has to realize that what appears to be true is really an imagined story, or like dreams realized while one is laying on a bed...daydreaming .. And what appears to be surreal and/or dreams or nightmares is really the truth. There are many details or clues throughout the film to support this theory, and the opening of a mysterious box with a blue key is, I believe, the switch between imagination and reality. Characters
Edited by CURRER BELL’, for this presentation is highly significant for a contextual appreciation of Charlotte Brontë’s first published novel. There has already been some work on the names of characters within the novel, looking at possible symbolism (e.g. ‘Eyre’, ‘rivers’, ‘reed’), literary allusions (‘Edward Fairfax’ and ‘Rochester’), biblical allusions (‘St John’) and the ordinariness of the name ‘Jane’.2 A focus on the framing provided by the title page with respect to name will offer further insights into the importance ‘names and naming’ have for the author, and insights into how ‘names and naming’ are being carefully handled in this mid-nineteenth-century context. Following on from this, we can see how such an
This online article is historically oriented and does a great job of identifying the development of the Manhattan Project. By using bolded headlines and divided short sections, Mary Bellis is able to divide the article into five parts that are short and to the point. In the past Bellis has specifically written about inventors and inventions. This is probably due to the fact that she is somewhat an amateur inventor herself and can relate to the subject. Her writing has been used in many educational books and articles, which show that her writing is both reliable and accurate (Bellis 3).