During the scenes that take place in Casablanca, and especially the ones that happen in the café, harsh lighting is used on Humphrey Bogart (Rick). This emphasizes the façade he has created where he leads all those who know him to believe that he cares of nothing in the world except for himself. He is a harsh man and the lines and wrinkles in his face only help to lead the audience in a direction in which they almost dislike Rick. This changes drastically during the scenes in Paris. Soft lighting is used for these sequences implying that Rick is not so jaded at this point.
Candide Essay Hunter Kuhn 9/30/11 Metz, 3 Voltaire once said, “Every man is guilty of all the good he did not do.” Based on the story of Candide every person must have a hundred counts because of their terrible nature. Through Voltaire’s eyes, 18th century Europe was a place where the devil himself could fit in. This hell on earth was what Voltaire’s Candide lived through and fought against. Candide tussled with many tragedies, until the horrendous acts of his fellow man broke his spirit and belief in optimism. Yet Voltaire was not the only European author to feel this way about the true nature of man.
Not particularly attractive, crippled, and a (closeted) homosexual, Sam seemed to be born to be pitied. Sam was, however, able to understand his dire need for a transformation through an analogy to magic and comics. He says: “To me, Clark Kent in a phone booth and Houdini in a packing crate, they were one and the same thing. You weren’t the same person when you came out as when you went in…. It was called ‘Metamorphosis.’” (3).
The tragic endings to both of these novels, particularly ‘1984’ was controversial in the way that readers thought that it was a real possibility and that a dystopia caused by the state could actually occur. Orwell was trying to portray the dangers of totalitarianism authority and I think he does this effectively by tapping in to the emotions of the reader. ‘Brave New World’ is set 600 years in the future, therefore a lot of the fear built up by Huxley is lost. However, ‘1984’ is set around 40 years into the future which makes the possibility more of a threat, making the reader feel fearful, thus making the horror created by Orwell a more frightening prospect. The endings of both
Children of Men also uses symbolism to satirize the conservative nature of British society, making reference to the Holocaust as well as Pink Floyd’s Animals. Though their criticism differs in some aspects, both narratives reflect the British fear of foreign invasion. Thus, Dracula and Children of Men both criticise the same subject matter – that is, the social status quo in Britain – by satirizing the components of society unique to each timeframe as well as the British fear of foreign invasion. The main source of satire of Britain in Dracula is found in the juxtaposition of modern, Victorian era values with archaic, pre-enlightenment era values. Dracula criticises the conservative nature of the social situation in the Victorian era, as well as the unrefined, superstitious nature of the pre-enlightenment era.
Niccolò Machiavelli and Thomas Hobbes are both realists. Their works might be referred to as cruel or immoral because of their division of politics and ethics in their respective political theories. Although they lived centuries apart their works carry immense similarities with regards to use of force and violence. Both these theories declare violence, force and fear as necessities for maintaining a strong government, although the means in which they are carried out and justified differ. Their overarching beliefs dealing with human nature and structure of government are relatively similar, with slight variations, while the most distinct differences within their ideologies appear when analyzing the purpose of government.
Conflicting perspectives arise when personalities clash, as evident in Ted Hughes' poems 'Your Paris' and 'The Minotaur', and in The Unabridged Journals of Sylvia Plath. These texts demonstrate the influence of egocentric bias on shaping perspectives, and how composers manipulate textual forms and features to shape our understanding of events and personalities. Hughes' publication of 'Birthday Letters' was a challenge against the dominant mythologies which had surrounded his and Plath's relationship ever since her suicide, and a medium through which he presented his own side of the story. Much of the criticism of the time came from feminists and American admirers of Plath, thus he sought to absolve himself of the blame which had been attributed to him for the breakdown and dissolution of their marriage. In 'Your Paris', it is immediately made apparent that Hughes and Plath had antagonistic outlooks even in the early days of their relationship.
“Power tends to corrupt, and absolute power corrupts absolutely,” said by John Emerich Edward Dalberg Acton describes exactly what happened in George Orwell's world of Nineteen Eighty-Four. In today's modern society one can see some of the characteristics of Orwell's dystopia. These characteristics suggest that while many saw novels like Nineteen Eighty-Four as, "attractive to the primarily fringe thinkers" (Science) they are still relative to this day. In essence Orwell gave signs through his novel so that people of the world can avoid destruction brought on by their own government like that of Hitler and Stalin. Gwyneth Roberts says in her article about Nineteen Eighty-Four that, “Some of Orwell’s Newspeak vocabulary (Newspeak itself, Big Brother, doublethink) has entered the English language; certainly his vision of a drab totalitarian future has entered the general consciousness, although it is difficult to know whether his warning [have] been fully understood” (Roberts).
While there are undoubtedly subversive, or corrupt elements in the novel, arguments for censoring it generally misrepresent its more nobler intentions and greatly exaggerate its subversive designs. Putting aside the overinflated claims of the novel's most extreme critics and supporters, the diversity and intensity of readers' reactions to The Catcher in the Rye suggest that the issues it raises are significant ones. Consequently, it seems likely that readers will continue to have heated discussions about this "minor" classic for a long time to come. One of the issues that has been debated ever since the novel's initial publication is whether or not it qualifies as a significant work of literature. Does it offer significant insights into the complexities of human existence and the development of American culture, or does it simply appeal to vulgar adolescent minds with its obscene language, complaining about everything without developing any positive insights of its own?
This shows the changeable psychology of the murderer, most probably because of the mental “disease” he mentioned in the beginning of the story (line 2). However, it is clear that he denies and/or ignores this disease in every aspect and tries to proof that it is a positive part of him. (Line 2: “the disease had sharpened my senses”, Line 21: “would a madman have been so wise as this?, Line 31: “…the extent of my own powers, my sagacity”) The eighth night was the time, when the narrator sees the old man’s evil eye wide open, and decides to go into action. That night is described in long and detailed paragraphs in the story, and the