Creon’s tragic flaw is that he is to prideful. Creon insists on killing Antigone because she disobeyed his decree. When Haimon questions his decision, Creon replies by saying,” I’ll have no dealing with law breakers” (792, 35-36). Creon is explaining to Haimon that he will not deal with any rule breakers and that Antigone will be put to die along with her traitor of a brother. Creon’s pride is what leads to the death of Haimon, his son, and the Queen, his wife.
The strength and fierce attributes of warrior women in mythology and folklore had an effect on the societies of the ancient Greeks, Norse, and Celts. In fact, Viking women (the historical counterparts of the Norse mythological figures) were even allowed to divorce their husbands under certain circumstances. What were these circumstances? Spartan women were allowed to take new husbands if their old husbands stayed away at war for too long. Norse women were allowed to divorce her husband if he mistreated her and her children, he was not an ample provider, or he offered insult to her family.
Author Denise Giardina has great narrative abilities. She can spin a wonderfully coercive and succulent story, as she has done in Storming Heaven. The novel has a beautifully fictitious plot that ties in perfectly with the events surrounding the coal wars and the Battle of Blair Mountain. She really gives the reader an idea of what it might have been like to be a West Virginian during this era. The plot is set up in a way that causes it to be quite interesting to even those who are most loathing of history.
In his play Antigone, Sophocles tells about the actions of Antigone, a princess, who disobeys the civil law in the city of Thebes in order to provide a proper burial for her deceased brother, Polyneices. For this, she is sentenced to death by Creon, her uncle and king of the land. Creon believes that Polyneices did not deserve a proper burial due to the fact he turned on his city and therefore punishes Antigone for her actions. Creon and Antigone both face severe consequences regarding the law they follow, however Antigone is focused on life after death while Creon focuses only on his needs and wants. The main conflict arises when Antigone decides to go against civil law and bury her deceased brother.
In the play, Euripides has described Medea as a woman who “wild with love”. Everyone can see easily that with Medea, the love with Jason is the most important to her as she could kill her own brother, betrayed her father and her country to help Jason get the Golden Fleece. “I willingly deceived my father; left my home; …” “You had already murdered your brother at his own hearth…” Because of Jason, Medea - from a princess – had to drift to another place which is not belonging to her. Her family, her friends will never forgive for that, Medea doesn’t even have the way to turn back to her home anymore. “My friends at home now hate me…” Medea even earned more enemies when helping Jason.
Hanna Graves 09/12/12 THE 2000 In Class Essay Antigone Prompt #1 Antigone, defined by the Greek as against birth/motherhood, or "the opposite of her forbears". Antigone was born into her fathers curse, more importantly born into a world where women are seen as inferior when compared to men. Men must be strong and have the will to fight, women must sit below them and praise. Antigone was born a hard head, she was born stubborn and would not take no for an answer. When she confronted her sister, Ismene, to ask for her help in burying Polyneices, Ismene's fear was clear.
December 8, 2006 CMLT214 Sec 0103 Godard’s Treatment of the New Wave Heroine Jean-Luc Godard left his signature stamp on the films he directed in many ways, through both structural and narrative elements. However, his auteur directing is most apparent through his treatment of the movies’ heroines. His handling of the female characters is at the same time idiosyncratically unique, yet very much a part of the French New Wave movement. “Jean Pierre Melville was to say, ‘No New Wave style existed. If it were to exist it would purely and simply be the style of Godard’” (Ezra 172).
There are many opinions and much controversy on who the real tragic hero is in Antigone. Will it be Antigone the strong and determined girl fighting for her brother,or will it be Creon her proud uncle the king of Thebes. Antigone a tragic play written by sopocles (translated by ian johnston). Antigone tells us the story of a young girl named antigone who attemps to bury her deiced brother polynices. The one problem in doing this will be the fact that her uncle the king has created a law stating if any one was to bury polyneses they will be stoned to death.
Erdem Alagöz Research Techniques 29 May 2009 Adam Knows Too Much, Eve Knows That Adam Knew Too Much Tania Modleski considers Hitchcock’s films as the center of the appearance of feminist film theory and of the usage of feminist film criticism in her book The Women Who Knew Too Much: Hitchcock and Feminist Theory. She also addresses Laura Mulvey’s essay “Visual Pleasure and Narrative Cinema” as the leading source of psychoanalytic feminist film Alagöz 2 Rear Window shows the importance of the roles of men and women. Jeff is afraid of being in a deep relationship with Lisa because of her being excellent and “too feminine.” He sees her as a threat to his manly profession and can’t accept both as a whole. It looks as if Jeff and Lisa will give an end to their relationship for the long part of the film; however Lisa is determined to endure for it. Jeff’s approach to Lisa completely changes only after she starts to be more reckless, brave, and masculine.
Arguably the most renowned speech in William Shakespeare’s Hamlet, is the “to be, or not to be” soliloquy delivered by protagonist Hamlet in act III, scene i, where Hamlet’s views on death and whether he should take the path of life or death are shown. In order to master Hamlet on the silver screen, it is vital to master this soliloquy. In my eyes, it is here where Zeffirelli shines, and where Almereyda does not. Zeffirelli’s 1990 Hamlet is a theatrical interpretation aimed at the mainstream Hollywood audience, and is a great example of how the silver screen can capture the complexities of Hamlet. This theatrical success is evident in the Zeffirelli’s take on Hamlet’s “to be, or not to be” soliloquy.