“Instead of the usual short story elements of plot such as exposition, rising action, climax, and denouncement, Porter skillfully uses stream-of-consciousness not merely to delineate the character of Granny Weatherall but to tell her life’s story as well” (Britton). Even though it is written in third person, the story is told through stream-of-consciousness. This type of narration allows the reader to see into Granny Weatherall's conscious mind. While reading, one gets the sense of being an invisible character in the room as well as in Granny’s mind. “Porter conveys what it is like to be an eighty-year-old woman whose mind tends to wander by enabling readers
Mary Shelley’s gothic promethean novel, Frankenstein (1818), was released during the industrial revolution as romanticism was thriving, while Ridley Scott’s futuristic sci-fi Blade runner (1992) grew with the dawning of a capitalistic increasingly globalised and technologically driven society. The comparative study of these texts encompasses themes of humanity and playing God through a tone of moral warning and allows the responder to explore how similar content in different contexts will reflect changing, but also constant values. Through the use of filmic techniques, Scott demonstrates how nature and religion are absent in a world overrun by consumerism and technology. Due to her context, Shelley alternatively uses imagery and allusions to hint at the consequences humanity will suffer if they try to better God through the misuse of science and the corruption of nature. Both of these texts reflect the distinctive contexts in which they were written; although separated by over 100 years of history, they still present similar issues and dilemmas which affected the form and features of the individual texts.
Hurston had this to say in Their Eyes Were Watching God: A Casebook: I dislike insincerity, and most particularly when it vaunts itself to cover up cowardice. Pessimists and grouches and sycophants I do despise. (18) At any rate, the title suggests that Walker isn’t about to delve anywhere near objectivity in her essay. She’s taking a stance. (Interestingly, Zora Neale Hurston, being an anthropologist, might have looked upon this essay with her eyebrows raised.
He warns George and Lennie about her, despite the fact that they haven’t met her yet. This is significant as the structure of the novel means that our views are already prejudiced before we even see Curley’s wife. I think that Steinbeck has done this to show how easy it is to prejudge by listening to others, and that this might mean you don’t give people a chance-like what happens to Curley’s wife. Candy uses the word ‘tart’ to describe her and makes her sound like an object by informing George about Candy’s glove and what he uses it for. George is immediately disgusted by this ‘that’s a dirty thing to tell around’ and we can already see a negative view of Curley’s wife forming in his mind.
When he says “meant”, it puts stress on the word and it’s meaning- he knows he is failing to do so. Their conversations are restricted only to the local happenings and their children. Elizabeth wants John to go Abigail and “tell her she’s a whore. Whatever promise she may sense – break it.” He grows angry at her suggestion because he feels she calls him “base” and having no moral standards. However, I think that Elizabeth is merely trying to find common
This suggests that it is a human quality to seek company and if one secludes themselves from the community and others it removes their human qualities and they can become dangerous. Mary Shelley’s gothic novel, ‘Frankenstein’ published in 1818, and Ridley Scott’s dystopian film, ‘Blade Runner’ the director’s cut produced in 1992, both express and explore the human need for togetherness, company or dare I say it, belonging to each other through their chosen mediums. Mary Shelley promotes human wellbeing by working together rather than following individual pursuits. She emphasises this fact and warns us that we shouldn’t take relationships and company for granted because she was greatly influenced by the enlightenment period where scientists like Luigi Galvani and Alessandro Volta focused on their individual pursuits rather than human wellbeing. This concern is voiced in one of the main characters, Victor Frankenstein.
In what ways is your appreciation of both texts enhanced by a comparative study of ambition on Frankenstein and Blade runner? Mary Shelley's Frankenstein and Ridley Scott's Bladerunner both project dystopian images of society and morality, propelled by the main characters' ambition and egotism. It is through this that an audience’s appreciation for texts is enhanced. These complex texts can be seen as a pair that differs in context, seeing as they are separated through time. Frankenstein driven by romantic imagery and set in historic context, that analysis the European divide in society perpetuated by superficiality.
Mary Shelley’s Frankenstein; or, the Modern Prometheus and Ridley Scott’s Blade Runner are clearly shaped by their contexts, yet both express the same concerns that resonate with today’s society. Both texts question the roles of humanity and challenge science and religion to reflect disruption due to the irresponsibility of man. Written in the early 19th century, Frankenstein was a revolutionary text. It was a work that was regarded as one of the great gothic novels of all time. Frankenstein was produced in a time when there was a belief that science and technology would change the world, but there were grave questions about the socio-economic impact of industrialisation.
Stoker makes continued use of symbols and objects throughout the novel in order to further strengthen on this idea. Through these means, Stoker provides a stunning insight into the values and attitudes that typified London in the final years of the 19th Century. The consequences of science and technology and overall, modernity, are brought into question quite early in the novel. As Jonathon Harker becomes uneasy with his accommodation and host in Castle Dracula, he
Shelley presents a situation where society is ignorant about the unfamiliar, different, and is also unwilling to accept and embrace the unusual. Shelley portrays the rejection of the creature by his creator, the society¬’s reaction to the wretch, and the way in which they cannot see beyond superficial. Shelley shows that by having knowledge, Walton is able to see beyond the physical appearance and ultimately better accept the monster for what he really is. The relationship