In chapter two of The Woman In Black, Susan Hill contrasts the emotions of the leading character, Arthur Kipps, with the pathetic fallacy to subvert the gothic genre. She does this by creating a sense of adventure and inquisitiveness through Arthur Kipps but describing the scenery to be dull and dreary. She portrayed the atmosphere to be flooded with thick yellow fog that “chocked and blinded, smeared and stained” the people of London. Describing the fog to have human abilities is an example of personification as it’s giving the fog, a nonhuman, the capabilities that humans have. By using the words “chocked” and “blinded”, it reflects on how vulnerable and exposed the public are due to this sinister fog.
Fay Weldon’s epistolic non-fiction text, Letters to Alice on First Reading Jane Austen, serves to provoke readers to revaluate and reshape their initial understandings and acceptance of the central values presented in Jane Austen’s Pride and Prejudice. Weldon’s didactic tone provides contextualisation of Austen’s Regency period enhancing, subverting, challenging and reinforcing the responders understanding of values imbedded within marriage, literature and moral and personal development. Through Pride and Prejudice Austen challenges the Regency notion of marriage as a means of attaining financial security and increased social status. The contrasting view on marriage between the pragmatic approach of Charlotte Lucas is emblematic of the traditional convention that “happiness in marriage is entirely a matter of chance.” This typifies the traditional ideology, juxtaposing it against Austen’s personal value of love in marriage as portrayed through the emotionalist approach of Elizabeth, “nothing but the deepest of love will induce me onto matrimony.” The emphasis on the use of ‘deepest’ serves as a metaphor of Austen’s value that love must develop over time and must be established before marriage, challenging the conventional approach, resonating with the contemporary responder of the 21st century. Weldon contextualises Austen’s world, positioning the contemporary reader to sympathise with the plight of women regards to marriage during the regency period.
Hill uses sibilance in this description to show how all Kipps can see is the open sky blending into the landscape; he truly feels as though he has entered another world which is important as a setting for a ghost story. Hill uses the setting of Eel Marsh House to create a wholly different place where the supernatural happens. The marshes of Eel Marsh House appear to Kipps to be beautiful and tempting and Hill uses this to show the reader his naivety towards the supernatural and the harm it can bring. He claims to want to ‘drink in all the silence and the mysterious, shimmering beauty’ and this seems a little confusing to the reader that Kipps finds the ‘bleached bone-pale’ marshes ‘mysterious’ and beautiful. The words ‘hissing’ and ‘rattle’ are mentioned, describing the sounds of the marshes, both of which create unpleasant onomatopoeic sounds and yet Kipps finds this pleasing.
Her body image makes the viewer feel as if she were asking for something in a time of despair. The colours suggest an intensity that explores the depths of dark passion and disappointment. The colours of the clouds are a silencing sadness and the crepuscular hills announce a great level of exasperation. However the creeping orange foreseen in the horizon sends a tone to the viewer that offers an alternate emotion. It prevails a tone of life, a feeling that there may still be hope in a time of such darkness, and gives an air of fierceness that proliferates around the bride.
The significance of the title is relative to the equal in-between state that marks the two main characters of Father Brendan Flynn and Sister Aloysius. Although based on real events, Doubt is a work of fiction, purposely constructed to make the viewer/reader think critically on the issue of moral ambiguity, most especially in the Catholic community. The play takes place in a time passed decades ago, in 1964, as if to lend a certain 21st century perspective on a time in America where change was rapidly taking place, and wherever there is change there is doubt as the chaotic new gives way to the traditional old. America’s ideals and images are changing as we see the birth of the Civil Rights Act, television reports of what is happening in Vietnam, and the aftermath of the JFK assassination. America as well as the Catholic Church is changing as it heads towards a millennial era.
In “My Amendment”, Saunders introduces the argument about same and similar sex marriage using satire, pathos and ethos. B. Thesis 1. Saunders effectively lets his audience know that it is wrong for the same sex to get married or similar sexes to get married through the use of personal experience and opinions with emotional stories. II. Body: A.
The seagulls’ main defense on any other day would be the unexpected splat on the shoulder or atop your cranium. But not in this picture, a head-butt, who would expect that? This unexpected phenomenon is one of the main focal points in giving the message its comedic value. If there were no seagull, the ad would be very dull and boring and be almost ineffective without
The narrator in this short story guides the readers through dating guidance by giving us stereotypical characteristics of a particular race. This manual presents us an idea on how the character views life and how his surroundings influence his
The author has spoken about her work, stating that Wit is about “love and knowledge, grace and redemption” (Drama for Students, The Gale Group). On the other hand, Edson has additionally said it is, “about everything that’s the opposite of grace and kindness” (The Gale Group). This contradiction can be seen as one of two things: a) a slip of the tongue, or b) a witty pun intended to strengthen the meaning of the play itself. The latter will be the focus of this essay. Looking at the word “grace”, a reader may think of a couple definitions.
For instance, imperialist measures are masked in "childbearing," or "domestic-society-through-sexual-reproduction," and "soul making," or "civil-society-through-social-mission" (Spivak 176). One moment of "childbearing" occurs when Spivak reveals that the "family/counter-family dyad" that allows Jane to move from the "counter-family" to the "family-in-law" is dependent on the "ideology of imperialism" (Spivak 180). In order for a "good greater than the letter of the Law" to be "broached" and the romantic notion of Jane and Rochester realizing their dreams of a legal family to occur, the imperialist figure of Bertha Mason must be removed (Spivak 180). Furthermore, Bertha's destruction has to be accomplished in a way that upholds the English ideology of imperialism and the proper British superiority. Therefore, Bertha's suicide is constructed in a manner that reflects her inferiority through imperialism.