The writer of this article talks about how the basement isn’t just a hiding place for a Jew or a refuge to learn but it is a place to rebel against authority when Max transforms it into a setting for creative/political activity by painting over Hitler’s Mein Kampf erasing Hitler’s authority and becoming his own authority. Maslin, Janet. “Stealing to Settle a Score with Life.” New York Times, Published by Janet Maslin, Monday 27 March 2006. Wednesday 30 April 2014. This article is a review on the book itself; however the article also talks about important points involving the main character Liesel Meminger “the book thief” and how they dealt with life during the war.
To me this quote showed the reader that people would use Gatsby. When Gatsby would throw party’s people would show up uninvited and I realized that even though Gatsby was “popular” he was only popular for the lavish parties he would throw, in my opinion. From reading this I can now predict that something is going to happen and Gatsby is going to realize everyone didn’t care about him at all. I felt while reading this quote from chapter 3 that it showed a progression in the relationship between Nick and Gatsby, and since Gatsby
Kristy Mosley English 102 Instructor Guerin 21 February 2012 Obedience of Tradition in “The Lottery” “The Lottery” she expertly tells a story that is not only disturbing, but shocking and demonstrates In Shirley Jackson’s how coldness and the lack of compassion can be brought out in people, when in situations regarding obedience, in keeping with traditions. Shirley Jackson also exposes the many flaws of human nature in which a large role of obedience to superiors could cause considerable damage and sets the theme of the story to make the reader question many cultural traditions. The first character that surfaces and presents the role of obedience is Old Man Warner. Old Man Warner, being the oldest in the small town where the lottery takes place, has survived more lotteries than any other person in his village. As Warner puts it, "seventy-seventh year I been in the lottery.” (1217) Jackson uses Warner's own viewpoint on his continual luck to add drama to the large amount of time he has survived.
Texts are often influenced by the values and attitudes of their authors, and always reflect the time in which they are composed. Christopher Isherwood's novel Goodbye to Berlin (1939) and Bob Fosse’s musical Cabaret (1972) are both texts that explore the economic, social and political unrest and internal decay of Berlin in the 1930s. Inflation, World War 1, the failure of the Weimar Republic and a hedonistic society form the context of Isherwood's stories. In contrast, Fosse transforms Isherwood's stories into another form of entertainment, Hollywood musical, and demonstrates how a shift in context to a 1970s audience with a post-holocaust retrospection accounts for a shift in values. An inverse relationship is developed between the two texts, which establishes the notion of the Nazis' rise to power and the pursuit of a decadent lifestyle Both Goodbye to Berlin and Cabaret reflect anti-Semitic values and the rise of Nazism in Berlin in the 1930’s.Goodbye to Berlin was written at a time of political and economic instability in Europe, particularly Germany.
11/13/11 Analysis In Bradbury’s novel, Fahrenheit 451, his use of diction creates a mood full of tension, conflict and turmoil. The trailer that was created also shares this feeling, with the use of multiple tense scenes adapted from the novel. More specifically in the beginning, Bradbury creates this mood by showing Montag’s conflict with himself and also after, with society, and during the climax where Montag is in conflict with Beatty. From the very beginning of the novel, Bradbury creates a mood of tension, turmoil and conflict when Montag questions the society he has followed until now. This change was stimulated by discussion with Montag’s new neighbor Clarisse.
Write about some of the ways Fitzgerald tells the story in chapter two. Throughout the novel Fitzgerald uses a variety of techniques to draw the reader into the story, in chapter two there is a lot of evidence of these techniques being used. In particular he uses pathetic fallacy and symbolism as well as shock. The opening of chapter two is illustrated by a description of the valley of the ashes as Nick travels with Tom through the Valley of the Ashes to New York to meet Tom’s mistress, Myrtle. In the description, Fitzgerald uses pathetic fallacy at the very start to portray the moods and emotions of the time.
Within the 24 hours of the plot’s duration, Paul Haggis has decided upon presenting thrilling-reality based themes such as oppression, crime, racism, corruption, obligation, indignation. In separate incidents, all different character’s lives collide with each other, purposely leading to further tension and understanding of the overall plot and its assertion. Main characters like a police detective linked to a tragic family faith, an attorney and his pampered wife, two car thieves constantly discussing racism, a racist veteran cop taking care of his sick father, a successful Hollywood director and his wife, a Persian-immigrant father and a Hispanic locksmith, will conduct the audience throughout this social-critical drama. Thus, an “utter entertainment satisfaction” arouses and also may lead to moral and soul-searching. One specific scene, out of 19 scenes, which is called “The revenge”, is going to be discussed in this forthcoming essay.
The impact strangeness has, as a result of the residual of the wreck, affects a larger audience than the injured party, as witnesses and the reader try to understand tragedy. The use of stylist features to describe the aftermath of the automobile accident, keeps the reader focused and allows the reader to relate personally to the subject of strangeness in the poem. The sound work at the beginning of the poem by using alliteration, immediately draws the audience in. “Its quick soft silver bell beating, beating, / and down the dark one ruby flare” (Shapiro 1-2). Alliteration is the repetition of consonants within the first syllable.
I will explore the ways in which they do this. In the opening scenes of each of the films, both subtly portray different ideas about cultural difference. In Crash, the opening sequence shows many red and white lights, travelling their separate ways, as if they are many cars’ headlights and brake lights on a motorway. This symbolises two different cultures, and how they congregate together and keep themselves separate from other, different cultures. As the opening sequence advances these separate lights (or cultures) start to cross paths; this symbolises how, although vastly different, in some occurrences, these cultures, like the lights, cross paths; it cannot be avoided.
The affect of Weddings and Funerals in Friedrich Durrenmatt’s “The Visit” and Federico Garcia Lorca’s “The House of Bernarda Alba” Weddings and funerals are of great significance naturally in one’s life, as they mark a begging and an end to one, respectively. Durrenmatt and Alba have used and manipulated the values of both, to their own dramatical benefit; one in order to criticize the conformist time and the capitalist economy that domineered at that time (1956) and the other to portray the oppression on sexuality. Where through his use of impressionistic style writing, he was able to portray that the eminence of life can be disvalued in the presence of great financial possession. This technique is being functioned through his two main characters; Claire Zachanassian and Alfred Ill. At the beginning of the play, Ill’s town is of great anticipation to Claire’s arrival. Claire has been a former resident of this town and shares mutual clandestine history with Ill. With the introduction of this character, also comes the introduction of the two main subject matters; weddings and funerals.