The Passion of Curiosity Bienvenue sur le site d'ORACLE 1. Observatoire Réunionnais des Arts, des Civilisations et des Lettres dans leur Environnement 1.4. Revue ALIZES 1.4.13. Alizés n°23 The Passion of Curiosity This essay will attempt to stage an encounter between literature and psychoanalysis; the ground of this encounter will be Henry James’s story, “The Jolly Corner” and Sigmund Freud’s discussion of a particular mode of negation—“disavowal”—which results in what he calls a “splitting of the ego.” Spencer Brydon, the exile who has returned to his home, experiences one aspect of James’s concern with the “global.” Motivated by a “passion of… curiosity” concerning what he would have become had he remained in the United States, he searches for his alter ego in his family’s home, the “jolly corner;” their encounter, however, does not at all reveal to him what he had expected (724). The profoundly enigmatic character of Brydon’s relation with the alter ego can show how the mechanism of disavowal creates within consciousness a series of logical contradictions, each of which will be embodied in an aspect of the fantasmatic scenario of castration enacted within the text.
The actors serve as the tool in which to depict the manifestation of the creators comment on society's need to obtain logic. A Freudian fuelled text; “Un Chien Andalou” is laden with powerful symbolism. Just like in dreams, each chaos riddled scene is a mesh of unrelated objects with organic qualities and symbols that are curiously unfurled in an unnatural relationship, even if there are none. The prime directive is to shock and provoke the viewers thoughts. Bunuel and Dali swarm us with disjointed images alluding to humanities ancestry with nature, the problematic relationship with culture and attitudes towards time and social growth.
"And the Leaves of the Tree Were for the Healing of the Nations": Literature and Civil Disobedience in Ray Bradbury's Fahrenheit 451 Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Fall 2008 By Alina Gerall Thesis Director Dr. Deborah James Thesis Advisor Dr. Blake Hobby Gerall 2 Ray Bradbury's Fahrenheit 451 is a blatant criticism of suppressed creative thought. The novel follows Guy Moritag, a firefighter who, rather than putting out fires as we expect, is partially responsible for setting fire to the houses of people who harbor and read books. Montag meets a young girl, Clarisse McClellan, who encourages
It suggests that an ambitious person will surrender moral integrity in order to achieve power and success. This is portrayed through Tyrell, the Creator of the Replicants and possibly the mastermind behind the world’s rapid propulsion into a world of science. Bladerunner is a dystopic science fiction that holds similarities to Huxley’s Brave New World (1932) and George Orwell’s 1984 (1949). Both these texts have influenced the themes present in the film regarding contemporary society’s failings and the speculation on the potential consequences of continued scientific pursuit. This pursuit of knowledge and progress is not unlike that of the Nazi regime.
In order to show the spiritual, emotional, and mental transformations of these characters, it is essential to analyze the characters from the beginning of the novel to the end of the novel, and the differences recognized through their experiences. The novel first really looks into the characters of Mitsuko and Otsu in their years of attending college together. Otsu is first described as an awkward religious student while Mitsuko is a declared atheist who is studying French literature. Endo is able to describe Mitsuko further in the novel in relation to her friends. Mitsuko is called Moira by her friends, in honor of the title character of a French novel by Julien Green.
“Powers & Principalities.” Commonweal (2011): 14-17.Academic Search Premier.Web.21 Mar.2013. The author explores the modern concept of devil. He argues that author C.S Lewis has perpetuated the modern caricature of evil in his novel “The Srewtape Letters” through the real goals was to set evil within the terms of Christian apologetics. He also observes that in several motion pictures, such as “The Devil Wears Proda” evil is personified less as a cosmic power battling God for sovereignty than as a small-time dealer in individual favors as the source of humorous mischief. The Devil is no joke.
A critic from the Literature Network said “Poe's "The Tell-Tale Heart" consists of a monologue in which an accused murderer protests his sanity rather than his innocence. The point of view is the criminal's, but the tone is ironic in that his protestation of sanity produces an opposite effect upon the reader. From these two premises stem multiple levels of action in the story. The criminal, for example, appears obsessed with defending his psychic self at whatever cost, but actually his drive is self-destructive since successful defense upon either implied charge— of murder or of criminal insanity— automatically involves admission of guilt upon the other (1).” In summary, when Poe creates two personalities within one character, one part of the character will blame the other part of the character. Eventually on part of the character will give in and accept everything.
Mary married British Romantic poet Percy Bysshe Shelley in 1816. The genesis of Shelley´s best known novel is well known today. It goes back to 1816, when Marry and Percy Shelley, who was still in that time married to other women whom he left in England pregnant, left to Switzerland and became the neighbours of their common friend Lord Byron, a poet and a leading figure in the Romantic Movement. With their tradition in reading German ghost stories during stormy evenings, Byron challenged his guests to write one themselves. Marry came with the idea that led to Frankenstein.
The Stranger: Tone In Albert Camus’ novel, The Stranger, various rhetorical strategies are employed to more effectively enhance the novel. The main attitude the novel emits, the tone, dictates the way the piece is perceived by readers. The apathetic attitude radiating from the protagonist of the novel, Meursault, derives from the existentialist philosophy. This philosophy heavily focuses on indifference, detachment, and the irrationality of the universe. A sense of detachment is detected immediately at the start of the novel, when Meursault first hears word of his mother’s death.
Literary Analysis of: I Spy by Graham Greene Graham Greene, in full Henry Graham Greene (born October 2, 1904) English novelist, short-story writer, playwright, and journalist whose novels treat life’s moral ambiguities in the context of contemporary political settings. The extract under study “I Spy” is written by Graham Greene in the style of fiction (художественная литература). It deals with author’s feelings and emotions about relations at school and relations in the family. There are two main characters in the story. They are Charlie and his father.