The fourth and ﬁnal person is the Dynamic Explorer. A Dynamic Explorer does not care about order, but would rather take risks by accepting a daunting new challenge. The Dynamic Explorer learns best through trial and error, and he strives toward self discovery. The way that this type of learner will succeed in the marshmallow challenge is by building a structure through randomization of ideas knowing that it may or may not work. This theory is applicable to everyday life.
Response to ‘Zen and the Art of Monologue’ In Sankey’s ‘Zen and the Art of Monologue’ he states ‘ be sure to write your monologue in the first person.’ He says that a monologue is a personal thing and that writing it on the third person isn’t appropriate. I partly agree with this as a monologue does sound more realistic when in the first person, it gives the reader a better insight into the characters thoughts and feelings. However, Sankey also says that ‘A monologue is about you’ which I disagree with as it implies a monologue has to be about the person writing it. A successful monologue does not have to be from the point of view of the writer. Many dramatic monologues are written from the point of view of an imagined character.
However, such adversities do not deter me, as they do not deter Brian from his strict values. Brian is shown to occupy numerous statuses throughout The Breakfast Club. The most blatant of such statuses is that of a nerd, due to his love academics (he is a part of many academic clubs). Another status of Brian’s is that of an outcast from “popular society”. Being a nerd in his school is to be labeled “a nobody”, at least outside of his academic scene.
Joel Barish is a confused and stunned young man who swept off his feet by a romance that takes him to places he never dreamt of going. But it is Clementine I-don’t-know-what-her-surname-is-because-it’s-confusing’s first-rate performance that gives this creative story its spark and flavour. This attractive woman displays a collection of moods to match her ever-changing hair color, and she loves doing wild and crazy things. An added value to the drama is that it gives us a fresh appreciation of the rare and wonderful gift of our memory as storage of innumerable magnificence. It all started with the confused and distressed Joel Barish’s awakening in his apartment.
He enjoys being the patriarch - the head of the family, enjoys holding all the strings in the household; he views himself superior emotionally and intellectually and he treats his wife as a foolish child and a plaything. Torvald has pet names for Nora like “my little skylark”, “my little squirrel”, “my poor little Nora.” (Ibsen 4) It is not hard to notice that in every term of endearment the word little is always included. This shows how he doesn’t consider her as an equal partner in the relationship. To him she is just a child-wife, someone who he needs to nourish, take care off and teach. Appearances and social standard mean everything to Torvald.
Mistaken identity, dramatic irony and disguise serve a large role in making this play, Twelfth Night comedic. Malvolio is convinced Olivia is in love with him because of Maria’s letter. Sir Andrew is completely oblivious to the fact that Sir Toby Belch is befriending him to use him for his wealth. As Viola decides to disguise herself as a young man to keep safe, the potential for mistaken identity arises between her and her twin brother Sebastian. Meaning to embarrass and fool Malvolio, Maria, with the help of Sir Toby Belch and Sir Andrew, writes a mysterious love letter to Malvolio.
This helps to develop the theme of reality versus appearance, which is shown throughout the play. Polonius is teaching Reynaldo how to use words to hide the true meaning behind his questions. He is doing this to ensure that his son maintains a virtuous image, even if he is engaging in fights, attending parties and chasing girls. However, [Polonius] does not wish for Reynaldo to create any scandals of Laertes or make him appear immoral though these inquiries. This is why I believe lines 1-52 should be kept, as they are sufficient to show the audience the theme, and a major plot development.
That being said, Shakespeare has given each character their fair share of attributes that are certainly repugnant, and therefore only making the above statement partially true. The men of the story are all characterised as the leaders of their society who dominate the women in their lives. They are bigoted and manipulative in their own ways; however they still manage to maintain calm and measured exteriors. A prime example of this type of male in 'Othello' is Iago. Iago, to everyone else, seems like an honest and good man who will do everything in his power to help those around him succeed, but is really just power-hungry, two-faced and manipulative.
Reality theme that prevails thoughout Charles Dickens's classic novel. From the first meeting of Pip with Estella, Pip falls victim to believing in appearances. The beautiful, haughty girl whose name means "star" is elevated in Pip's esteem simply because she lives with the rich Miss Havisham and is dressed in lovely clothes and speaks in a deprecating way to him, calling him "common." Immediately, because this vision of superior loveliness who speaks properly has termed him "common," Pip experiences a humiliation. But, despite her cruel ways, Pip falls hopelessly in love with the beautiful Estella, perhaps even because she is unattainable.
Oshima is a tall slender female who poses as a homosexual male; Kafka is a hyper muscular adolescent who is fully aware of his sexual identity. Much conflict that Oshima would face in his life would be external with society since today our culture is not completely contented with transgender individuals. Kafka, on the other hand, is an average boy who has no issues blending into a crowd. The magical realism in the novel is based around the internal conflict of Kafka escaping his own fate; the fact that Kafka befriends a person like Oshima only emphasizes this idea. An example of myths used in the novel is the Greek story of people searching for their other halves.