The Crucible – Zaynab Zahra Choose a play in which there is a character important to the theme. Explain how this character effects the understanding of this theme. ‘The Crucible’ by Arthur Miller is a play in which there is a character, John Proctor, who is important to the theme of reputation. Proctor, in the play faces a moral dilemma of whether to confess his sin of his relationship with Abigail Williams, or allow his wife and others accused of witchcraft, to die. Miller uses an allegory in this play, using Salem as a symbol of McCarthyism in 1950s America.
The play Fences is a drama written by August Wilson who was one of six children and also dealt with opeesrrions and racism when he dropped out of school due the struggles of racism. The play Fences presents the character Troy Maxson a person who has faced racism and discrimanation throughout his life. The Pulitzer Prize winning play is set in 1957-1965, a time when African-Amercians where hopeful for a better life. In Fences, racism haunts Troy Maxon’s life past and present. The play brings the view of racism in the world through Tory Maxson, family and friends.
Guy Montag as a Dynamic, Three Dimensional Character “Are you happy?” (Bradbury 10). This quotes is taken from the science fiction novel Fahrenheit 451, which is written by Ray Bradbury. It encompasses the struggle that society faces as characters such as Montag -the confused fireman,- Clarisse -the only person who appears to be alive;- and Faber -the owner of knowledge unused,- share their thoughts and feelings about how to find true meaning in life. Throughout the novel, Guy Montag appears as a dynamic, three dimensional character, because he illustrates the changes that come about through acquiring knowledge; he undergoes dramatic internal changes while presenting himself as a relatable human who struggles against his own flaws. Guy Montag proves to be a dynamic character in Fahrenheit 451 because of the momentous changes he makes in his life.
Susan Sontag, an author of the essay “Imagination Disaster,” explores the world of science fiction as she discusses the tropes in films from the mid-1900s. Throughout her essay, Sontag analyzes why these types of films were created, and basically ties her discussion with humanity. With the growing technological advances, science fiction films state specific things about how science threatens humanity. She also ties her discussion to how sci-fi films tend to serve an attempt at distributing a balance between humanity and the technological world. Sontag claims that science fiction films has suspense, shock, surprises, has an inexorable plot, and how they invite a dispassionate, aesthetic view of destruction and violence.
Equally important, in the play Hamlet himself is able to occupy the liminal space between time dimensions of life and afterlife. In addition, throughout the play within a play, “The Murder of Gonzago”, Hamlet makes use of cognitive theories, and thus, succeeds to trigger the audience emotions which are mirroring the fictional emotions that are performed in the play within a play. Furthermore, for Hamlet the "mousetrap" play is a mirror that reflects the reality; hence, Hamlet 's meditations about the subject of time are in fact his cognitive expression for the fracture in time which was caused by his father 's death. Shakespeare opens the play with the words of Bernardo: "Who 's there?" which apparently triggers the
(8) In more general terms, the metafictional strategies which the opening chapter offers for a successful co-authoring of the inset story and an imaginative reconstruction of the meaning of history are the regressus ad infinitum as a narrative equivalent of epistemological doubt, the blurring between fact and fiction as an expression of ontological insecurity, and the accumulation of multiply cross-referenced repetitions as an indication of man’s imprisonment in the ruling linguistic discourses. Peter Freese in Kurt Vonnegut’s Slaughterhouse-Five or How to storify an atrocity analyses that it’s characteristic of postmodern’truism that serious storytellers can no longer depict a shared reality and thus are incapable of recreating a historic event ‘as it really was.’ Confronted with competing realities that depend upon the perceptions and value systems of their individual projectors, Vonnegut takes recourse to the science-fiction strategy of the Martian perspective and makes use of the opposition between Earthlings and Tralfamadorians to demonstrate the dubiousness of the ontological distinction between fact and fiction. Another consequence of such radical idealism, convincingly thematized in Borges’ fictions, is the discovery that there is no prima cause, that every cause of an effect is in turn the effect of a previous cause and that every author of a fictional character is himself a character in the
This speech echoes the soliloquy of Act 1, however, he now questions how someone should deal with the struggles of life. “Whether ‘tis nobler in the mind to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles and by opposing end them,” (63-67). Hamlet questions what we are to do in the face of strife before we finally sleep for eternity and end our troubles. “Hamlet’s famous ‘to be or not to be’ soliloquy questions the righteousness of life over death in moral terms, much of the speech’s emphasis is on the subject of death—even if in the end he is determined to live and see his revenge through,” (Smith). Despite his questioning over how to proceed, he ultimately comes to one pivotal conclusion, “He observes that such thinking turns people into cowards, and action into inaction,” (Applebee).
Winegarten’s theory presented that Victor Hugo was astonished well-known author with powerful set of words to bring culture to the world. The novel “Les Miserables” (1862) was a great work of political art. In the literary map of the heroic myth in the revolting revolution for the portrayal of the resurrection. The middle, high, and college-level students will help understand the dark aspect of the author, Victor Hugo prove to the “Les Miserables.” “The hero, Jean Valjean, the ex-convict tormented by conscience of the past actions and the good acts to repent his soul” (Winegarten, 1). The thesis is to observe the struggle of people’s actions in the complications of life to redeem one’s
In the Roman Fever, allusions to the classical culture are strongly evident in the letter from “Delphin.” The letter from “Delphin” tends to prove oracular in its production of a future event. Moreover, the setting of the story above the ruins of Rome tends to play a significant role in the provision of the background for the emergence of considerably long-buried stories for the gladiatorial violence of Mrs. Slade. The concept of allusion is strongly evident in the text in the fact that it appears more like a modern-day version of Oedipus the King. As in the Sophocles’ drama, the happenings are not so much a new action as a conversation that, driving to its painful denouement proceeds over the ancient events depicting their significance as entirely different from the imaginations of the participants. Oedipus finds that the man that he murdered sometime back was instead his father while the man that he previously regarded as his father was