Talking about intertextuality it is very difficult if you don’t know the origins of the stories related to that one. Romeo and Juliet, from Shakespeare, is one example of story that remains in other works. The famous Shakespearean story about a young couple’s tragedy is remarkable, and also the inspiration for different kinds of work. As result, ignoring the similarities between this famous play and other works is almost impossible, firstly because of its renowned recognition, secondly because of the resemblance found in other works. However, to specify those parallels the scene chosen is the balcony scene.
Godot Essay The play “Waiting For Godot” has many characters that are detrimental to the success that Beckett had in writing, but what about the most important character that doesn 't even make one appearance in the play? Godot. Godot is not only important because his name is in the title but because he is the main focus in the play. Godot also affects the central theme of the book and the development of every other character in the play. Something that Godot affectseffects and is the central purpose of in Waiting for Godot is the theme.
8 Mar. 2016. The Act of Change in a Midsummer Night’s Dream by Allan Bellringer is about how the characters in the play and how their personalities react to different situation. The main topic that was the most covered was the main topic of the story, love, and how it affected the characters. This journal really broke down what was going on witch gave me a better understanding of the story I believe this information is reliable because I agree with what the author is saying and proves his points with examples from the text.
Character development is a change that a character goes through from the beginning to the end of the story. Often times, the writer creates developments only in the characters that he wants to highlight; therefore the importance of the character is determined by the amount of change that takes place. Character development is also very important in literary works that are more focused on character rather than events or its theme, as exemplified in the novella “Metamorphosis”. Although a common notion is that the main character is the most dynamic, therefore the most developed, and the foil: an ordinary and static secondary character to emphasize the qualities of the protagonist; Franz Kafka did the complete opposite in his novella. While both Gregor and Grete Samsa from Kafka’s “Metamorphosis” experienced character development, it was evident that Gregor’s metamorphosis symbolized and initiated the figurative transformation that Grete underwent.
In other words, they were fulfilling the sense of nation building not only on a dynastic level but also on a poetic level as well. And through this process, these texts also complicate and blur the line between different generic elements and consequently evolve as literary pieces that cannot fully contribute to either an epic, historical, or romance traditions. Although Romance tradition is usually regarded as the tradition of long poems, in the medieval sense they are also effectively the versions of the classic epic tradition and texts. Gawain and Green Knight and Arthur, similarly, are in a way quite interesting as they are not usual works of medieval romance. As instead they are fold into an epic framework throughout.
The story of Romeo and Juliet is a typical love at first sight plot but includes various other aspects that make the story interesting and different to other movies or stories with the same basic plot line. For example, there are many outside complications that are stopping them from pursuing their love as well as a surprise twist at the end to conclude the legendary play. Zeffirelli and Luhrmann decided to go in two completely different directions with how they were going to portray the tragedy that is Romeo and Juliet. Zeffirelli decided to go down the classic route and put the entire play, including original script, on screen with a few line changes. However, Luhrmann decided to modernise the story has much as he could by changing the setting and having the actors portray the characters in a different style compared to the play.
Henrik Ibsen comprises the aspects of action and inaction in his play, and important are not only the phrases of the characters, but also what they do at the moment, which is identified by the author. Moreover, to the conventions of drama in the Ibsen 's play belongs also the complexity of an action, and the tension that arises between the characters, for example in case of Krogstad and Nora. At the same time, the main conflict in the drama is developed around Nora 's attempt to withstand Krogstad 's threats, to discover her own self, and to struggle. However, those aspects of the character are overweight by the selfishness of the society. Besides, one of the characteristic features of the playwriting is creation of the protagonist who rises up against the society, points out the existing injustice, and asserts oneself.
This defies an effective understanding on the part of audience/ reader. Therefore, such an elliptical patterning and cryptic structuring calls for an active engagement on the part of the audience/reader, along with other critical discourse and intertexual references, to be able to affect an underlying reasoning. Some logic is thus revealed after scrutinizing several layers of meanings of the play. As Austin Quigley has pointed out: Pinter’s use of multi linear plots provide a structural basis for his depiction of irreducibly different characters with competing goals, needs, wishes, aspirations and expectations ... Pinter’s interwoven narrative are consequently able to offer
With the novel following the “the archetypal scenario for all those mildly thrilling romantic encounters between a scowling Byronic hero (who owns a gloomy mansion) and a trembling heroine (who can’t quite figure out the mansion’s floorplan)” (Gilbert and Gubar 337), it was and often continues to be seen as a rewriting of Jane Eyre into a more modern timeframe. While the similarities in both plot and structure are obvious, the criticism that du Maurier moved “progressive social agenda of the original novel backwards rather than forward with the substitution of the fiery, passionate Jane for the meek and mild unnamed heroine” (Williams 51) is problematic when considering the differences du Maurier made even when she chose certain aspects and settings of Brontë’s work to incorporate in her own. The narrative of a young, unnamed female heroine, who in
But did you realize that a lot of short stories can be similar? Differences in setting, place, and time can throw you off, but if you dig deep enough you might find that two very different stories might even be what I like to call "parallel opposites." Even a story set in the past can tie itself to a story set in the future by having the same points but different resolutions, and that is what I hope to show you right now. The first story I am going to compare is 'The Machine that Won the War ', by Isaac Asimov. This story is about the aftermath of a war.