Throughout the novel of The Death of Ivan Ilych, Tolstoy conveys his thematic focus through his unique use of diction. Tolstoy examines several factors that have altered Ivan Ilych’s lifestyle. The only way to enhance our understanding of these factors is to observe how Tolstoy portrays Ivan’s evolving comprehension of what death means to him. Evidently, such portrayal can be thoroughly observed and understood by carefully analyzing Tolstoy’s use of diction. Furthermore, there are several themes that Tolstoy focuses on primarily, which are often associated with the depiction of the human existence as a conflict between different sides of the spectrum and Ivan’s tendency to alienate himself from the world.
In a way, through Anna’s words, Virgil blames her because of her thoughtless action. In other words, he enhances Aeneas’ manliness and authority by comparing him to Dido, who acts irrationally due to her crazy kind of love although she stands for another authoritative figure in the text. On the other hand, in the Heroines, Ovid narrates a different kind of Dido. With the use of first person perspective, he gives us a chance to dive into Dido’s inner thoughts and this, I think, is a way to show her rationality in contrast to Virgil who focuses upon just actions and interprets them as some irrational reactions. For example, in the Aeneid, Dido is represented as hateful even towards the little child of Aeneas as well as his nation.
In February of 1968, H.J. McCloskey published an article called “On Being an Atheist,” in the journal Question One. In his article, McCloskey makes a very entertaining explanation in why the argument of God’s existences fails. This paper responds to McCloskey’s arguments via a theistic worldview. McCloskey attempted to show that atheism is quite a bit more reasonable, as well as comfortable than theism.
According … to Ivan’s dreams are the are most “innovative” element of to film as they allowed the viewer to not only witness but experience Ivan’s intensified emotions throughout the duration of the film 1. The first dream presented in the film is the opening sequence. The cross cutting between the butterfly and Ivan’s excited expressions layered with his laughter establish his youth and natural curiosity. In addition, the close up shot of Ivan smiling when he sees his mother warms the responder because they are able to see the genuine love and admiration that he has for his mother. The audience is abruptly shocked when they realise that Ivan’s mother has been killed by the Germans and he is awoken from his dream and must face the reality of war that has consumed him.
Dostoevsky uses Raskolnikov Romanovitch to claim that people must accept and overcome their suffering in order to feel remorse and establish a new life. Raskolnikov lives “crushed by poverty,” “hopelessly in debt to his landlady”, and feels guilty about the murder of Alyona and Lizaveta Ivanovna (1). His physical and mental state reflect his suffering; not only is he delirious most of the time, but is also sick and blames “the weakness of fever” for what he is feeling (77). He constantly lives in a state of denial, though small steps lead to the acceptance of the crime, first seen when he desires to confess to Nikolay at the police station. After he confesses to Sonia, she aids him by offering her sympathy, love, companion and offers him
Iago uses manipulation to turn the moor into a murderer. The main reason for Iago's success was based on the social differences between the two. In that time interracial marriage between a black and white person was unacceptable, giving Iago the chance to enrage Brabantio. To begin with, Iago told Roderigo,” I will follow him to serve my turn upon him.” The quote means Iago's intentions are to mislead Othello by gaining his trust and turning him into a killer beast. Once Othello's trust is gain, Othello confides in Iago about Desdemona.
Dostoevsky’s characters represent various worldviews of the Russian population. Their metaphorical counterparts can be found when looking at the novel through the critical archetypal lense. Fyodor symbolizes the Russian state which has a history of passion and recklessness. Their coffers overflow but are spent on fruitless things like Fyodor’s addiction to alcohol, or his attempt to pay Grushenka to marry him. His reflections on his hard past reflect also on the autocracy of the previous centuries, but both look forward with anticipation (Connolly 83).
Dostoevsky channeled his memories of imprisonment into his protagonist’s time there. This reflection is seen through the fact that the only book Dostoevsky owned during that time was “a New Testament given to him by a charitable woman who visited prisoners” (Iswolsky). Raskolnikov’s only possession was also a New Testament. Going further, he received it from Sonya, a compassionate woman who cared for and visited the other prisoners in Siberia. Later, the author lived in St. Petersburg after his release in 1859.
Surely, nobody wants to live alone and desperate for companionship and Dostoyevsky uses that to his advantage. Furthermore, defining the Underground Man’s intelligence as his Western beliefs which then lead him to isolation shows just how much the author despises the movement. By using the character’s traits against himself, Dostoyevsky perfectly exploits the narrator to his advantage and pushes the audience in his