Despite his stereotypical comic-foreigner reputation, he is an obvious panoptic figure who engages in long and intricate theatrical performances to force out the truth and bring out the culprit by imposing a confession onto somebody, as present in his popular reunion scenes, in the absence of spontaneous admission of guilt. He often refers to his ruthless power of vision or insight, that is denied to others - “Me, I know everything. Remember that.” Thus, Foucault’s panopticon model of surveillance can definitely find a suitable literary example in the figure of the detective. The mechanism of power which requires the subject to confess to a higher authority, that is the detective can be categorized under what Foucault describes as “pastoral power” and one could argue that the detective represents a pastoral power that needs to rely on insight rather than simply a panoptic power that is based entirely on sight. We can then read the detective as an embodiment of Foucault’s “pastoral” power who relies for his functioning on a kind of management of confessions from the suspects, that can allow us to better comprehend some of the nuances of the workings of the modes of power represented by detective fiction.
Edgar Allan Poe is most famous for the gothic themes he presents in his writings, this was no exception for Poe’s “The Cask of Amontillado”. Several important ideas are brought up about the story’s central theme of revenge. These ideas can be broken down into 3 parts: the incentive, the extent, and the reaction of the person partaking in revenge. It is essential to consider these ideas while reading Poe’s story, in order to comprehend his views on revenge. It also provides the reader the ability to question their own views on revenge as well as compare it with Poe’s.
Edgar Allan Poe is most famous for the gothic themes he presents in his writings, this was no exception for Poe’s “The Cask of Amontillado”. A straight-forward story that focuses on the theme of revenge. Poe brings up some important ideas about revenge which can be broken down into 3 parts: the incentive for getting revenge, the extent one is willing to go for revenge, and the reaction of the person after the act. This reasoning is essential in recognizing the act of revenge while reading the story. It provides the reader the ability to question their view on revenge as well as compare it to Poe’s ideas.
One knows that deception in simply your own mind accepting truth as what it see’s or what you are led to believe. In Alfred Hitchcock’s Vertigo Detective Scottie Ferguson is actively deceived throughout the film to believe the convenient truth to what his heart or sex life desire. To better understand what I have just thrown on you I should probably better explain the circumstance of this deception. Beginning with the back story behind the deception Scottie faced through out the film, and how his own mental issues played into it. We must also analyze Scotties obsession and we can do so by analyzing one of the most pivotal scenes in the film, which I will call the neon green scene for now.
From a man who came to Salem revelling in the fact that his hard won expertise would be put to good use, to a man struggling with his conscience and nearly openly proclaiming the witch trials falsity, Hale changed into a different man over the course of the book. His change would seem like common sense now; no one would believe that witches were enchanting girls and torturing them. However, the extremity of the religion at this time affected how long the false claims were believed. His realization was, for the time, progressive. Arthur Miller did a good job of portraying the Salem Witch Trials in The Crucible.
Many classic novels are identified as such when they can maintain their relevance despite the historical context. Joseph Heller’s novel, Catch-22, is a notably classic piece of literature since several of its themes are still applicable today. The philosopher Voltaire states: “It is dangerous to be right when the government is wrong”, and this concept is expressed as a theme in this novel. Voltaire’s quote is proven true through the unjust lives of the bombardiers as well as scenarios with a falsely accused chaplain and mistakenly dead doctor. Furthermore, I concur with Voltaire’s quote due to my knowledge of the current conditions and events in Iran.
Magical realism has become a popular narrative mode because it offers to the writer wishing to write against totalitarian regimes a means to attack the definitions and assumptions which support such systems by attacking the stability of the definitions upon which these systems rely. It is typical for books and essays on magical realism to begin by stating that the concept and its history are too complex to be able to provide a definition. Vonnegut’s Billy Piligrim in Slaughterhouse-Five represent a curiously American pragmatic expression of magical realism, a fatalist sense that its presence is part of the weight and inevitability of destiny. Perhaps in this way Vonnegut’s work
Cesare Beccaria was known as one of the greatest thinkers of the Enlightenment period. He specialized in work revolving around criminology, and for this reason, is thought to be a father of classical criminal theory and modern penology. His most prized work and well known writing is On Crime and Punishments, which supported the idea of a fixed scale of crime and a punishment that fit the severity of the crime. Beccaria thought that the role of a judge should be limited when referring to the guilt or innocence of the convicted. The judge should only have the power to say whether a law has been broken.
This motif of framing reminds us that rarely are things as easy as they may appear. The wizard world is full of secrets and deception, requiring Harry to be careful in his research and accusations. These framings also teach the main characters to be persistent; when they reach a dead end they back up and try again. Names Some of the most fascinating and colorful aspects of Harry Potter and the Chamber of Secrets reside in the names of the characters. Some of the names the names have clear origins of significance.
Blue Velvet and Twin Peaks, directed by David Lynch, can be considered crime fiction films, with noticeable archetypes of the genre contained within. Moreover, these two distinct films can be considered subversive and their director, David Lynch, as an auteur director. This essay will begin to discuss the notion of the auteur and how Lynch fits this concept, while thinking of Blue Velvet and Twin Peaks as post-modern products. Furthermore, the two texts in question will be considered as crime fiction material and analysed in regards to their traditional/archetypal elements and the subversive and Lynchian. The essay will conclude with what the unusual mix of traditional and subversive material means for interpreters of Lynch’s work.