Lolita opens with a foreword by the fictional Dr. Ray, and is presented as a confessional for a murder written by the protagonist, Humbert Humbert. Because it is written and told in Humbert’s view, he maintains a sense of power over the other characters in terms of storytelling. The reader is only told the context of events through Humbert’s perspective, or at least what he wants the reader to believe. As the writer of the confessional, Humbert is able to alter names to his liking, or perhaps keep the integrity of the name. Naming is one of the mechanisms demonstrated through his power as a
French designer Philippe Starck once claims: “I like to open the doors to people’s brain.” Nathaniel Hawthorne 's short story “The Minister’s Black Veil” reflects this principle in which the author advertently creates ambiguities and opens the possibilities of interpretation to the readers. Nathaniel Hawthorne employs commonplace symbols to present the ambiguity of sin and secrecy through a psychological lens in “The Minister’s Black Veil”. This short story also reflected the principle of Puritanism as well, such as the idea of manifest destiny represented by Mr. Hooper in the story. Nathaniel Hawthorne was born in Salem, Massachusetts. It is also worth to notice that John Hawthorne, one of the Salem Witch Trial Judges, was his great grandfather (Concise Dictionary of American Literary Biography).
French designer Philippe Starck once claims: “I like to open the doors to people’s brain.” Nathaniel Hawthorne 's short story “The Minister’s Black Veil” reflects this principle in which the author advertently creates ambiguities and opens the possibilities of interpretation to the readers. Nathaniel Hawthorne employs commonplace symbols to present the ambiguity of sin and secrecy through a psychological lens in “The Minister’s Black Veil”. This short story also reflected the principle of Puritanism as well, such as the idea of manifest destiny represented by Mr. Hooper in the story. Nathaniel Hawthorne was born in Salem, Massachusetts. It is also worth to notice that John Hawthorne, one of the Salem Witch Trial Judges, was his great-grandfather (Concise Dictionary of American Literary Biography).
The plot of the short story also helps the reader understand the theme of the story which is revenge. Montresor used wine, something that Fortunato loved, and made it the thing that hurt him the most. The way that Montresor protected his family was represented by him burying Fortunato inside the Montresor’s catacomb. In the end, Montresor talks about how after 50 years of Fortunato’s body being unbothered. The author may have included this last peace to suggest that Montresor got away with murder.
Truman Capote uses variety of language devices to vividly develop Perry Smith in his novel In Cold Blood. These language devices include, diction, similes and symbolism. Throughout the novel diction is used to develop Perry Smith’s character, and suggest reasons for the murder. When Smith explains what happened that night at the Clutter’s family home, he tells agent Alvin Dewey about his moment with Nancy Clutter. The phrase "[He] pulled up the covers, tucked her in…" expresses a calm and cozy tone which contrasts with the situation.
In Perfume: The Story of a Murderer, a complex and unique Bildungsroman novel, Patrick Süskind develops the story of Jean-Baptiste Grenouille and his bizarre encounters with the dissimilar human world. Despite the setting of the novel, 18th century France, the author satirizes characteristics of both the anti-hero Grenouille, as well as the characters with which he interacts that mirror those of his personal time period: Germany, post-WWII. As the plot unfolds, Süskind forces the reader to blissfully watch on as the country’s population throughout the novel succumbs to seemingly obvious stunts and popularized antics. In this unusual novel, Perfume: The Story of a Murderer, Süskind offers a rigid appraisal of the gullibility of humankind through the recurring use of symbolism and allegories
He took into consideration many elements to ensure his works reached a point where the reader would feel awestruck and could feel the many feelings pictured in the writings. Poe’s characters and stories were represented often by the rejection of the rational, a characteristic of the Romantic era, exchanging it with intuition and emotions. In "The Murders in the Rue Morgue", considered the first detective story, Poe introduces us to Auguste Dupin. Dupin, throughout the story, tries to constantly think like the criminal, following his intuition in order to resolve the crime. The display of emotions in his stories is what draws the attention of the reader.
For example, this thesis focuses on tracing of the life of the character of Mariam, the protagonist of The Thousand Splendid Suns written by Khaled Hosseini. This theory may lead upto a lot of newer tracking in the other end of the line. For it can also be used to track, the chronological order in which, the writer created the whole plot with the new elements when it comes to the fictions. This helps in analyzing the ways of creating a work of art by the writer. This can also help to trace down the life of the writer and find out the autobiographical elements added in the fiction.
[hook] During the eighteenth century, after the revolution, a famous author, Rousseau, wrote an essay “Confession”, where he explored himself, even the most embarrassing moments he experienced, by telling readers how he behaved and exposing how he felt in that way. As he said readers should not feel shame of or blame him of what he did. Even we should encourage and send applause to him because his confession is not only about how he acted in the society but also what it did to him. Instead of judging him, the more valuable thing is to understand what motivated his action. Here is an interesting story in his life that he stole the ribbon and framed Marion.
You may know about slasher films but did you know that it was influenced by the Italian giallo genre? Slasher films typically involve a violent psychopath stalker murdering several youthful people, usually with bladed tools whilst, Italian giallo films are inspired by horror thriller books sold in Italy in the mid-20th century. Viewed separately, as two individual genres, they both are very similar in their use of camera shots. The use of first-person shots from the killer’s point of view gives the addition the front row seats to the kill and hidden the killer identity. Close up shots emphasized on the victim's emotion and to objects that will play a part to the murderer psych.