Nosferatu’s Meaning and Comparisons It’s easy to say that Germany led in experimentation of film making with Murnau’s Nosferatu. Filmed in 1922, it dealt with the outside world effects of post-world war and political uproar. With everything that was going on in Europe at that time, you can see that Germany was scared with what was going to happen to their country, and that’s where Nosferatu is symbolic for Germany. Count Orlok’s characteristics like his hooked nose, long ears, and bushy eyebrows don’t help his innocence. Carrying death and disease with him is his rats that spreads a plague which is a theme that has went against Jews for centuries.
Inhumane In the memoir Night by Elie Wiesel, the theme man's inhumanity man relates to cruelty by calling them names, treating them horribly, and making them look the same. Even the Jews in the same barracks fight each other for food, and some people suffocate because they are laying on top of each other. In this quote “Faster you swine”(Wiesel 91). This quote shows the reader how the Nazis treated the Jews when they are marching to Gleiwitz. The barracks the Jews stayed in were unsanitary and they barely have any food.
In Mary Shelley's novel, Frankenstein, cruelty is what sets the plot in motion. The rejection of the monster by Victor Frankenstein represents the wickedness that is consolidated with human society. The inclusion of cruelty in Frankenstein functions to capture the creature as abandoned by his creator, withdrawn from mundane society, and a victim of the evil nature of humankind, even when he has admirable intentions. Although the novel was written in the 1800s, there is a strong connection between what we understand of how society treats “ugly” people now and how they were treated back then. In the novel, once Victor Frankenstein completed his creation and it was filled with life, he screamed and fled from him.
[Porter] tried not to remember other images: a barn in Alabama full of stinking, rotting, wailing men. His regiment lost 13 in battle, 161 to disease” (5). During his time in the Civil War, the tragic event of losing his men during the war caused Porter to feel horrible in connection with his loss. The rotting men symbolized how Porter’s misery through various years deteriorated him. Porter had to accomplish a successful circus by assisting it in every need possible that way he can pay tribute to his lost men and learn from his mistake.
The image of death is highlighted by the flat statement saying there is poison on the coffin when Doodle is made to touch it. “It was covered with a film of Paris green sprinkled to kill the rat, and the screech owls had built a nest inside it” (Hurst 353). The tone of the “Scarlet Ibis” is mournful and melancholy from start to finish about a boy who struggled through his life trying to be like his older brother. Through the use of figurative language, imagery, and symbolism James Hurst wove a tale that touched everyone's hearts. A question to be asked is, how is one supposed to act in the situation as the brother is with
Philip Roth charges Sabbath’s Theater with a multi-faceted type of obscenity. At first, the borderline-psychopathic protagonist, Mickey Sabbath, seems like the archetype of sexual perversion and insatiability; and— what is worse— Sabbath is unfazed by his disgraced state. Yet, even through all his cringing qualities, Sabbath transcends his vices: Roth writes in a manner that prompts sympathy for him. For example, the reader gains insight into his internal hauntings— namely, the death of his brother, who left behind only his good taste in music, and of his mother, whose ghost plagues him. Sabbath then quips about the captivating diversity of skin color in Brazilian women.
They were organised by german nazis and the leader of the Nazi party Hitler. There was some survivors of this event and one was named Elie Weisel. He wrote a book about his experience called ‘Night’. Elie was face to face with death because of the evil hands of Hitler and the Nazis. He uses “night” to try to get readers to validate the dead, remember
The Holocaust was a dreadful and truly awful time period, people were dehumanized, and shamed into losing their faith while they experienced tragic and awful death and pain. One Jewish survivor documents his experiences with death in his memoir, ‘Night’, Elie Wiesel. The novel is filled with his tales of death, dehumanization, and faith throughout the concentration camp, Auschwitz. In Auschwitz, the Jews lost their innocence that they once had. In the novel, Night, Elie, his father, and his fellow Jews lost their innocence through dehumanization, loss of faith, and experience of death and violence.
He took advantage of the weakened state of Germany, and used his authority for his own personal hatred of Jews and other minorities. In the play Macbeth by Shakespeare, Macbeth also abuses his right to free choice for his own selfish reasons, resulting in a gradual downfall.The play sets in Scotland, during the early 1600’s where Macbeth, the Thane of Glamis, is informed of a vision from the witches of him becoming the king of Scotland. This intrigues Macbeth, causing him to stop at nothing to fulfill the prophecy. With some motivation from the witches and his wife, he freely commits several murders and becomes desensitized towards serious matters as well as deranged. Macbeth’s downfall is a result of free choice as he murders Duncan, even though the witches never mention anything about murder or violent acts to become king.
When these two are taken together, one understands the crisis of representation, which is most evident in the Holocaust images. (Figure 3) The absence of faces in the image is the inability of the enframing to contain the horror of the times. The punctum in the image is the bent heads of the old woman and the children that disturbs and destroys the wholeness of the image. The image intensifies the “re-” prefix of re-presentation to such an extent that the absence of the true suffering becomes the melancholy of the image. Hitler, on the other hand, used (re)presentation to create the image of humanity - Jean-luc Nancy calls this a super-(re)presentation because “here is the representation of a type that is itself a (re) presentative not of a function like the hammer and sickle, but of a nature or an essence (the Aryan body).” The Aryan is the representative of representation.