«The technology in our world has been both a beneficial force and a destructive one. On one hand, technology has made our world a much simpler place to live in, and it is hard to imagine the world we live in today without it. Just about everything we...» Document abstract
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book review
date published
14/04/2008
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SummaryThe technology in our world has been both a beneficial force and a destructive one. On one hand, technology has made our world a much simpler place to live in, and it is hard to imagine the world we live in today without it. Just about everything we do, from shopping for groceries to paying your bills, to even sending your friend a letter in the mail, is driven by the technological advances in the world today. However, technology is also a huge cause of the world’s problems we face today. Nuclear weapons are a threat to the planet’s future, and a person can detonate a bomb in a subway station or a building from miles away. Nevertheless, in the 21st century, technology remains a huge factor in the way we now live our lives. This dependence on technology was not as important in the past however.
Keywords: Mark Twain, Hank Morgan
Keywords: Mark Twain, Hank Morgan
«Moral ambiguity is a central theme in John Huston’s film The Maltese Falcon (1941) and in Billy Wilder’s film Double Indemnity (1944) and James M. Cain’s novel by the same title. The films and novel follow characters whose motives are questionable...» Document abstract
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literature
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date published
11/04/2008
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SummaryMoral ambiguity is a central theme in John Huston’s film The Maltese Falcon (1941) and in Billy Wilder’s film Double Indemnity (1944) and James M. Cain’s novel by the same title. The films and novel follow characters whose motives are questionable and morally problematic. This essay will discuss these characters’ motives, the effect of the motives on the message and plot of the films and novel, and how noir filming techniques help to portray moral ambiguity. Complex ideas such as “What is moral, what is morality?” are shown in these films with complex cinematic setups. This essay will also show how the message of Wilder’s film Double Indemnity differs from the message of Cain’s novel Double Indemnity.
Keywords: Double Indemnity, Billy Wilder, Moral ambiguity, Sam Spade
Keywords: Double Indemnity, Billy Wilder, Moral ambiguity, Sam Spade
The Issue of Hope and Redemption in Film Noir: Living Day-to-Day
in the Present, or Living for the Future?
«The films Out of the Past, Force of Evil, and Double Indemnity are narratives that contain similar noir themes. All three narratives follow troubled male characters who must sever ties with their pasts in order to move forward to a hopeful and happy...» Document abstract
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Language : english
literature
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date published
11/04/2008
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SummaryThe films Out of the Past, Force of Evil, and Double Indemnity are narratives that contain similar noir themes. All three narratives follow troubled male characters who must sever ties with their pasts in order to move forward to a hopeful and happy future. Two of these characters succeed, morally, and one fails. This essay will explore noir techniques in these three films and will postulate why the two characters are redeemed while the third character remains ruined.
«In “A Book of Showings to the Anchoress Julian of Norwich” by Julian of Norwich and “The Book of Margery Kempe” by Margery Kempe, each author gives literary descriptions of her own holy visions. In each description of a vision or a revelation in the...» Document abstract
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research papers
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11/04/2008
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SummaryIn “A Book of Showings to the Anchoress Julian of Norwich” by Julian of Norwich and “The Book of Margery Kempe” by Margery Kempe, each author gives literary descriptions of her own holy visions. In each description of a vision or a revelation in the two works, each author vividly details the sequence of events she witnesses. Julian of Norwich’s revelation comes while she is delirious with fever (Julian of Norwich, 356), and likewise Kempe’s revelation comes while she is “out of her mind” (Kempe, 368). Each author’s revelation seems to be primarily concerned with death and the suffering of bodily pain—Julian of Norwich envisions a wounded Christ, and Kempe envisions devils that torment her. The fact that these visions emphasize death and suffering— suffering both physical and psychological—is a direct result of how the historical circumstances of the era affected each author personally. Similarly, both Kempe’s and Julian of Norwich’s social status seem to be reflected in each author’s respective visions. This is because the authors associate holiness—and subsequent salvation—with a given value that is most important to each of them. Kempe envisions God as a symbol of wealth because Kempe values wealth, while Julian of Norwich envisions God as a being of suffering because Julian of Norwich values suffering.
A God with Different Faces: Conditions for the Redemption of Everyman
and for the Condemnation of Doctor Faustus
«The themes of mankind’s redemption from sin and his place in the afterlife are of central importance to the Middle English play Everyman and the Renaissance play Doctor Faustus by Christopher Marlowe. Both Everyman and Doctor Faustus concentrate on...» Document abstract
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date published
11/04/2008
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SummaryThe themes of mankind’s redemption from sin and his place in the afterlife are of central importance to the Middle English play Everyman and the Renaissance play Doctor Faustus by Christopher Marlowe. Both Everyman and Doctor Faustus concentrate on the redemption of mankind, but because of the different periods in which the two pieces were written, they differ in style. And the difference in style determines each main character’s respective salvation or condemnation. This essay will argue that the character Everyman is redeemed in accordance with the type of stories written in the Middle English period—stories that focused on God and the values possessed by God and a Christian audience. And by contrast, this essay will argue that the character Doctor Faustus is damned in accordance with the type of stories written in the Renaissance period—stories that shifted focus from God to the individual as values shifted in the same manner.
«Othello, Shakespeare’s tragedy, a story of jealousy, envy, betrayal and death displays the evil masterminding of a single individual. The ambitious Iago, a character filled with jealousy uses his manipulative traits to penetrate the minds of the...» Document abstract
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Language : english
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date published
09/04/2008
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SummaryOthello, Shakespeare’s tragedy, a story of jealousy, envy, betrayal and death displays the evil masterminding of a single individual. The ambitious Iago, a character filled with jealousy uses his manipulative traits to penetrate the minds of the play’s characters to set them on a course of destruction. Being one of the most discussed villains from Shakespeare’s plays the question if he is a monster can be argued both ways. Literary monsters depict traits that are very clear and allow readers to label them, Iago doesn’t allow for this yet he manipulates readers as he does in the play. However his cowardice is eventually shown. His inability to display any legitimate motivation for the destruction he is causing is reason to believe that he is nothing but a monster with the desire to hurt others. Iago’s exploitation of human traits, unjustifiable immoral actions, and the comparison to other literary monsters eliminates any doubt to what he truly is.
«The Women of Renaissance Florence, Power and Dependence in Renaissance Florence is a collection of three essays by Richard Trexler that give the reader insight into the experience of women in Florentine society by examining three major groups of...» Document abstract
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Language : english
literature
book review
date published
08/04/2008
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level : Advanced
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SummaryThe Women of Renaissance Florence, Power and Dependence in Renaissance Florence is a collection of three essays by Richard Trexler that give the reader insight into the experience of women in Florentine society by examining three major groups of women; nuns, prostitutes, and widows. Trexler is a Professor of History at the State University of New York at Binghampton, and has an impressive resume of fellowships and publications. Trexler is also known as one of the leaders in the study of ritual in a historical context.
«In the second week of November 1913, William Butler Yeats and Ezra Pound arrived in Sussex for what would be a three-year stay at Stone Cottage. Yeats thought of the excursion as an “experiment,” while Pound felt that it would “not be in the least...» Document abstract
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Language : english
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date published
08/04/2008
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SummaryIn the second week of November 1913, William Butler Yeats and Ezra Pound arrived in Sussex for what would be a three-year stay at Stone Cottage. Yeats thought of the excursion as an “experiment,” while Pound felt that it would “not be in the least profitable” (Longenbach 37). Yeats was twenty years Pound’s senior, and Pound became his secretary when the two poets decided to spend their winters in Stone Cottage. A friendship was formed.
«One cannot help but notice the numerous interpretations of Christina Rossetti’s “Goblin Market” that pertain to either gender, sex, or religion. The poem itself has been scrutinized more often than one can count, critics often referring to its...» Document abstract
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date published
08/04/2008
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level : Advanced
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SummaryOne cannot help but notice the numerous interpretations of Christina Rossetti’s “Goblin Market” that pertain to either gender, sex, or religion. The poem itself has been scrutinized more often than one can count, critics often referring to its erotic subtext and similarities to various biblical passages. In this essay I intend to expand on those sentiments, suggesting that there does not need to be one simple explanation, but rather a series of interconnected theories, central to the poem’s theme of temptation, sin, and the Fall. I will focus on the specific aspects of gender and sexuality and how conjecture surrounding “Goblin Market” is rooted in these inferior female roles, roles that stem from and are caused by what Sandra M. Gilbert and Susan Gubar refer to as the “submissive silences of domesticity” (Gilbert and Gubar 1537). In addition to this, there are several aspects of Rossetti’s poetic fable that critics have yet to examine thoroughly. One of these is the notion of the “madwoman,” and how female behavior of a rampant, rebellious or sexual nature is seen as unnatural or “mad”. In the sexually repressed Victorian society, women weren’t allowed to openly enjoy sex, not if they wanted to remain “good” and “chaste.” The alternative would be to go the route of Rossetti’s fallen woman Jeanie, which—the poem shows—leads to death. Simply put: good girls live; bad girls die.
«In Wildlife, Richard Ford employs Joe, a sixteen year old boy unsocialized and unfamiliar with the world around him, to tell the story of his parent’s marriage. Having moved to Great Falls, Montana after living in four other towns, Joe is forced to...» Document abstract
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Language : english
literature
presentation
date published
19/02/2008
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level : Advanced
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SummaryIn Wildlife, Richard Ford employs Joe, a sixteen year old boy unsocialized and unfamiliar with the world around him, to tell the story of his parent’s marriage. Having moved to Great Falls, Montana after living in four other towns, Joe is forced to navigate through a new town, as well as through the contours of his adolescence and the ostensibly childish behavior of his parents. He is, in fact, passive in how he relates to those around him: he does not ask questions, and he responds most often in accordance with what he believes others want to hear. However, during many of these moments, Joe often confesses his true feelings to the reader, admitting either what he wishes he could say or simply acknowledging his own confusion. In the first pages, he realizes, “When you are sixteen, you do not know what your parents know, or much of what they understand, and less of what’s in their hearts” (18). Joe’s insight here captures the essence of his narration; he is confused yet insightful and, somehow, strong but vulnerable.
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