« Rush into the Secret House Jennifer Boyden Liar. Liar, liar liar. You've all got your heads up your assholes because love is. ...» Document abstract
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7 word format
Language : english
literature
school essay
date published
19/10/2007
review : not yet assessed
level : Advanced
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SummaryRomeo loved Juliet, Juliet loved Romeo, and in the end, they both died to prove it. Neither the Capulets nor the Montagues could understand such love, so neither could allow such love. Romeo and Juliet died to prove it. Yet centuries later, William Shakespeare’s darker tragedy is still revered as one of the greatest love stories of all time. The politics of Elizabethan England that pitted family against family are not so prominent in the modern Western world, but the love created between Romeo and Juliet, a love that existed outside the boundaries of societal acceptance, still exists. Many homosexual youths stand on the edge of a lifelong battle for the right to love. But the only love they can ever hope for is one born of loneliness, of desperation, of suffering: the love of Romeo and Juliet; the love destined for end. The love that shatters the very sanctity that love has been expected to preserve. Léa Pool’s Lost and Delirious paints an accurate yet painful picture of a lesbian love torn apart by the predisposed expectations of a private high school.
Table of Contents- Romantic love developed from the practice of courtly love, a direct objection to the prevalent belief in agape, or Christian love.
- Courtly love died with aristocracy and the Christian state.
- As Paulie and Tori realize in Lost and Delirious, romantic love is half loving and half retaining that love, half longing and half suffering.
- At the beginning of Lost and Delirious, the relationship between Tori and Paulie is seemingly perfect.
- Adolescence, as a key period of development, relies heavily on the family unit for support.
- Where Tori can be seen as a disgrace to romantic love, Paulie can be seen as the epitome.
- Romantic love is passion in its darkest form, 'an emotion [that] completely masters the mind' (Webster).
- Whether Tori means to or not, she feeds Paulie's passion.
- There must be more, a bigger pain, a better reason, something that makes Paulie more than another Romeo, another romantic martyr.
« successively `a horde of small children rush in, round is given to us to bring into play our literature() by refusing to assign a `secret' , an ultimate ...» Document abstract
$5.95
6 word format
Language : english
arts and art history
presentation
date published
22/01/2007
review : not yet assessed
level : Advanced
requested 9 times
SummaryPost-structuralism derives from philosophy , ‘ a discipline which has always tended to emphasise the difficulty of achieving secure knowledge about things’ (Barry;1995:63) .Philosophical writing, although following the structure thesis, anti-thesis then a synthesis of both, always comes back to the question, never achieving a single answer, a single truth, and opening the conflict even more.
Elaine Aston (1997: pg.un) has expressed that because of ‘her experimental approach to dramatic and theatrical form, Churchill’s theatre is not just a question of politics, but a politics of style’. In Blue Heart, which presents two short plays, one featuring the relationship between a father and daughter and the other between mother and son, form and content are constantly interrogated through a deconstruction of the concepts of plot, language and structure.
In Heart’s Desire, where a couple awaits their daughter’s return from Australia, the action is set back and altered. In Blue Kettle, a middle-aged man looks for his biological mother and as the action evolves, the words ‘blue’ and ‘kettle’ appear in the dialogue. Common to both pieces however is the questioning of the unity in the text and structure. This is why we can explore the contradictions that are exposed both in the language and structure of Blue Heart.
Elaine Aston (1997: pg.un) has expressed that because of ‘her experimental approach to dramatic and theatrical form, Churchill’s theatre is not just a question of politics, but a politics of style’. In Blue Heart, which presents two short plays, one featuring the relationship between a father and daughter and the other between mother and son, form and content are constantly interrogated through a deconstruction of the concepts of plot, language and structure.
In Heart’s Desire, where a couple awaits their daughter’s return from Australia, the action is set back and altered. In Blue Kettle, a middle-aged man looks for his biological mother and as the action evolves, the words ‘blue’ and ‘kettle’ appear in the dialogue. Common to both pieces however is the questioning of the unity in the text and structure. This is why we can explore the contradictions that are exposed both in the language and structure of Blue Heart.
Table of Contents- The contradictions in the language
- The structure of the pieces, constantly altered and played with
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