... symbolizes the unacceptance of peoples colors. It often caused conflicts between Robert and his father. "The realistic cause of conflict is the 'color line' the symbolic line that people must cross in order to accept each either as human beings. This is an ideal goal, just as it is also an insurmountable obstacle, in the society that the play depicts. (Jacob's 1553-54). Mr. Norwood will not let blacks use the front door because he thinks it should be used by whites only. Robert tries to cross the color line to try to feel as if he is accepted as a partially white person. Robert also does this as a form of rebellion. When Robert does get caught using the do ...
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... of contemporary governmental practices, and what they where threatening to bring about. Perhaps the book seems so bleak because the events in the book are a somewhat logical projection from current conditions and historical environment that Orwell observed in 1948. Perhaps people would be more comfortable with the book if they could rule out in their minds the possibility of the prophecy becoming a reality. In a critique of his own work, Orwell called Nineteen Eighty-Four "A work of a future terrible [sic] because it rests on a fiction and can not be substantiated by reality or truth. " But perhaps this future is realizing itself more than Orwell thought ...
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... and becomes increasingly ashamed of himself. As he wanders in the rear of the fighting, he encounters a dead soldier. Eventually he falls in with some wounded men and witnesses the death of his close friend, Jim Conklin. As a result of that, he deserts another friend dying and runs. He wants to make a wound for himself so that he is removed from the battle, and by accident is hit on the head by a deserter. He's discovered by another soldier, who helps him return to his regiment. There he lies and says he was wounded in battle. The next day he goes to the front again, and actually retrieves his army's colors from the dying flag bearer. He urges his comrads ...
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... is entirely in the first person , and "On the Quai at Smyrna", which is only possibly in the first person, there is just one instance in In Our Time in which a character speaks in the first person. It occurs in ": Part II", an intensely personal story which completely immerses the reader in the actions and thoughts of Nick Adams. Hemingway's utilization of the omniscient third person narrator allows the reader to visualize all of Nick's actions and surroundings, which would have been much more difficult to accomplish using first person narration. Nick is seen setting up his camp in ": Part I" in intimate detail, from choosing the perfect place to set his tent to ...
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... still kept his thoughts to himself, rather than becoming involved in the conflict. Also, with Daisy and Gatsby’s relationship Nick remained tolerant of the scandal. For example, when he set up the reunion of Daisy and Gatsby within his own home. He was aware of the sin, but he did not actually come forward with his opinion on the matter. Daisy would often go to Gatsby’s house in the afternoons, and still Nick would remain tolerant of the immoral acts performed by his cousin. Towards the end of the novel as things became more involved Nick realized the error of his ways, and became a more moral character. He did not involve himself in either of the a ...
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... dark water in a curious way . . .and distinguished nothing except a simple green light"(Fitzgerald 26). This shows how Gatsby was striving for his goal, trying to accomplish it, but not finding it to be within realistic reach. Gatsby is a noble man whose vision is fouled by his dream because he remains in a wonder at Daisy's presence throughout the novel. The morality of Dan Cody, Gatsby's role model, and the superficial people who flock to Gatsby's parties contribute to Gatsby's downfall. Their examples encourage Gatsby's naïve belief that money and social standing are all that matter in his quest for Daisy. Gatsby became corrupted because his main goal was to have ...
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... Meryton where he walks about the room by himself and speaks “occasionally to one of his own party.” He makes no attempt at being friendly or becoming acquainted with anyone. His character is decided as being the “proudest, most disagreeable man in the world, and everybody hoped that he would never come their again.” This is the same type of attitude and pride that possesses Mr. Darcy for the remainder of the time that he spends at Netherfield. On the other hand, Mr. Darcy acts with a certain sense of “perfect civility”, friendliness, and attentiveness when he is at Pemberley, his home. He seems more relaxed and acts without the feeling of improper prid ...
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... strengthens the distance between the speaker of the poem and the “love-cars” (Lowell 11) being watched. Even if the occupants of those cars knew they were being observed, chances are they would not associate themselves with the speaker. In addition, Robert Lowell portrays his character as something akin to a stalker, illustrated in the following excerpt. One dark night, my Tudor Ford climbed the hill’s skull; I watched for love-cars. (Lowell 25-27) Why would anyone be out alone, searching for lovers who do not desire intrusion? The speaker answers this question in the second half of the stanza. Lights turned down, ...
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... which I had the honor of playing the part of Alonzo). I put away the Whitman poem and became lost in my own critical thought. Was there not a single Chicano or Chicana that had ever written a work of fiction? I went to the library's computerized card catalogue system to investigate this matter. Of course I found Chicano fictional writers; however, not as many as I wish I would've found. And so I decided to base my paper on a topic that I don’t recall we ever discussed in class: . Myself being an actor and a writer this subject fascinates me. In preparation for my paper, my research consisted of reading several short stories by Chicano authors whom I found ...
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... corner of a wall"(12). To a Greek woman death is personified as a hunter or killer. She uses an animal, the hawk,to compare to death. A hawk is a swift predator that attacks unnoticed, but to Medea death is a trophy. For Medea death has a value of importance. A friendship has been established. Death is Medea’s friend. She uses it as a weapon to get what she views as justice. "Then if you have a dog eyed enemy and needed absolute vengeance . . . Unchild him, ha? And then unlife him"(23). Medea believed with great depth to get vengeance upon Jason. She wanted to go through with her vengeance and hurt Jason as Jason hurt her. Jason left Medea for anothe ...
