... story changes. Dumarier uses not only writing techniques such as foreshadowing and symbolism to make the novel more suspenseful, but she also uses the elements of greed, deception, and insecurity to change from a Gothic Romance novel into a successful mystery. "The basic structure of is that of the modern Gothic Romance" (Masterplots 3). The characters and the setting are similar to other books of the time. The narrator who goes un-named, is the "typical heroine of a Gothic Romance" (Masterplots 3). Her character is not very developed but the reader is able to relate to and sympathize with her. also has the perfect setting for a Gothic Romance. Manderley ...
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... first examining the eighteenth century English society in which she lived and placed her heroines. Watt says that Austen’s characters cannot be seen “clearly until we make allowances for the social order in which they were rooted” (41). Austen lived in a society where women were expected to be “accomplished,” as Darcy states in Pride and Prejudice, but not well educated (“Notes”). Women of the late eighteenth-century could not attend educational institutions like Oxford or Cambridge. It was not considered necessary for a woman to have knowledge of either Greek or Latin. If a woman received training, it was usually r ...
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... the reader finds out that the dead man turns out as Huck’s father. Further on down the river, Huck and Jim engage in a deep conversation. Jim speaks of the family he feels he has left behind. Jim tries hard to save up all his money in hopes of buying back his wife and children when he becomes a free man. He expresses that he feels terrible for leaving behind his family and misses them very much. As a result, Huck feels responsible and guilty for ruining Jim’s freedom. Huck decides that he wants to reveal the truth, that Jim really isn’t a free man. His conscience tells him not to and instead he finds himself helping Jim rather than giving him up. Jim feels so tha ...
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... his true identity from Connie. Also, Arnold's boots "must have been stuffed with something so that he would seem taller" (596-7). The fact that Friend is short could mean he is an elf or dwarf-like creature, or it could merely mean that he is trying to be something he definitely is not. Besides physical characteristics, the devilish nature of Friend is depicted through his subtle ability to manipulate Connie. When they first meet, Connie is apprehensive of Arnold. Through manipulation, charm, and possibly a spell, Arnold is skillful in influencing Connie, ultimately resulting in her demise. "'Now get up, honey. Get up all by yourself.' She stood" (599). ...
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... immigrant, leaves Hungary in hopes that he is "leaving behind the endless poverty and oppression that were the birthrights of a Slovak peasant in Franz Josef's empire" (Bell, p.3). Kracha's desire to leave his plight behind in his native country and restart his life in America is the reason that also drove the Chinese to the United States, earlier the Irish and later the Mexicans (Discussion, 10/11/99). All of these immigrants have had to take some time to assimilate and to be accepted by the "Americans" ethnically, socially, and politically. Kracha is the first of his immediate family to come to the United States. Despite his dreams to leave poverty behind, K ...
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... Visit to Friends” and The Cherry Orchard, the plot revolves around a single family. The relationships between all of the members of the families are very complex, especially in The Cherry Orchard. The conflict facing each family is the selling of their homes due to bankruptcy. In both stories they look to a rich friend to bail them out. Both families also want this friend to marry one of their members. In “A Visit to Friends” Podgorin is asked to marry Nadezhda and in The Cherry Orchard Lopakhin is asked to marry Varya. Chekhov is able to share his view on family life through both stories. Chekhov’s use of nature is evident in both “A Visit to Friends” and Th ...
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... seems the only accomplishment women could achieve was being beautiful. Theseus “had no joy of”(195) the princess Ariadne because she died before this was possible. Homer makes it sound as if Ariadne’s life was useless because she did not give Theseus pleasure. The only woman we hear of for a different reason is Klymene, and we only hear of her because she “betrayed her lord for gold.”(195) This is the only time we hear of a woman for something she did, and once we do, it is a negative remark. Penelope, Odysseus’ queen, is paid attention to only because of her position. Because she has a kingdom, she has suitors crowding around her day and night. Being a woman, Pene ...
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... Earnest" by Oscar Wilde. In this play Wilde display's the class structure with a different and interesting twist. He makes a reflection on the society with his own sense of humor, but however it still leaves a very good opportunity to make a Marxist critique about the way the class structure influences the play. He leaves room for these critiques when he writes about the servants, the nobles, and the middle class. His view on society and class is very evident on the way the servants are portrayed. "‘I don't know that I am much interested in your family life, Lane'" "‘No sir; it's not a very interesting subject. I never think of it myself.'" In this passage ...
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... grandfather’s existence in his life is indispensable. He hopes Nelson dependency upon him strengthens. Doing so would not only make himself feel superior but also satisfy his own dependency needs. He’s content with the thought once Nelson has had the opportunity in experiencing the city he will “be content to stay at home for the rest of his life” (251). His only comforting thoughts, as he lay to sleep before the day of the trip, were not of turning Nelson into a racist, but “thinking how the boy would at last find out that he was not as smart as he thought he was.” Degradation towards anyone, including his own grandson, is another way by which Mr.Head can ...
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... often employed by Rushdie is essential to the structure of how the story of the book is conveyed. Michael Gorra’s characterization of Rushdie’s style stated, "His prose prances, a declaration of freedom, an assertion that Shame can be whatever he wants it to be coy and teasing an ironic and brutal all at once. . .[Rushdie’s work] is responsive to the world rather than removed from it, and it is because of this responsiveness that the mode in which he work represents the continued life of the novel. . . and one wants something better to describe it that the term ‘magical realism’— is an assertion of individual freedom in a ...
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