...like women. This research was done using the one topic that segregates men from women that is their choices. When it comes to choosing novels it is assumed in most cases that women prefer thrillers and romantic genre while men prefer more mystery genre but through my research I have come to conclusions with the fact that the novel choices of men are less emotional when compared to women but there are a few cases of exceptions. The purpose of this research paper was to find out whether females still read more emotional centered novels than males using survey techniques. Key Terms: Emotions, Gender, Novels This research was conducted for the purpose of understanding human behaviors and gender stereotypes within those behaviors. Emotions are an important aspect for humans to make judgments and choices (Huebner, Dwyer, & Hauser, 2009) hence my research will be based on the choices we make and whether gender plays a role in it or not. Objectives Primary Objective: * To find out whether there are male students who choose emotional novels as compared to females in Manipal University, Dubai. Also, whether females do not choose to read emotional novels regardless of the general stereotype of their emotional behavior. Secondary Objective: * To find out what genres of novels the students of Manipal University prefer * To find out their favorite novelists * To find out which sex reads the most number of novels Literature Review A novel is a fictitious prose narrative...
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...name by author John Ajvide Lindqvist) is an arthouse, low budget horror-thriller set in Blackeberg (a suburb of Stockholm, Sweden) in the early 1980’s. This essay will investigate the themes of the horror genre focusing on narrative codes and conventions including Claude Lévi-Strauss’ binary oppositions and Roland Barthes’ action and enigma codes, concluding with whether ‘Let the right one in’ is a typical representation of these theories. ‘Let the right one in’ falls mainly into the category of horror, in someways staying quite typical to its genre. For example it features typical narrative elements of the horror genre including murder and survival as well as style conventions such as low-key lighting and an ominous score. However, ‘Let the right one in’ also subverts these conventions by challenging various narrative elements. Alfredson was unconcerned with vampire conventions associated with the horror genre and scaled down many...
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...Adorno (Audience Theory) Passive Consumption, Hypodermic Model (Frankfurt School): "A strong argument suggests that audiences may be passively affected by the sexist, violent representations in GTAV as it is a more realist text than other shoot em' up action adventure games. Young audiences ultimately may begin to view women differently and think that the aspirational violence is acceptable as a means to an end". Andy Medhurst (Representation Theory) Stereotyping is Shorthand for Identification: "One way that texts like Waterloo Road and Skins for example allow for audience identification is through stereotyping and giving characters an extreme representation". Angela McRobbie (Gender Theory) Post Feminist Icon Theory: "Lara Croft, Lady Gaga and Madonna for example could be identified as post feminist icons as they exhibit the stereotypical characteristics of both the male and female strength, courage, control and logic but also are willing to be sexualized for the male gaze. This control element of their own representation is crucial in understanding the theory". Baudrillard Hyper Reality: "Some texts are difficult to distinguish in terms of the representation of reality from a simulation of reality e.g. Big Brother. The boundaries are blurred as codes and conventions create a set of signifiers which we understand but in fact the representation is a copy of a copy". Uses and Gratifications Theory: "Different audiences gain different pleasures from a media...
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...aspects of King Kong is the power of her visual effects. The multiple exposures, processed "shots" and a variety of angles of camera aim to provide viewers of 1930’s an escape from the severe economic depression before World War II. However, in King Kong the representation of the female role as an object of pleasure is somewhat disappointing for our society nowadays. In the entire film, we are not provided by strong traits of Ann Darrow’s personality other than her helplessness and common gender stereotypes. It seemed that Ann Darrow didn’t have anything else to offer other than being the endangered beauty of the film. King Kong objectifies and enhance one aspect of Ann Darrow in the entire movie: her physical beauty, apparently her only role is to be the object of desire or wealth for Kong of the principal male roles in the film. My goal in this paper is to show that situation and her complexity, how that portrayal of Ann Darrow’s character determines the continuity of the movie and her genre. Clearly Merian C. Cooper y Ernest B. Schoedsackare portray Ann’s character in order to don’t deviate and enhance the overall concept of an adventure film and produces greater meaning to the final quote: "The beauty killed the beast" and the evidence brought in this paper helps to support my belief. In the scene when Carl Denham is discussing with the agent, he clearly states to the audience the motif of having Ann Darrow in King Kong and not only in his movie: “Because the public - bless...
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... Romero’s Night of the Living Dead (1968) was initially poorly received, but is now regarded as a landmark film. Please discuss some of Romero’s aesthetic choices (lighting, camera work, casting) and the ways in which they reflect the reallife horrors of the time. Night of the Living Dead (1968) by George A. Romero was heavily criticized at the time of release for its uncensored content, but it revolutionized the horror film genre while influencing many horror directors. When this transitional film first premiered in 1968, renowned film critic, Roger Ebert found it as “an expression of acute nausea”. Ebert was disgusted and wondered how someone could make such as horrifying movie (Hoberman and Rosenbaum, 1991, p. 123). In 1960’s, the scary monsters or evil villains such as the Frankenstein were typical in the horror films but this Romero cut has been associated with the term of “splatter film” used to describe horror genres that depict graphic violence and gore for many years (Williams, 2003, p.21). After the end of Civil War, 1968 was the most violent year in American history (Hoberman and Rosenbaum, p.125). It was in a time of very high tensions in both international Cold War politics and social turmoil; domestic racism, gender stereotypes and patriarchal nuclear family. Also the civil rights movement was beginning to blossom along with the protestation of the Vietnam War, which many believed was unnecessary and entirely avoidable. Romero has successfully delivered a “message”...
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...language styles and techniques used to convey these messages. Developing and reshaping a clearer and more concise understanding enhances the ideas and meanings within each text. As the creature from within the novel, Frankenstein, is created from the, what was seen as, advanced technology in a new way of writing and thinking was created for the audience of the 19th century. The ability to create life in a way which was deemed impossible, unrealistic and yet completely compelling to those which were exposed to this style of gothic horror fiction. This reflects on the time period of Mary Shelley although was not a typical way writers were expected to write and to appease their particular audiences. This developed my understanding of the technology and writing styles which became of further importance to the society making this book so widely popular with not only the audience of that century but of many centuries to come. With gothic horror a genre of fiction that was not commonly used in the 1800’s this widened my understanding of the story itself and the importance of the information it provides. These new and unconventional ways of conveying...
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...perspectives of its citizens through innovative acts, movements, and even through word of mouth. Martin Luther King Jr. changed the outlook of millions of Americans on the racial division in the country by using peaceful protests and eloquently delivered speeches. Benjamin Franklin and the founding fathers pioneered an idea that a country could be run by the people, which was in direct opposition to the rule they were under in Britain. These two events have set forth a phenomenon in America that allows people to challenge prototypical roles and views. When it comes to music icons that have changed the normalcy of music during their time, one would have to be Joan Jett. She was faced with the overwhelming obstacle of battling sexism and gender inequality throughout her musical career, particularly in the Rock and Roll industry in the 1970s and 80s. The music industry was changing during the 1960s in part to what Americans were experiencing; the British Invasion, the assassination of President Kennedy, the Vietnam War, and the Civil Rights Movement. Rock and Roll quickly made its way into the mainstream being a powerful voice for the cultural revolution. Rock and Roll was a man’s world during the 70s and 80s, and women rockers were unwelcomed by both the musicians and fans. Joan is sometimes overlooked by history when it comes to pioneers to Rock and Roll. Rock history has been primarily written by men, about men, and much of women's presence and contribution have been rendered...
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...this sudden cultural change was greatly due to their newfound ability to vote and the horrors of the Spanish epidemic. However,...
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...you...” – Anon. Discuss the way in which women writers use the concept of motherhood as a gender-divide to explore the themes of entrapment and escape in literature. Since the 19th century, the broader sense of literature as a ‘totality of written or printed works’, and the foundational means of communicating information or ideas, has given way to a range of more exclusive and specific definitions. The rapid growth of adult literacy, combined with economic, social and political developments have vastly increased the sheer spectrum and quantity of subject matter and forms which fall under this umbrella term, forcing the need for greater categorisation in order to make ‘literature’ more accessible to the general reader. The resulting categories which attempt to standardise this process may take many forms, including observation of the structure or literary genre of the text (for example, categorising the text as a novel, poem, report or article) or perhaps the particular literary period or movement, which will link all associated texts with underlying principles or stylistic traits, such as the Romantic era or Post-Colonial literature. However, due to a long-standing patriarchal tradition dominating the history of literature- a literary practice challenged and corrected by the rise of the Feminist movement, particularly following the introduction of universal suffrage in 1928- the gender of the author has also become a means by which works may be categorised and interpreted,...
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...Version 1 General Certificate of Education (A-level) January 2013 English Literature A (Specification 2740) LTA1C Unit 1: Texts in Context The Struggle for Identity in Modern Literature Report on the Examination Further copies of this Report on the Examination are available from: aqa.org.uk Copyright © 2013 AQA and its licensors. All rights reserved. Copyright AQA retains the copyright on all its publications. However, registered centres for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to centres to photocopy any material that is acknowledged to a third party even for internal use within the centre. Set and published by the Assessment and Qualifications Alliance. The Assessment and Qualifications Alliance (AQA) is a company limited by guarantee registered in England and Wales (company number 3644723) and a registered charity (registered charity number 1073334). Registered address: AQA, Devas Street, Manchester M15 6EX. Report on the Examination – General Certificate of Education (A-level) English Literature A – Unit 1: Texts in Context: The Struggle for Identity in Modern Literature – January 2013 PRINCIPAL EXAMINER’S REPORT: January 2013 LTA1C The Struggle for Identity in Modern Literature The entry was around 2000 candidates, compared to nearer 7000 last summer and about 1400 the previous January, with the large majority of students choosing to answer on Duffy’s...
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...The novel “Frankenstein,” written by Mary Shelly, is a horror story that depicts what happens when one man's desire for scientific discovery and immortality goes horribly wrong, and ultimately what happens to society's outcasts. The novel is essentially responsible for the genre of science fiction, has seared a collective cultural imagination, and is now considered a legendary classic. While evaluating the novel, the reader will notice that the idea of gender is an underlying theme throughout the story. There is a broad structural duplication in the novel that correlates to this idea of gender which reaffirms this strong theme and how it affects the story’s outcomes. For example, according to Shelly, the time it took to complete the novel consisted of nine months, Walton’s journey lasts nine months, and Victor takes nine months (winter, spring, summer) to create the Creature. This, all of course equal to the time it takes to create human life; the length a woman is pregnant with a child. Although it may not appear to be important to the novel, Shelly makes sure that reproduction by implication becomes a central motif of the text, as we will discuss later. As the narrative is written from the perspective of three men, the women follow more of a romanticized, idealized figure as compared to the male characters present throughout the story. Shelly characterizes each woman as passive, disposable and serving a utilitarian function, while the men are portrayed at the ultimate being...
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...AS Media Studies Assignment AS Media Studies Assignment Week 2, Task, page 15 (Genre) Description of Law and order In the criminal justice system, sexually based offenses such as rape, torture, pedophilia and child-abuse are dealt with in New York City, by a special unit of detectives of the police department known as the Special Victims Unit. These crimes are then passed on to the courtroom for prosecution. Description of Law and order In the criminal justice system, sexually based offenses such as rape, torture, pedophilia and child-abuse are dealt with in New York City, by a special unit of detectives of the police department known as the Special Victims Unit. These crimes are then passed on to the courtroom for prosecution. Law and order is a crime-based drama, with a mixture of ‘court-room’ and ‘detective’, TV series, mainly shown on channel five. By reading the description of the show, I immediately realised that this is a show that is based around the world of crime and how the crime is dealt with within the city of New York. It starts from finding who the criminal is and then we follow the story up to the prosecution in the court room. Words such as ‘courtroom, ‘rape’, ‘victim’, ‘detective’ immediately grabs the reader’s attention, giving us the impression of the type of genre this TV series is. The picture that accompanies the description also shows that the genre of this series is crime as the main detective is pulling out her police badge and is what the...
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...“The role of women in the gothic genre is as victims, always subject to male authority.” Compare and contrast the extent to which this interpretation is relevant to your three chosen texts. “The wolf consumes red riding hood – what else can you expect if you talk to strange men, comments Perrault briskly. Let’s not bother our heads with the mysteries of sadomasochistic attraction” Angela Carter; Foreword to Perrault’s Short Stories. In much of today’s feminist writings, the Gothic era is frequently defined as a period in which the oppression of females was at its most intense. In response to fin de siècle anxieties of a social revolution in which gender stereotypes could be overhauled, gothic writers, it is claimed, sought to reassert cultural and gender norms – a reassertion which inevitably resulted in the oppression of women. In view of such contemporary analysis, it is thus all too tempting to offer a sweeping judgement of gothic literature as victimising, oppressive and misogynistic; Dracula’s “victims” are all “unambiguously women[1]”, Poe victimises through an “idealised and dehumanising image of women[2]”, while Carter is a “pseudo feminist” who merely “reinforces patriarchal views” with her “pornographic” writing[3]. Yet such views are largely artificial, and are primarily based on potted summaries of the above works, rather than a closer textual analysis. If one takes the definition of a victim as a being who is subject to the successful predatory actions of...
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...Reading Between the Lines: An analysis of Mary Shelley’s Frankenstein, or, the Modern Prometheus, using Horace Walpole’s The Castle of Otranto as an example of male discourse about women Louise Othello Knudsen English Almen, 10th semester Master’s Thesis 31-07-2012 Tabel of Contents Abstract ................................................................................................................................................ 3 Introduction .......................................................................................................................................... 5 Historical Context .............................................................................................................................. 10 The View on Women and Their Expected Roles in the late 18th and 19th Century ....................... 11 - Mary Shelley disowns herself .................................................................................................. 11 - Mary Shelley’s Background .................................................................................................... 12 Women’s Role in Frankenstein ..................................................................................................... 13 Men’s Role in Frankenstein ........................................................................................................... 13 - Women in Society and Women as Writers .........................................................
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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