...Raphaelite Brotherhood (PRB) of the mid-nineteenth century. He encompassed elements from the Impressionist art movement of the late nineteenth century to create hauntingly beautiful images in oils on canvas. Three such creations manifested from Alfred, Lord Tennyson’s The Lady of Shalott. This poem, written in four parts, is based on Arthurian legend of an innocent young woman confined in a tower by a curse. She lived on an island overlooking Camelot. Her curse is such that she could not look directly upon Camelot. She viewed the outside world through a mirror in her quarters. Waterhouse painted the three oils in reverse chronology to the poem. In this essay, his composition, balance, use of light, color, movement and symbolism will be discussed. The Lady of Shalott (1888) references Part IV of the poem where she escapes the island by boat only to pay for the brevity of her freedom with her life. She and the boat are the main focus of this painting. Her porcelain skin, flowing red hair, virginal white gown draw eyes to her before slowly drifting over the boat. This scene is balanced by the view of hills through a break in the wooded background. The folds in the fabric of her gown, swallows in flight, and the play of light on the water create a sense of movement. Something was happening. A decision was being made as evidenced by the sorrowful, yet resigned expression accepting her fate. Her right hand loosely held the last bind to the island in...
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...What are you-” the man in white paused as shards of a broken mirror were crunched underfoot, “-what’s happened here?” “I let it ou-,” he choked, reaffirming himself, “him out, it’s out there, Benoit.” Benoit’s face grew pale and silence befell the room. Only four words managed to escape his trembling lips in the minutes after, “then God help us...” “It’s over,” Gascoigne whispered, maintaining his composure. “We have to run away; it’s the only thing left to be done.” “We?” Benoit questioned, raising a hand and gesturing towards him, “You’re the one who let it out.” Gascoigne sighed and said nothing; he merely shook his head in response as he stepped passed the stern, white-coated man. “So it’s already started…or perhaps it just ended. Well, no human will be alive to see the effect, that’s for sure,” he grimly stated as he opened the door, “It’ll spread unnoticed, reaching the far corners of the earth and then…” he paused and looked wistfully at the broken mirror. “Perhaps even we were a prion at one point. So long,” Gascoigne added, and with that he slinked into the lit corridor and disappeared down the hallways, leaving Benoit in the...
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...Lit Motors: C-1 Group #1 Executive Summary Today’s consumers seek quicker ways of travel at more affordable prices allowing them to reduce up to 50% off their commute time and giving them more time to spend with their families. The C1 motorcycle was designed for efficient high-speed travel, enabling you to slip through traffic easily. Once you arrive at your destination, you can park in the smallest spaces–even motorcycle-specific parking.Team 1 was selected to research, analyze, and re-position through a unique media plan and creative campaign. This campaign make every effort to not only promote the brand image of the C1 motorcycle, but it also aims to make new potential consumers aware of the brand and what is offered. Campaign Objectives Daniel Kim, an engineer, had the idea to design and manufacture an efficient electric 2-wheeled vehicle, and founded Lit Motors in 2003. By 2012, Lit Motors had designed and engineered prototypes, and also conducted initial customer tests on less than the original investment of $750,000. Lit Motors had polished the plans and had the development worked out along with anoperational prototype, and a list of components essential to build the ‘C-1’. The company had completed their customer tests and consumers reaction to pricing levels to get a better idea about the market place for the idea of this project. Management fixed their goals on raising additional cash of $15M to be closer to the costs of manufacturing the prototypes...
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...paintings on the walls morph into living ghosts. Living ghosts who turn the once eerie paintings into hellish nightmares and landscapes of horror. Frustration converts to fear as the ground begins to swallow him, and the hallucinations become ever so real. He runs. Running as fast as he has in his entire life, even in this place he has never run so fast. But the boy forgets that this world is of his creation, only if he could know the truth - only if I could tell him. Out of sheer willpower, or perhaps out of pure luck, he is safe. A wolf comes into view. “Do you wish to be saved?”, says the wolf. “Yes”, the boy begs, “please save me from what which haunts...
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...sat down in the driver’s seat, which was soft and smooth to the touch, I felt as if I was sitting on a fluffy cloud. I noticed something totally different about the key that was given to me, It didn’t have an actual key where you would stick it in the ignition, but it was a key fob. Also, I noticed that there wasn’t any slit for a key to go into, but there was a red button which had the words Start and Stop plastered on the button. I pressed this bright red button, but the car didn’t roar to life. I read the notification screen that was positioned above the steering wheel inside the dashboard that instructed me to press my foot on the brake and press the start button in order to bring life to the ignition. I press my foot on the brake and press the start button and the roar of the engine brought Sophie to life. I felt like I was in a spaceship as all the buttons and gadgets lit up. In the middle of my dashboard, was a navigation Screen that lit up as the car came to life. The screen had displayed the different applications such as Radio, Bluetooth, Phone, Pandora, HDMI, and iPod. I was blown away that Sophie came with Bluetooth and Phone Link, which gave me a way to connect my phone to the car, to listen to my own music, and make phone calls and Sophie even reads text messages to me once I receive them. The navigation screen had a 7 inch screen which was a touch screen; it had the digital clock and had a vibrant blue color as the theme of the screen. The steering...
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...Change mirrors a movement in religious accentuation and custom technique, its exact criticalness is past review. It compromisingly grim with dividers, columns, and architraves of cleaned stone, a story of alabaster. Butb this accentuates the numinous nature of stone as an image of endlessness. Various situated statues, twenty-three in all were set against the stone divider and lit above by angled openings in the rooftop. This shows expanding indications at a more theoretical idea of regal force for a variety of verging on indistinguishable pictures which may each have had a capacity in custom, could barely bear the full weight of the lord's uniqueness. The statues were cut in diorite, basalt, limestone, and alabaster, evidently all distinctive somewhat, however they may well have gone for the same kind of stylization. The Catch 22 of life in death, the idle of a stupendous type of life, seem overlooked or disregarded for an obtrusive...
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...Poe uses the life-like characteristics of an otherwise decaying house as a device for giving the house a supernatural atmosphere. Usher feels that it is the form and substance of his family mansion that affects his morale. The narrator observes the house “upon the bleak walls—upon the vacant eye-like windows— upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul” (Poe 4). He believes that, as a result of the arrangement of the stones, the house has taken on life. When entering the house, the narrator becomes increasingly convinced that the house has some supernatural effect on those living there after observing the odd behavior and personalities of its inhabitants. Throughout the story, Poe's imagery...
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...With these thoughts in his head, Leon sluggishly rapped on the apartment door. As he stood in the poorly lit pea green carpeted hallway of his apartment building, he felt an odd chill come over him. It’s just these goddamn lights, he thought, trying to shake away the shiver of anxiety that was beginning to well up in the base of his spine and the low, hollow pit of his stomach. Lately, whenever Leon came back to the apartment, he was filled with these odd, unshakable, anxious feelings. It was as if someone was there, watching him, observing him. Leon began to tap his foot, but failed to notice. This was another habit he had accrued over the past six months. He tried knocking on the door again, harder. He was not sure if his roommate, Veronica,...
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...Frau Brechenmacher Attends a Wedding – Lit. Crit. 1 A few of Katherine Mansfield’s stories are unremittingly sombre. Frau Brechenmacher Attends a Wedding is a dark continuation of the themes established in the Pension stories. The story exudes anger about the historical and cultural position of women and with the processes that deny them autonomy and press them to court their own enslavement, while their male partners debase themselves as part of the same process. Katherine Mansfield is one of the first writers in the twentieth century to address straightforwardly the anger of women at the injustice of their treatment, and express it in a prose that refuses to soften the accounts of the varieties of women’s emotional response to their subjection. Frau Brechenmacher begins with the familiar scene of an adult woman training her little girl for female servitude. The Frau and her daughter work frantically to prepare demanding Herr Brechenmacher’s clothes for a wedding. When the man arrives he faults their work and his wife’s appearance, and sends her into the dark passage to dress while he preens himself in front of the only mirror. The Frau gives the lamp and her shawl to her daughter, passing the standard of womanhood to the prematurely adult creature who has already been denied a childhood. The girl is left to guard the four smaller children who represent both her mother’s fate and her own only possible future. The wedding is a farce. The bride, who has been ‘wild’, and...
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...Decay of Lying: An Observation, Wilde uses an obviously self-modelled character named Vivian to set out a series of doctrines which detail his personal philosophy on the relationship that exists between art and life, and the rolls that they should play. Chiefly these are: art should only express itself, expressing life and nature makes for bad art, life imitates art more than art imitates life, and that lying is the true aim of art . When applied to his novel The Picture of Dorian Gray these doctrines add an extra layer of meaning to the themes already presented, and this allows for a greater level of understanding. There are several instances during the narrative of the novel which show a relationship between the roles of art and life, and the ways in which they are separated, combined, and reversed. Understanding the theories set out by Vivian helps with comprehending the relationship between Dorian and his portrait, as well as with his friends Lord Henry and Basil Hallward. The Decay of Lying is presented as a slightly confusing and seemingly contradictory essay on the relationship between art and life which treads the border between being sincere and ironic, while The Picture of Dorian Gray is a metaphor infused novel which blurs the lines between art and life as actively as it seeks to separate them. Both writings leave room for speculation regarding their interpretations, be they the more obvious meanings or their ironic opposites. This is entirely suitable for an essay...
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...play is a memory play and therefore very poetic in mood, setting, and dialogue. Tom Wingfield serves as the narrator as well as a character in the play. Tom lives with his Southern belle mother, Amanda, and his painfully shy sister, Laura. According to Margaret Thornton: “William wrote to himself about himself” (1). Thus, Glass Menagerie’s plot closely mirrors actual events in the author's life. Because Williams related so well to the characters and situations, he was able to portray the play's theme through his creative use of symbolism. The Glass Menagerie reflects Williams's own life so much that it could be mistaken from his autobiography. The characters and situations of the play are much like those found in the small St. Louis apartment where Williams spent part of his life. Williams himself can be seen in the character Tom. Critic writer Andrea Peterson states: “The third Williams child, a boy named Dakin was born after the family moved from Columbus to St. Louis, Missouri, when Thomas was eight. It wasn’t long before the general malaise and unhappiness in young Thomas Lanier’s life would lead him to writing as an escape” (1). One not so obvious character is Mr. Wingfield, who is the absent father seen only by the looming picture hanging in the Wingfield's apartment. Tom and Williams both had fathers who were, as Tom says, "in love with long distances." Amanda, an overbearing mother who cannot let go of her youth in the Mississippi...
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...Fahrenheit 451 revolves in the bizarre era where everyone and everything is controlled by the government. From the beginning, since Montag and Clarisse met, he thought that Clarisse was different from the rest of the people even himself. He mentioned that Clarisse had a very thin face like the dial of the small clock which tells the time, the hour, minute, and second. Clarisse knows the time, she knows the truth, the facts, and she is like a mirror that reflects deep thoughts of the people. She made Montag curious about what happiness really is, true love, pure emotions, and knowledge, in which is not embraced in their society, making him the outsider. In this society, ignorance is a bliss;reigning across their culture, and what is thought to be the answer for happiness. There are many reasons why ignorance revolves in the society where this story took place. The fireman's job is to burn books, which contains the facts and the information, therefore burning knowledge. Books are no longer able to be read, not only because they might offend...
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...two sides generally. One of them is near world, represents complexity, statutory and fact. The other one is mystical kingdom, represents simplicity, freedom and dream. William Shakespeare uses antithesis to point out the differences from near world and mystical kingdom. The first thing, there are some differences in the complexity of people’s life. Athens, in the other words near world, wedding is a complicated ceremony. In ancient Athens, wedding ceremonies started after dark. Her family followed the chariot on foot, carrying the gifts. Friends of the bride and groom lit the way, carrying torches and playing music to scare away evil spirits (Unknown). Especially for the royalties, they usually hire hundreds of people to ready the performances for their wedding. Those multifarious ceremonies are used to entertainment and invocation. In addition, civility is very important and complexity. Talking with people who have higher rank, they have to use many humble words to show their respect. Beside near world, mystical kingdom does not have that much propriety. Spirits do not need many ways to disport. They are so simply that even a mirror can make them happy. William Shakespeare also points out the second difference in A Midsummer Night’s Dream, which is legal system. In Athens, people have laws to limit women’s right. Women have to listen to her father or the other men in her family. They must obey laws or be punished. According to a book A Day in Old Athens, Athenian marriages...
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...herself, "If only I had a child as white as snow, as red as blood, and as black as the wood in this frame." Soon afterward she had a little daughter who was as white as snow, as red as blood, and as black as ebony wood, and therefore they called her Little Snow-White. And as soon as the child was born, the queen died. A year later the king took himself another wife. She was a beautiful woman, but she was proud and arrogant, and she could not stand it if anyone might surpass her in beauty. She had a magic mirror. Every morning she stood before it, looked at herself, and said: Mirror, mirror, on the wall, Who in this land is fairest of all? To this the mirror answered: You, my queen, are fairest of all. Then she was satisfied, for she knew that the mirror spoke the truth. Snow-White grew up and became ever more beautiful. When she was seven years old she was as beautiful as the light of day, even more beautiful than the queen herself. One day when the queen asked her mirror: Mirror, mirror, on the wall, Who in this land is fairest of all? It answered: You, my queen, are fair; it is true. But Snow-White is a thousand times fairer than you. The queen took fright and turned yellow and green with envy. From that hour on whenever she looked at Snow-White her heart turned over inside her body, so great was her hatred for the girl. The envy and pride grew ever greater, like a weed in her heart, until she had no peace day and night. Then she summoned a huntsman and said to him, "Take...
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...Representation refers to the construction in any media (especially mass media) of aspects of ‘reality’ that can either mirror or subvert societal expectations. They are often based on negative stereotypes allowing the audience to feel secure and familiar. By definition, all media texts are re-presentations of reality. They are intentionally composed, lit, written, framed, cropped, captioned, branded, targeted and censored by their producers, they are entirely artificial versions of the reality perceived in the current world. Every media form, from a home video to a glossy magazine, is a representation of someone's concept of existence, codified into a series of signs and symbols which can be read by an audience. However, it is important to note that without the media, our perception of reality would be very limited, and that we, as an audience, ‘need’ these artificial texts to mediate our view of the world, in other words we need the media to make sense of reality. Therefore representation is a fluid, two-way process: producers position a text somewhere in relation to reality and audiences assess a text on its relationship to reality. Society has tended to overlook, undervalue, and stereotype the elderly. The stereotypes are concepts produced by the media and perceived by the audience as truth. Seniors are often thought of as unproductive, alienated, and ineffectual. Parsons (1993) notes that society views the aged as an "increasing burden on society because they are unproductive...
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