...To what extent can Bertha be seen as ‘the repressed side’ of Jane’s personality? In the novel Bronte makes several comparisons between Jane and Bertha to show Bertha to be the repressed side to Jane’s personality. To repress something means to hold back an act of volition. This means that Bertha is the personification of Jane’s hidden feelings and passions and is shown through her characteristics and mannerisms. It can be argued that Bertha is the repressed side of Jane’s personality due to the fact that they are both described as animals. Jane is described as a ‘masterless and stray dog’. This gives the impression that Jane isn’t seen as anything more than a mere dog because she is very obedient to repress her passions which shows her to be subdued in her character. . The use of the verb ‘masterless’ could suggest that she doesn’t belong to anyone, this could be due to the fact that she moved from one place to another and so hasn’t been able to settle down with anyone. The use of the verb ‘stray’ suggests that Jane doesn’t belong anywhere and she has no real home. We know this to be true because, again, through her life she’s been moved from one place to another and so has nowhere in which she can call home. The theme of animals could link with Bertha because, just like Jane, Bertha is also described as an animal however a more vicious animal. Jane describes Bertha as ‘a clothed hyena’ and also states that she sounds like ‘a dog quarrelling’. This shows that even though Bertha...
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...Examine some of the ways Gothic horror is presented in Frankenstein showing how your understanding of Mary Shelley’s techniques has been illuminated by your reading of Poe’s short stories Firstly, Shelley uses the setting of her novel in order to create an unsettling atmosphere in various chapters. Factors such as time, weather and architecture all play an important role in bringing horror to life in both Frankenstein and Poe’s short stories. Mary Shelley aligns Victor with the Romantic Movement, which emphasised a turn to nature for experiences like hope and happiness. The natural world has notable effects on Victor’s mood. He is moved and happy in the presence of the scenic beauty of Switzerland. In return this also reminds Victor of his guilt, shame and regret. “The rain depressed me; my old feelings recurred, and I was miserable”. This enables the weather to foreshadow Victor’s emotions throughout the novel. The theme of nature also reappears in the monster’s narrative. Whereas Victor seeks the high cold hard world of the Alps for comfort, as if to freeze his guilt, the monster finds solace in the soft colours of a spring time forest. This symbolises his desire to reveal himself to the world and interact with others. The architecture of the early nineteenth century was typically gothic and of a medieval revival style. It is this gloomy and frightening scenery, which sets the scene for what the audience should expect. Likewise, Poe uses the setting to convey...
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...Alienation. “It is used to refer both to a personal psychological state and to a type of social relationship” (Kalekin, 1) Many may have heard of Marx theory. Karl Marx, a well known philosopher in the twentieth century went and pursued his calling. “[His] works inspired the foundation of many communist regimes” (“Karl”, 1). Istvan Meszaros clearly states Marx theory on the origination of alienation in a way that no man can ever forget. “It must be made equally clear, however, that such influences are exercised in the dialectical sense of ‘“continuity in discontinuity”’ (Meszaros, 1). There is very much “continuity in discontinuity” in literature, media, and the arts of today. In Mary Shelley’s book, Frankenstein, the hideous ‘monster’ that was created by Victor Frankenstein was frowned upon, fled from, and even abandoned by his own creator. This shows the inhumanity that society shows towards those who are different. “There was none among the myriads of men that existed who would pity or assist me; and should I feel kindness towards my enemies?” (Shelley, 115) The creature had merely a different look, but his emotions and desires were no different than any other human: love, companionship, and a sense of belonging. Many cast him away because his looks rang out evil. "I am alone and miserable; man will not associate with me; but one as deformed and horrible as myself would not deny herself to me. My companion must be of the same species and have the same defects. This being...
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...the thinkers and the workers. The film describes the struggles of each as the workers are depicted as human cattle being assigned to complete mundane tasks in an underground machine that can be related to the Bull of the Sun or Moloch the God Balaal from Carthaginian culture. The workers live above in a ever evolving world that is testament to mans achievements. The opposites rely on each other as the city could not function without the workers and without the thinkers creating an utopia they workers would not be needed. 2. Top Hat (1935). The film by Mark Sandrich and starring Fred Astaire was about an American dancer who goes to London to star in a show. Dancer played by Astaire meets and attempts to impress the woman in the hotel room below his. The film is sometimes called a glorified remake of The Gay Divorcee (1934). This was the fourth film by Astaire and lead lady Ginger Rogers and was specifically written for both parties to play their respective parts. Though the movie had a simple plot the dances helped to naturally develop the plot. 3. The Big Sleep (1946). The film by Howard Hawks is the first film version of the novel by the same name. The films plot is somewhat hazy as it revolves around a wealthy general who wants to resolve the gambling debts of his daughter. The film is best known for the convoluted plot as the viewer was never able to know the identity of the killer. Wartime rationing influences this film as a car in the film had the “B” gasoline...
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...Yuki was in shock seeing her best friend bleed to death on the ground in the church, Alma then started to tear up. The girl walked slowly towards Yuki and put her claw on her neck waking her up. Yuki looked up, and teared from her eyes. The woman on the broomstick looked down and saw 2 women holding weapon's, one holding a scythe and the other holding a Mjolnir. Her grin disappeared. " I'm a coward and a liar to mom and Nee-Chan, I thought I'd find her. But why ? Why do I always end up being alone in the end ? She muttered. The girl lifted her arm, but before she could strike a scythe blade struck through the door and impaled her in the stomach. Then another woman hammered down the door, sending her across the church room. the came in and...
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...Skeletons popped out of coffins whenever I sneezed. The phone would ring (yes, an actual phone attached to the wall) and Frankenstein would start to hula dance to a ukulele version of The Monster Mash. The slightest movement, the most inconsequential sound, would cause the dead to rise, ghosts to howl, and witches to take...
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...was just beginning to teach the children in the village that Mr. Rivers employed her. She is dreaming of Mr. Rochester, which can only mean that she is having second thoughts on her decision to leave Thornfield hall. She must be missing him and the adventure and mystery of living there with him, the love of her life. Mr. Rochester has been unparalleled in her eye and mind. Mr. Rivers is the only man who has come close to capturing her heart the way Mr. Rochester did. By saying ‘full of the ideal’ I think she means that the love that he bestowed her was quintessential. 5. Supernatural or otherwise inexplicable events. In some works, the events are ultimately given natural explanation, while others are truly supernatural. Ex: The whole red room incident with her gothic and macabre visions symbolize her tormented state of mind at that...
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...At a time when the stalker movie had been exploited to all ends and the image of mute, staggering, vicious killers had been etched into society’s consciousness to the point of exhaustion, a new kid entered the block. The year was 1984 and it was time for a new villain to enter into the horror genre. A villain that was agile, intelligent, almost inviolable yet viscous, and by all means deadly. A Nightmare on Elm Street introduced the distinctive presence of Fred Krueger to the horror industry and to the audience. Freddy Krueger took the center stage and with him a new era of horror films began. This horribly scarred man who wore a ragged slouch hat, dirty red-and-green striped sweater, and a glove outfitted with knives at the fingers reinvented the stalker genre like no other film had. Fred Krueger breathed new life into the dying horror genre of the early 1980’s. Horror films are designed to frighten the audience and engage them in their worst fears, while captivating and entertaining at the same time. Horror films often center on the darker side of life, on what is forbidden and strange. These films play with society’s fears, its nightmare’s and vulnerability, the terror of the unknown, the fear of death, the loss of identity, and the fear of sexuality. Horror films are generally set in spooky old mansions, fog-ridden areas, or dark locales with unknown human, supernatural or grotesque creatures lurking about. These creatures can range from vampires, madmen, devils, unfriendly...
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...looking bats. They even looked real. On the front door there was a skeleton, and it kept on repeating, "Don't enter! Save Your Soul!" There were vines and plants growing over the haunted house. On a windowsill there was even a fake Chucky. When I started walking up to the door I felt like I was going to explode! I was so freaked out. I started sweating and started to shake. I was there, all alone. I wanted to scream, but it wouldn't come out. I was getting more freaked out by every step. I actually felt like I should turn back and run. But, the haunted house made me feel sort of drawn to it. A bat flew overhead and shrieked "eek!" I went to the doorknob and reached for it. It felt slimy and gooey. I looked and saw it had red stuff on it. I took the red stuff off my hand and then the doorknob. I felt the doorknob and it felt like soft wood. It was a dark maroon color and looked big compared to my little hand. When I opened the door it creaked louder and louder until I finally opened it the whole way. In the inside I smelled something burning. I saw spiders and cobwebs and dust. The light bulb was very dim. I wanted to turn back but I was drawn to it. I walked to the stairs and went up the stairs. I heard a washing machine somewhere. Every time I took a step the floor creaked. I heard owls, bats, and mice when I went up the stairs. All of a sudden, a zombie jumped in front of me. She took off the mask and my friend asked "Hey! Can I...
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...Introduction Established empirical research suggests that highly successful media, principally moves, are successful by virtue of the fact that the audience closely associate with the general mood, temperament and “message” that is being communicated. It will be shown that the success of particular genres of film changes through time in tune with the prevailing human social mood. Human social mood is determined by the human herding instinct which is generated by the limbic system of the human brain and is an involuntary, unconscious, “hard-wired” human condition. In order to establish the correlation between highly successful movies and human social mood we require a quantitative measure of human social mood, this is provided by the “Wave Principle” which measures the wave behaviour of the major stockmarket indices. These indexes are a qualitative measure and ‘barometer” of social mood. We will discuss principally, highly successful movies, as these are believed to be most representative of the public mood since they reach the largest audience. Successful movies don’t just happen, but rather they result from having perfect empathy with the prevailing mood of the public en-masse. Highly successful movies, include groundbreaking movies which define a genre and we will look at the historical correlation of these with public mood. We will discuss numerous examples of how social mood has influenced the production of blockbuster movies over the past 70 years and how these movies...
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...makes them sneeze! ———- Q: Where do mice park their boats? A: At the hickory dickory dock. ———- Q: Where did the sheep go on vacation? A: The baaaahamas ———- Q: What do you call a thieving alligator? A: A crookodile ———- Q: What goes tick-tock, bow-wow, tick-tock, bow-wow? A: A watch dog. ———- Q: What do you call a cow that eats your grass? A: A lawn moo-er. ———- Q: What do you call a girl with a frog on her head? A: Lilly. ———- Q: How does a dog stop a video? A: He presses the paws button. ———- Q: Why do cows go to New York? A: To see the moosicals! ———- Q: What do you call lending money to a bison? A: A buff-a-loan ———- Q: What is the snake’s favorite subject? A: Hiss-story ———- Q: What is black ,white and red all over? A: A sunburnt penguin! ———- Q: Why does a dog wag its tail? A: Because there’s no one else to wag it for him. ———- Q: What is a cat’s favorite movie? A: The sound of Mew-sic! ———- Q: How do you make a goldfish old? A: Take away the g! ———- Q: Why did the lamb cross the road? A: To get to the baaaaarber shop! ———- Q: How does a mouse feel after it takes a shower? A: Squeaky clean! ———- Q: What has four legs and goes “Oom, Oom”? A: A cow walking backwards! ———- Q: Where do you put barking dogs? A: In a barking lot. ———- Q: What do you call a pig that’s been arrested for dangerous driving? A: A road hog....
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...From How to Read Literature Like a Professor Thomas C. Foster Notes by Marti Nelson 1. Every Trip is a Quest (except when it’s not): a. A quester b. A place to go c. A stated reason to go there d. Challenges and trials e. The real reason to go—always self-knowledge 2. Nice to Eat With You: Acts of Communion a. Whenever people eat or drink together, it’s communion b. Not usually religious c. An act of sharing and peace d. A failed meal carries negative connotations 3. Nice to Eat You: Acts of Vampires a. Literal Vampirism: Nasty old man, attractive but evil, violates a young woman, leaves his mark, takes her innocence b. Sexual implications—a trait of 19th century literature to address sex indirectly c. Symbolic Vampirism: selfishness, exploitation, refusal to respect the autonomy of other people, using people to get what we want, placing our desires, particularly ugly ones, above the needs of another. 4. If It’s Square, It’s a Sonnet 5. Now, Where Have I Seen Her Before? a. There is no such thing as a wholly original work of literature—stories grow out of other stories, poems out of other poems. b. There is only one story—of humanity and human nature, endlessly repeated c. “Intertexuality”—recognizing the connections between one story and another deepens our appreciation and experience, brings multiple layers of meaning to the text, which we may not be conscious of. The more consciously...
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...Level 1: Braver- Automatically activated. This involves Cloud jumping up into the air and vertically slashing a single enemy. Looks like Cloud’s Deathblow attack. Cross Slash- Activated by using Braver 8 times. This attack does 3 slashes to a single enemy. Level 2: Blade Beam- Activated after killing 80 enemies with Cloud. This involves Cloud slamming his blade to the ground sending a shockwave to the main target enemy. The main blast ricochets off sending miniature shockwaves at the other enemies doing slightly less damage. Climhazzard- Activated by using Blade Beam 7 times. Cloud slices into a single enemy, then jumps upwards with his sword still in the enemy. Level 3: Meteorain- Activated after killing another 80 enemies with Cloud. Cloud spins his blade around then jumps up into the air and creating meteors with his blade which attack all enemies. Finishing Touch- Activated after using Meteorain 6 times. This involves Cloud creating a tornado with his blade which blows all enemies away. Doesn’t work on bosses of course. Level 4: Omnislash- Found in Battle Arena. Get either 64,000 Battle Points on Disk 1 or 32,000 Battle Points on disks 2 and 3 and buy it there. Cloud slashes at random enemies 15 times in total for massive damage Level 1: Big Shot- Automatically activated. Barret powers up a big blast and fires it at a single enemy. Mind Break- Activated after using Big Shot 9 times. Barret powers up a blast that…takes away enemy’s Magic Points. Don’t ask...
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...From Predator to Protector: The Paradigm Shift in America’s Werewolf Supernatural entities have been the topic of fiction since the dawn of literature. These entities brazenly manipulate the societal, environmental, and physical norms which dictate much of the living world. Perhaps one of the most renowned literary characters of supernatural fiction is the werewolf. Historically, this literary concept of a wolf-human hybrid is rooted in evil. They are graphically described as “bestial, blood-drinking, human-flesh-eating creatures, endowed with more than human agility and strength” (Rudin 115). Werewolves served as popular antagonists throughout media, including television and cinema; yet, in recent years, the media’s perception of werewolves has taken a noticeable shift in the opposite direction. Stephenie Meyer, the critically acclaimed author of the Young Adult series The Twilight Saga, embodies this shift to the “new” werewolf. Meyer made a drastic change to the very nature of what was once a ferocious beast by characterizing werewolves as more gentle and protective. People wonder, though, what caused this sudden switch of characteristics? Through texts such as Rick Bass’ The Ninemile Wolf, Barry Holstun Lopez’s Of Wolves and Men, Valerie Fogleman’s piece “American Attitudes Towards Wolves: a History of Misperception,” Stephenie Meyer’s The Twilight Saga, and more, this paper will argue that the “original” werewolf belief was founded on America’s misperception of wolves...
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...Negotiation: the Chinese style Tony Fang School of Business, Stockholm University, Stockholm, Sweden Abstract Purpose – To examine the nature of Chinese business negotiating style in Sino-Western business negotiations in business-to-business markets involving large industrial projects from a social cultural point of view. Design/methodology/approach – A conceptual approach developed from personal interviews. Findings – This study reveals that the Chinese negotiator does not possess an absolute negotiating style but rather embraces a mixture of different roles together: “Maoist bureaucrat in learning”, “Confucian gentleman”, and “Sun Tzu-like strategist”. The Chinese negotiating strategy is essentially a combination of cooperation and competition (termed as the “coop-comp” negotiation strategy in this study). Trust is the ultimate indicator of Chinese negotiating propensities and role choices. Research limitations/implications – The focus of this study is on Chinese negotiating style shown in large B2B negotiations with Chinese SOEs. Originality/value – Differing from most other studies on Chinese negotiating style which tend to depict the Chinese negotiator as either sincere or deceptive, this study points out that there exists an intrinsic paradox in Chinese negotiating style which reflects the Yin Yang thinking. The Chinese negotiator has a cultural capacity to negotiate both sincerely and deceptively and he/she changes coping strategies according to situation and context...
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