Jashiel Singh 21513201 Final Essay This essay will critique the work of Margot Winer, namely her paper, ‘Landscapes, Fear and Land Loss on the Nineteenth-Century South African Colonial Frontier’. It will start by looking at the structural word technique, or lack thereof. The essay will then proceed to look at her opinions and research on the architecture of Coping, Identity, Affluence and Fear. Although the majority of the essay agrees with the work of Margot, there are some points that differ in
date which tends to create “sensual or psychological impact” on their spectator. These catastrophes can be in varied forms likes manmade, natural, alien invasions , planetary related etc. but tends to follow the same clichéd form of narrative that Susan Sontag talks about in her article “The Imagination of Disaster”, she claims that’s that from a psychological point of view, different periods of history hasn’t seen any great difference in the imagination of a disaster but it has
This essay will analyse David Shumway’s book, Modern Love: Romance, Intimacy and the Marriage Crisis , from Chapter 3: Marriage as Adultery. In referencing the 1938 screwball comedy Bringing Up Baby, directed by Howard Hawks, I will identify the text’s central claims and test them against the film. Shumway’s ,main arguments revolve around three key topics; Culture and audience in regards to remarriage, the structure of screwball comedies compared to traditional historical romance films, and the progression
nineteen-year-old Ellie’s, point of view. The story is with the narrative technique a stream of consciousness. That’s why the reader through the entire story are inside Ellie’s mind and follows her stream of thoughts. This affects the readers sense of time, because they can feel like the story is told over a long period of time, even though it’s only takes one hour and teen minutes from when Ellie wakes up, till she decides to go home and write the essay. Is story is told with a lot of
in his essay ‘Rear Window Ethics: Laura Mulvey and the Inverted Gaze’, and explain in what ways it differs from both Mulvey’s and Modleski’s feminist readings of Hitchcock’s film. In this essay I will examine the queer reading of Rear Window (1954), directed by Albert Hitchcock, given by Robert Samuels in his essay ‘Rear Window Ethics: Laura Mulvey and the Inverted Gaze’. I will compare Robert Samuels assessment of Rear Window to Laura Mulvey’s essay, ‘Visual Pleasure and Narrative Cinema’
correlates with a location Hurston lived in (with the same name!) and even her descriptions of black Southern living come from her travels and research in the late 1920’s. Although it resonated with many, the novel isn’t necessarily supposed to be a narrative personifying the entire black experience, and shouldn’t be judged as such. As Hurston said many times in interviews, she intended to write for individuals rather than groups. Accordingly, she didn’t write the book to be a perfectly sanitized read
time. Focussing on the issues and events on World War two (WWII), both the novel and the movie propose counterfactual historical events which subtly make a comment about truth and lies that history presents which in itself counters the essence of these works and also satirises WWII. These themes will be discussed in the following essay; beginning with a close reading of the given two quotes, defining what alternate history may entail and how these two works are understood to be alternative history
account multiple books of American Literature from the Colonial and Romantic Period. However, they all seem to portray an overwhelming theme of bringing about new perspectives to the audience in order to enhance humanity and laws for mankind in the United States. The books brought about in American Literature exemplify a spark of social
of the Romantic Movement in its appreciation of nature, and the use of sublime imagery is prevalent in the literature du jour, and is presented as the diametric opposite to what Julia Kristeva calls the abject in her 1980 work, Powers of Horror: An Essay on Abjection. Abjection is the human reaction (such as terror or horror) to a threatened loss of meaning when confronted by the loss of distinction between the subject and the object: the moment at which the subject (the Cartesian “I”) is confronted
imprisoned by the fairies and a changeling wife and fairy kids had been left in her place. This example indicates that despite the influence of the church, and advances in science and knowledge; superstitions still pervade the minds of the Irish group. Fear remains to be epitomised in this song; within the opinion of some and is a warning sign and precursor for perils to come. Lullabies are in most cases used around the world to soothe and lull a little one to sleep with vocals. It absolutely presents