my thesis, I analyse Neil Gaiman’s American Gods which highlights that a stable national identity is not possible, and the oppositions imposed by national narratives are limiting for the nation and its people. Yet, fiction can help us become aware of the illusion of the binary oppositions, and their inherent limitations in defining both personal and national identity. In chapter one, I discuss the definition of myth and their function in society as a way to give meaning to life. The myths can be either
The brothers Damon and Stefan Salvatore, eternal adolescents, having been leading "normal" lives, hiding their bloodthirsty condition, for centuries, moving on before their none aging is notice. They are back in their town where they became vampires. Majority of the society would agree that this is not the type of people they would like to be friends. People wouldn’t want to associate themselves with vampires. Vampire theme shows are a popular trend in modern day. Vampire diaries is popular television
Both versions of ‘‘The Crimson Candle’’ fit the rhetorical definition of narrative, since both involve a teller and an audience, a progression by instability (each husband seeks the promise, each wife gives it, and each fulfills it in her different way) and a series of developing responses by the audience. But Bierce’s version has a higher degree of narrativity. What is striking to me, however, is that this difference is not simply because Bierce’s version introduces a more substantial instability
earlier analyses of La batalla, like the one published by Ana M. López in Julianne Burton’s influential collection The Social Documentary in Latin America (1990), Patrick Blaine notes that Guzmán’s film “seamlessly integrate[s] a number of key narrative devices [. . . ] that ma[ke] it a truly innovative project, surpassing the paradigm of the [documentary] genre in the New Latin American cinema movement and indicating the direction he would take with his later films.” Blaine notes that, surprisingly
think BIG! And helium is something that disappears quickly. Timothy Egan’s description adds to his opinion of the story. He finds it exciting and interesting and wants to use the right words to describe the story. The Worst Hard Times, a nonfiction narrative, is based on true events. The author tries to relate the story as close to the truth as possible. However, the reader can see that the author writes with a certain opinion through the words of he chooses. For example, Egan shows an opinion that is
mode of narration that became popular as an alternative model during the decline of Hollywood dominance. According to Hayward, the term – art cinema, ‘refers predominantly to a certain type of European cinema that is experimental in technique and narrative’ (2013: 23). Hayward also outlines art cinema as ‘Second Cinema (European art cinema and the cinema of the auteurs)’ (Hayward 2013: 383), which incorporates various issues that were faced by post-war European countries. Although art cinemas share
depicts the conquered land that was once part of the frontier myth. This frontier myth made us believe in the unlimited land and opportunities that awaited us in the West. More importantly, the myth told us that it was our duty and destiny to make this land our own. Paintings of westward expansion, like Westward the Course of Empire Takes Its Way (1861) by Emanuel Leutze, depicts settlers constantly moving forward, expanding and conquering the wild west. This expansion altered and imposed order onto
its citizens, it is surprising that the rural spaces are only being noticed through the other end of the binoculars. And so, attempts like “Miyar House” (2011) are important. Written and made by film-maker Ramchandra PN, this documentary is his personal story, that covers the dismantling of his ancestral house in a remote village called Miyar (Karnataka, South India). Armed with just a digital camera, he and his friend Ajay Raina document not just the dismantling of the house but of the past itself
spiritual warrior, the penance seeking assassin, the brave lawman, and the rogue patriot; all leading men on a quest riddled with dangerous obstacles. For each man, however, therein lie many unique challenges. These hurdles are shaped by specific narratives and themes, which work to shape the framework for the classic American action film as well as the Hong Kong action film. These two categories of action adventure are not only divided by a vast sea but by the motivation of each leading man and the
emotive language used, Idolisation and the universality of self-expression. The tribute written in commemoration to the deceased literary artist, Seamus Heaney, was saturated in emotive expressions. The fact that it was also written in first person narrative helped accentuate the intimacy between Heaney, Carr and ultimately all that shared the same