Analysis Of The Novel ' Lolita ' And ' The Sound Tells A Story '

Steinberg’s essay, “The Philosophical Brothel,” of 1972 was a new account of Picasso’s masterwork, Les Demoiselles d’Avignion [Fig. 13]. Steinberg roots his analysis of the painting in its relationship to the viewer. Steinberg extends the role of the viewer until it is he who completes the painting as the male solicitor of the women in the painting: “The picture is a tidal wave of female aggression; one either experiences the Demoiselles as an onslaught, or shuts it off. But the assault on the viewer is only half of the action, for the viewer, as the painting conceives him on this side of the picture plane, repays in kind.”98 The horizontality of the flatbed picture plane, and the new content it allows, makes the viewer’s role an active

Dancing” three woman represent a cultural shift of Puerto Rican immigrants, by each woman's lifestyle was one was halfway Americanized half Puerto Rican looking, one was Americanized, and one was still in the Puerto Rican culture. In the home movie, there were three women the cousin, mother, and the brother's girlfriend sitting on the couch together wearing all red dresses, During the time of the party, each woman is experiencing something different just by looking at how they were dressed. During the home movie, All three are years younger and older than each other. The author had asked her mother why every woman at the party was in a red dress, all the mother could say was that it was all a coincidence.(52)

Art does not need to be beautiful to be art. Although that may have been the prevailing definition according to aesthetic theorists throughout history of art, it is not a requirement of art. Art does not necessarily need to bring pleasure to the viewer; art can be disturbing. What makes it art is that it communicates feelings between the artist and evokes these feelings with others. Lolita, by Vladimir Nabokov, although critiqued to be dark and twisted, should be considered a work of art. Nabokov wrote the book intentionally and with a purpose; he explored the emotions deliberately and managed to find the right words to express his work to the readers. Lolita draws the reader in not only because it was written so eloquently but also

In Anzia Yezierska's short story "The lost beautifulness," the protagonist Hanneh Hayyeh scrimps and saves to be able to paint her apartment white to make it look respectable for her son Ady when he comes home from fighting World War I. Hayyeh wants some kind of hope to cling to in her desperate immigrant's life. Although the dialect of the characters is Russian-Jewish and the setting is in an early 20th century urban environment, the idea of immigrant aspirations and the conflict between rich and poor is a common theme in American literature.

    In Chapter 31 of Part 1 of Lolita, Humbert and Lolita are in the lobby of the Enchanted Hunters only hours after consummating their sexual relationship. As Humbert arrives in the lobby to check out of the hotel, he observes Lolita as she sits reading a movie magazine in a large armchair, and his description of her progresses from a focus on her loss of innocence to a focus on her inner, demonic nature. As elsewhere in the novel, the reader here sees Humbert attempting to mitigate his own sense of guilt and self-loathing.

At first glance, one might find it difficult to draw comparisons between the two protagonists: James Gatsby, from The Great Gatsby, and Humbert Humbert, from Lolita. Gatsby’s is the tragic story of a self-made man who built himself an empire for a woman who would never love him. Humbert Humbert, on the other hand, is a manipulative and witty pervert who lusts after the vulgar nymphet, Lolita. Both men are extremely similar in one key aspect, however. Both Gatsby and Humbert have idealized an encounter from their youth and that idealization has become a driving obsession in each of their lives.

    The relationship between Humbert Humbert and Lolita is no doubt a unique one. Many people who read the novel argue that it is based on "lust", but others say that Humbert really is in "love" with Lolita. However, there is some astounding evidence that Humbert has an obsessional-compulsive disorder with Lolita. The obsession is clearly illustrated when Humbert's actions and behavior are compared to the experts' definitions and descriptions of obsession. In many passages, Humbert displays obsessional tendencies through his descriptive word choice and his controlling personality. Many people are obsessive, so this is not an alien subject. We see it everyday in the entertainment industry as well as in

In the book Everything I Never Told You, there are many different elements and techniques used within the book. The technique that I want to go into more depth on is the use of symbolism. I specifically want to focus on the symbolism in regards to Lydia, Hannah, and Nath’s love of astronauts and space.

7. According to one of the characters in Azar Nafisi’s contemporary memoir, Reading Lolita in

The book Speak by Laurie Anderson is a book about how Melinda Sordino overcomes the troubles in her life, and how she learned to speak up for herself. The author uses a lot of archetypes and allusions throughout the book to add a fuller description to the events Melinda had gone through, which will help the readers to better understand what Anderson is trying to tell.

Throughout her many years as a poet, Margaret Atwood has dealt with a variety of subjects within the spectrum of relationship dynamics and the way men and women behave in romantic association. In much of her poetry, Atwood has addressed the topics of female subjugation in correlation with male domination, individual dynamics, and even female domination over males within the invisible boundaries of romantic relationships. With every poem written, Atwood's method for conveying the message of the poem has remained cryptic. She uses a variety of poetic devices - sometimes layered quite thickly - to communicate those themes dealing with human emotion. In the poem, Siren Song, Margaret Atwood

By exploring the theory of the “abject”, horror and the role of gender instability within film with regards to The Silence of the Lambs, this essay will attempt to explain the characteristics of the aestheticisation of abjection.

Tom Tykwer’s Run Lola Run (1998) is truly a brilliant film. It is very seldom that a film manages to combine the high pace of an action thriller and a deep philosophical subtext without botching it, but Run Lola Run does an excellent job at striking a balance between both. Tackling the very abstract and philosophical concepts of chance and cause-effect, Run Lola Run is truly a modern foreign classic. Tykwer manages to postulate one simple theory through the film, that the simplest of choices can completely change everything. The film is supported by stellar performances from Franka Potente and Moritz Bleibtreu as the protagonist Lola and her boyfriend, Manni. The film’s use of cinematography to add to the narrative, clever use of the aspects of mise-en-scene and explosively-paced soundtrack add a whole new dimension to this film. One of the few German films to be both a critical and commercial success, Run Lola Run is a smart and stimulating film, which demands active watching in order to understand fully. I will now analyze the film comprehensively using three main parameters; the mise-en-scene, the cinematography and the sound.

A central element of Lolita is the unreliable nature of Humbert Humbert’s narration. Every event of the novel is manipulated by Humbert in order to serve his ultimate goal of eliciting sympathy from his audience. This is especially apparent in the way Humbert characterizes Lolita. He sexualizes her and makes her culpable in her own rape and abuse in order to shift the blame from the perpetrator of the crime, him. So that leaves readers with the question, who is the real Lolita?

Margaret Atwood creates a haunting and beautiful piece describing the experience a sad child goes through. She structures her poem by using five stanzas; two stanzas consisting of five lines, then one stanza with ten lines, and ending with two stanzas consisting of five lines. She uses simple yet powerful diction, tone, metaphors, similes, symbolism, and imagery to show the unknown speaker giving advice to a sad child. Her message/theme is sadness is a part of life and there are different ways to deal with it, but when death comes the thing that one is being sad about doesn’t matter.