Winterson’s “Passion” undoubtedly is a complex text to read. She has made use of literary terms such as narration and authors as a weapon to leave her readers in ambiguous situations. She has made use of Miller’s view of fiction being a playground for writers to create and recreate situations that may not be suitable in the real world. Winterson has used this idea to intermingle her life in a fictional/fantastical scenario in her story. Then she piggybacked Miller’s idea of repetition to add another element of complication through the usage of questionable phrases that forces the readers to wonder about the accuracy of the information that they have been presented. And lastly, Winterson has used Pease’s idea about of writers to further confuse the readers by constantly playing a game of ping pong with the role of auctore and author. Using these terms and concept to switch back and forth makes this reading complicated for the readers to dissect that is the reason why this book is pleasurable to read. Winterson has experimented with the art of seduction through her writing style in “Passion”. Villanelle has been characterized as a sexually active woman who is loved by many men however, her heart had been stolen by the Queen of Spade which prevents her from falling in love. For a short time, Winterson has successfully made the readers sympathize with the Villanelle, making her look like the Damsel in distress. Just like waterways of Venice, Winterson has twisted the story, and
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This can be seen through a comparison of parallel protagonists Palamon and Ferdinand, as well as parallel antagonists Arcite and Caliban. Their many similarities reveal an insight to each author’s view of love and how it is gained. Palamon and Ferdinand are men of the heart who do not have the girl initially, nor do they claim her. Instead, they wish the best for her and are willing to work for and serve her, regardless of the outcome. In contrast, Arcite and Caliban are men of the physical who take the woman they love by force and physically serve her in order to fulfill their prideful desires, completely disregarding the wishes of their beloved. Strikingly, all four of these men are of noble birth, and all four willingly lower themselves from a position of power to a position of service in order to gain a woman’s love; however, only the men who also serve her selflessly succeed in winning her love. Both men of the heart end up “getting the girl” in the metaphorical sense, although it takes time and they must be patient. In contrast, the men who have the girl initially –Arcite and Caliban – begin by taking her by force and have her in the literal sense, but lose her in the end. All of these elements show that Chaucer and Shakespeare believe the selfless and humble approach to be the most effective way to gain
The most significant part of the entire text is that most of the readers will never feel the pain of author. The ability not to be able to relate and understand someone’s struggle is very impactful.
In any great work of literature, each action and thought should contribute to the underlying meaning of the entire work. No action should exist for its own sake; it must instead advance the plot and reinforce the symbolism of both the characters’ actions as well as the truth of what the composer or author is trying to convey. This is especially true of acts of violence; great literature must carefully articulate the violence into a logical meaning. Most importantly, violence and acts of extreme passion work best when communicating a character’s inner-struggles as they relate to the motive and effect of each scene and action.
Richard Wagamese’ expertise in the realm of story telling unlocks a dream world where he has the ability to accurately portray the protagonist’s emotions directly to the reader. Wagamese is able to flip in between current events and past stories to ultimately immerse the reader into a world of imagination. Additionally, he perfects the order in which these stories are being told. By doing so, it allows the reader to take pity upon the protagonists at hand in an utmost flawless succession. Lastly, through effective and clever story telling, Wagamese is able to engage the reader by placing them in both the shoes and minds of his protagonist. It is the profound ability of story telling Wagemse possesses that allows him to create intriguing protagonists who drive the plot of the novel through the stories told.
When reading literature we often attempt to use particular threads of thought or lenses of critique to gain entry into the implied historic or legendary nature of literature. To accurately process a tale in the light in which it is presented, we have to consider the text from multiple viewpoints. We must take into consideration intentional and affective fallacies and the socioeconomic circumstances of the presenter/author/narrator. We also have to consider how our personal experience creates bias by placing the elements of the story into the web of relationships that we use to interpret the external world. There also is the need to factor in other external pressures, from societal norms, cultural ideals, and psychological themes, and how
In the novel, Bradbury’s use of rhetorical devices emphasized different events that happened within the novel, but his themes are what warn the reader how violence and mass media are taking over our society. Rhetorical Analysis Bradbury use of asyndeton, polysyndeton, and fragments allows the
Chapter six, … Or the Bible, of How to Read Literature Like A Professor (HTRLLAP) asserts that connect all of the dots is vital, and how a story about the loss of innocence always hit so hard because they are final. The two biggest points of this chapter, though, are how not all uses of religion are straight-forward, how some are there just to illustrate a disparity and that the names of the characters in a novel are almost always important to a writer's point and can help carry their message.
Definitions of what a green man is have changed drastically throughout the years. Traditionally green men are seen as figures of fertility and honour, however, in Jeanette Winterson’s The Green Man it is evident that the protagonist is far from this traditional role. A man’s sexuality is very much a large defining factor of his worth but in this text our main male role is stripped of it. His fertile abilities are lost on his lawn as his own wife refuses to copulate with him. This leaves his daughter to be his greatest achievement infertility, but even her creation results in the ultimate demise of his beloved lawn. It is true that the protagonist is a sacrifice from the beginning without a chance to change his predetermined destiny. After fulfilling his duty to sacrifice, fertilize and unfortunately die for the sake of others the green man emerges from the ashes. Being green is not something that can simply be described with adjectives but has rather become a modern day lifestyle in this text. In Jeanette Winterson’s The Green Man, the protagonist creates a modern green man archetype through his oppressed sexuality, his sacrifice and his life’s role in the rebirth cycle.
Fantomina is a novella describing how a young woman Fantomina goes about trying to seduce Beauplaisir.Fantomina details the events of how a young woman curiosity leads her into “faked prostitution” and ultimately falling in love with Beauplaisir.The novella chronicles how the young woman does whatever she can through disguising her identity to be always with the one she has fallen in with, Beauplaisir.The story ends when Fantomina gets pregnant and is sent to a monastery in France. Haywood’s Fantomina represents an important moment in the evolution of gender constructions in the eighteenth century.This research essay is from short story Fantomina.Eliza Haywood Fantomina perceives that gender
While the theme of love itself, may it be positive or negative, is reoccurring, Marie’s presentation of romantic relationships and their differing qualities can be considered a theme alone. In “Guigemar”, the relationship between the knight and his lady represents loyalty, and an ability to heal or cure. Yet, the relationship between the beast and his wife in “Bisclavret” demonstrates the selfish and traitorous behavior that can occur between partners, especially if one has proved to be adulterous.
It not only threatens, but also breaks through. Betrayed by love once in her life, she nevertheless seeks it in the effort to fill the lonely void; thus, her promiscuity. But to adhere to her tradition and her sense of herself as a lady, she cannot face this sensual part of herself. She associates it with the animalism of Stanley's lovemaking and terms it “brutal desire”. She feels guilt and a sense of sin when she does surrender to it, and yet she does, out of intense loneliness. By viewing sensuality as brutal desire she is able to disassociate it from what she feels is her true self, but only at the price of an intense inner conflict. Since she cannot integrate these conflicting elements of desire and gentility, she tries to reject the one, desire, and live solely by the other. Desperately seeking a haven she looks increasingly to fantasy. Taking refuge in tinsel, fine clothes, and rhinestones, and the illusion that a beau is available whenever she wants him, she seeks tenderness and beauty in a world of her own making.
Out of all the characters in the play Thomasina is perhaps the most beautiful. She is innocent, driven by academic zeal, and a genius of epic proportions. What is truly the most beautiful trait about her is that unlike Mrs. Chater and Lady Croom, it is “an insult in a gazebo,” (6) that she desires but true love. The final waltz that Septimus and Thomasina share could not be any more romantic as “Septimus holding Thomasina, kisses her on the mouth. The waltz lesson pauses. She looks at him. He kisses her again, in earnest. She puts her arms around him.” (95) The affection the two feel for each other is a huge part of any person’s definition of paradise: two people truly in love with each other uncorrupted by the society around them. Yet even in this seemingly paradisiacal situation, Thomasina still tragically dies.
“The course of true love never did run smooth,” comments Lysander of love’s complications in an exchange with Hermia (Shakespeare I.i.136). Although the play A Midsummer Night’s Dream certainly deals with the difficulty of romance, it is not considered a true love story like Romeo and Juliet. Shakespeare, as he unfolds the story, intentionally distances the audience from the emotions of the characters so he can caricature the anguish and burdens endured by the lovers. Through his masterful use of figurative language, Shakespeare examines the theme of the capricious and irrational nature of love.
Passion is a musical adaptation of the movie Passion d’amore and the original novel by Igino Tarchetti. The story sets in 1863 Italy where a handsome soldier named Giorgio is assigned to move location; leaving Clara, the married woman he is having an affair with (Knapp, 374). In the new location, he meet the colonel’s cousin, Fosca, whose “disfigurations of epilepsy have turned her into a grotesque figure” (Secrest, 1377). Fosca’s attraction towards Giorgio will soon turn into an obsession and Giorgio’s repulsion against Fosca, in comparison to the physically alluring Clara, later switch to the feeling of love (Gordon, “Passion”).
Contrary to what Atwood articulates, fictional writing has been viewed as a way of writing that grants freedom to the writer. The writer can end the story with suspense, ending at just that point that a character is phased with a huge obstacle or immense passion (Nodelman, 1). This is believed to set the reader up into believing that overcoming such obstacles in real life brings about immense rewards and therefore such kind of writing is always motivational to the reader. This is a point of view that Atwood is quick to rubbish by pointing out that all other endings that are not ‘happy endings’ in fiction are delusionary. “Don't be deluded by any other endings, they're all fake, either deliberately fake, with malicious intent to deceive, or just motivated by excessive optimism if not by downright sentimentality” (Atwood, 3).