Central Characters In The Love In John Williams, By John Swanson

Not only is he the most nominated living individual in the history of the Academy Awards (with 49 nominations), but he is also the third most-nominated person in Hollywood History, second only to Metro Goldwyn Mayer (62) Walt Disney (59). In his credentials he holds five Academy Awards, seven British Academy Film Awards, 22 Grammy Awards, and 4 Golden Globe Awards. Considering that obtaining a single nomination for any of the aforementioned awards is remarkable in itself, this astounding number is truly

Yet her compassion, as real as it is, also has a certain element of shallowness, or at least inexperience about it. She has lived the majority of her life in isolation, on an island known with her only companionship being that of her father. Growing up on this deserted island, Miranda learns to live and abide by the example set by Prospero. He is her only contact with the humanity and therefore he is her only friend and teacher. She knows no other woman and therefore had no female figure to aid the process of raising her. She is naïve and unaware of life's experiences, having been shielded from the rest of the world.      

As nature becomes more unpredictable, Pfeffer indicates that the family is confused and unsure of what is to come, but aware that life is about to get extremely difficult. Although the family is just “a little shaken up”, there is no “sens[e] of relief” for Miranda as she displays true concern for her loved ones (27). Her reaction exposes the consideration and worry she feels, rather than the self-absorbed, immature attitude she expressed before. Not only does she worry about her family, but when her friend Megan begins sharing food and skipping meals, Miranda confronts her decisions because she cares for her health. Even though she disagrees with Megan’s conservation, Miranda contributes to the theme of

Upon further investigation into Miranda and Dev’s relationship you realize that Dev’s feelings for Miranda are purely lustful and have no substance, Meanwhile Miranda refuses to see any flaw in Dev’s personality or appearance. So even if the relationship hadn’t been based on deception it was still unhealthy to begin with. However, the relationship was based on the deception of Dev’s wife so not only was it dysfunctional in the ordinary sense, it was also sprinkled with infidelity. Later on in the story Miranda has to babysit what is essentially a tiny version of her lover(a young boy named Rohin) and she is exposed to the ill effects that illicit relationships can have on the loved ones of cheaters. Upon seeing the result that those deceitful actions had on the family involved Miranda seems to realize Dev isn’t that great if he is able to hurt his wife emotionally in that respect. She makes excuses to no longer have to spend time with him and slowly frees herself of a false relationship while gaining some more self-respect and independence. This is an analyzation of the social institution of marriage and relationships in

As a Renaissance woman protagonist, she acts within an completely male world: "I do not know/ One of my sex; no woman's face remember" (3.1.48-49).  While no other women appear in the play, references are made to other women, but the count here is still minimal and sums up to three.  Miranda speaks of the lack of female companionship around her because of her location, but simultaneously the audience sees that the references to women that do occur within the play often have a sinister purpose for appearing within the lines.  The other women mentioned in the play seem to provide a sort of dark cloak over the proceedings of the play, even if they are completely absent.  Regardless, Miranda, as the only physical woman in the play the audience actually sees and hears, is described by Prospero with kind words, and few, if any, negative imagery revolves around the appearance of the innocent Miranda.  For example, Prospero informs Miranda that this "Art" is prompted by his concern for her; "I have done nothing but in care of thee" (1.2.16).  Prospero also tells Miranda that his mistreatment and harshness toward Caliban stems from the fact that Caliban attempted to rape Miranda and Prospero wants to protect her from any harm that could come about from Caliban.(1.2.347-51).  Prospero also indicates that Miranda, to him, is "a third of mine own life,/ Or that for which I live" (4.1.3-4); therefore after she is

As a young boy, Clegg, the antagonist, grew up alone with no parents and no role model to look up to. This is why he feels so lonely and has the need to kidnap Miranda Gray, the protagonist. He needed a female figure to give his life meaning. Fowles stated, “It's just you’re all I got that makes life worth living” (Fowles 51). Clegg felt such strong loneliness that he had the need to kidnap Miranda and have her for the rest of his life, with no thoughts of letting her go. This incorporates feminist literary theory, because during her captivity, Miranda had no means of escape. Even after several attempts at escape, Clegg still proved to be superior and would not let her go. In many pieces of literature, the kidnapper usually ends up using their prisoners for personal needs, disregarding the needs of the hostage. Clegg, on the other hand, did not want Miranda for sexual relations. He had a very high standard of respect for Miranda and felt as though she was not like any other women. Clegg notes, “She was not like some other woman you don’t respect so you don't care what you do, you respected her and you had to be very careful” (Fowles 39). This justifies the fact that Clegg did not want anything from Miranda, just her company and for her to stay in his life. After stalking Miranda for two years, he figured out her ways and personality- she has an interest in

When Sally and John have their brief affair, which both spouses are aware of, the first problem of unfaithfulness becomes on display. As the day goes on, the tensions generated by this situation grow more acute, culminating in a physical confrontation between Sam and John.

The interaction between the couple of people would have never happened if they didn’t take an interest in the gun that Pattyn was holding in her hand. Everyone, which includes of Brent, Melina, Justin and Derek were all having fun, but in the corner of their eyes they see Tiffany is acting like a total brat. “She shifted from foot to foot. C’mon, Justin.” (Hopkins 88) Tiffany was getting mad because Justin was too close to Pattyn. But honestly everyone else was having a good time and Justin wasn’t going to take as he said something rude to Tiffany. “Fuck you, bitch. This is fun.” (Hopkins 89) After a while, is when Derek started to flirt with her and after that everything became a roller coaster. Through sharing their first kiss to sharing their first out raged fight everything in between being Pattyn’s first time and personally I think it was with the wrong guy. She experienced sexual thoughts and she fell into a fascination that the love she had for Derek would be perfect. It was, till her broke up with her, and went back to Carmen. Pattyn ended up breaking a window and punching Carmen square in the nose. What a drama queen! I told myself while reading.

Miranda does this through demonstrating comedic forms usually associated with men. Medhurst (2007:87) notes the continued persistence of the sexual stereotype of the effeminate man in British comedy, which Miranda reverses and embodies each time she attempts to perform femininity, or says directly to camera “too camp?” with a knowing irony. Throughout the series Miranda’s height and build is exploited for humour in a way that parodies her distance from traditional femininity. A notable example was her being mistaken for a crossdresser in a clothes shop and given a makeover to look like a drag queen.

He wants her as a collector wants his specimens, not as a person. He does however show a very violent backlash to his idea of Miranda being challenged, yet even these brief displays of emotion are watered-down and are not very frequent

Miranda’s assault on Henrick might be viewed as Behn’s version of a cautionary tale, warning readers not to get too caught up in manmade constructs that inhibit them from fulfilling their innate needs; it could also serve as a criticism of the more dangerous aspects of libertine beliefs. Miranda’s sexual freedom leads her to have a lack of respect for Henrick’s values and boundaries.

Ted had to travel down a very long and difficult road to find true love. Ted was featured in numerous relationships with different girls that he felt could be “the one”. However, something or someone always seemed to interfere with the relationship, which only led to heartbreak and disappointment. This seemed to be a reoccurring theme for Ted throughout the show. An example of a failed relationship with a girl Ted felt could be “the one”, is when Ted dated Stella Zinman (Sarah Chalke).

The love between Ferdinand and Miranda is as superficial as a crush between two 12-year-olds. Sure, it is fierce and feels deep at the time, but true love needs time to blossom. This relationship is purely sexual. Even Alonso questions the deepness of their love by saying: “What is this maid with whom thou wast at play? Your eld 'st acquaintance cannot be three hours”.(5.2.183-184) Miranda’s reaction upon meeting Ferdinand is just too exaggerated to be deep, true love at first sight: “I might call him a thing divine, for nothing natural I ever saw so noble.”(1.2.417-418) She would be stunned by any man she would meet at this point: Miranda has not seen any other men in her life, apart from her father and the savage Caliban. Also, in normal circumstances, two people falling for each other at first sight is highly unlikely, which further proves my point on it being just two people who want to have sex with each other. Moreover, as Miranda is the only woman on the island, Ferdinand might

No one believed that she can stay in this position for long but Andrea proves everyone wrong when she becomes one of the best assistants that Miranda has ever had. However, this came with a price. Late shifts, a constantly ringing phone, expensive clothes and haughty surroundings changed Andrea and became a threat to her personal life. She had to make tough decisions, choosing between what is right and what is desirable. However, surprisingly for everyone, Andrea kept her individuality and didn't break under this pressure. She

Just like how the Wife at the beginning of the marriage seduces her husband and then use that to control them. Although the play ends before Miranda’s marry life, the readers can easily predicts how she would be treated. If she was to choose to be with Caliban, Miranda doesn’t get anything from that. Caliban offers her no stability, no freedom, no wealth and definitely no status. As a women during that period she is extremely vulnerable and why her choosing of Ferdinand is really the best outcome for her. That is how she will survive in a society where women holds a limited amount of power, her ability to survive just like Alison makes her a proto-feminist.