Love has been told to have the power to change a man’s demeanor, shift a person’s values, and create façades that can hide or affirm the love that person feels. The word façade is most commonly used in regards to architecture, which defines it as an outward appearance or the face of a building, but it has also come to be tied to the psychology of an individual. A façade in regards to psychology is associated with an outer falsehood that conceals an internal element of the individual, which they do not want visible. Often they maintain the façade in order to be more appealing to the person they are affectionate towards. However, love’s influence in the creation and maintaining of the façade means far more than just trying to be more appealing …show more content…
He spends much of the novels hidden behind an outward appearance of a villain, never given the opportunity to be more than harsh character. His intentions leaned more towards that of the good rather than the bad, and he spends much of the novels doing good behind the scenes. However, it is not until the last novel that his façade is broken and the true Snape is revealed. In comparison, one of Murdoch’s characters, John Ducane spends much of his time flipping between various façades in order to be most appealing or, at times, most repelling to those he cared for. He spends the novel divided between hating himself for his façades and needing them in order to survive. He longs to belong to someone, and yet distances himself through his façades. Yet, when the novel ends, Ducane is able to break down his own façades and find himself in a place where the real him is accepted and loved. Together, these two characters have façades built on the concept of love, determined to be the best person because of love, and found freedom by escaping their …show more content…
His name itself lends to the idea of him being a difficult teacher. According to Behind the Name, Severus translates to “stern” in Latin, and is tied to the English word “severe” (“Severus”) and according to the Online Etymology Dictionary, Snape is also an English verb, which means “to be hard upon, rebuke, revile, snub” (“Snape”). While his name sends out a warning about what to expect from his character, in later books, it is revealed that Snape himself was the object of various bullying campaigns. In Harry Potter and the Order and the Phoenix, Snape’s worst memory is brought to light as he is bullied by James Potter and his gang of friends. He is outnumbered and alone, and he did not ask to be tormented by James Potter. When he finally does not have to stand alone in the face of his bullies, he in turn becomes the bully to Lily Evans, who had wanted to save him. The most stark words that come from this section is this: “‘What’s he done to you?’ ‘Well… it’s more the fact that he exists, if you know what I mean’” (647). He suffered at the hands of his peers and that warped his understanding of what was acceptable treatment of other people. This becomes an essential part of his façade, a way to hide his past and guard his future from any further hurt. His harsh nature is part of him and it is one of the ways readers understand and
Love is unique in its striking ability to be a driving force in dictating interpersonal relationships. It patterns behavior and orients individuals towards their distinct, unique attractions. According to Velleman, love penetrates deeper than one’s qualities; it extends to one’s rational will, or the essence of a person. To him, though love appears to have particularity, it is also a moral emotion. Kolodny subscribes to the relationship theory, asserting that an ongoing, interpersonal, and historical relationship with a relative is a part of the reason for love. In Kolodny’s view, the existence of the true self is irrelevant, as is the morality of love. Both Velleman and Kolodny disprove the quality theory; however, their perceptions of love and its morality differ. I believe that Kolodny is correct in his view that morality is irrelevant to love and that there must be factual reasons for love. Although it is enticing to believe that one is attracted to the essence of another, the essence is not motivation enough for love. The relationship theory takes into account the motivation needed to love a particular person from a historical, interpersonal, and ongoing perspective.
Harry Potter and Jane Eyre are two novel characters who have quite a lot of similarities. In their early childhood, both were raised as orphans, both experienced cruelty and unkind treatment from relatives who were supposed to take care of them, both were given opportunity to study and live far away from the people who treated them harshly, and both of them had a life-changing experience in their respective schools.
The Wizarding World of Harry Potter and Fantastic Beasts and Where to Find Them are similar, but also different in so many ways. The two magical worlds both have a special place in my heart and I am an avid fan of both. I read the entire Harry Potter series in a few months at the age of 10 and I constantly re-read them, but I also watched Fantastic Beasts 4 times in the theatre and I have posters of the main characters all over my room. I decided to analyze, compare, and contrast the two most wonderful things on the planet.
When an individual thinks of love the first thing that comes to mind is a person. A person whom they care and have strong and constant affection towards. In the 21st century, there seems to be a fading of true “love”. Loving someone is not a feeling, it is a choice. A choice to care for someone through the good and the bad as illustrated by Meinke in “The Cranes”. Unfortunately, individuals live in an era where traditional values of love and honor are being replaced with their own dreams so much that divorce is now a common word. Peter Meinke’s use of symbols in “The Cranes” gives the impression of being a simple love story of an old couple bird watching while reminiscing about their life together, but in reality reveals the darker components
The human idea of love is quite possibly the most misunderstood in today’s society. Love can be between a man and woman, mother/father and their kids, or even really good friends. However, these relationships of love go through many interactions and stages to start and progress. Many psychological events must occur and be worked through in order to be successful. All relationships must endure the five perspectives of human behavior. These perspectives are biological, learning, social and cultural, cognitive, and psychodynamic influences.
Draft thesis: The ideas of appearance vs reality, development of maturity and love are ideas explored through techniques,
In the essay, Love’s Vocabulary by Diane Ackerman, the author describes how love is something that is difficult to command or explain. Throughout the essay, she describes how love comes in different forms and strengths. People express love with art and music. Throughout the world, love is becoming a word that is used most of the time in our daily language. People see love as something that can be crueler than violence or hatred, meaning it can be very painful. Throughout the essay, Ackerman’s use of figurative language demonstrates the tone of the essay is informative for its informing the reader how there are different parts to love.
Identity is very individual to each person, but ultimately they must be formed in similar manners. Malcolm Gladwell proposes in his work, “The Power of Context”, that the environment that we are surrounded by has a huge role in determining how we act and the decisions that we ultimately make. According to him, the little details that we overlook on an everyday basis are much more powerful than first perceived. On the contrary, Barbara Fredrickson believes that our inner biological components are responsible for much of our identity and what we feel. In the text, “Love 2.0”, it is suggested that love is nothing more than chemical components inside us that, without regulation, will perpetually fluctuate. With control, however, Barbara Fredrickson
The West African figure Anansi, as seen in Anansi Owns All Tales That Are Told, The Ants Burden, and Why Anansi’s Head is Small and His Behind is Big and the modern Western figure Barty Crouch Jr. found in the movie Harry Potter and the Goblet of Fire both feature trickster qualities. In both of these works, these characters and their actions as tricksters are comparable. The transformations Anansi and Barty Crouch Jr. make are testimonies to their portrayal as tricksters. In Harry Potter and the Goblet of Fire, Barty Crouch Jr. transforms into Professor Moody, while in Anansi Owns All Tales That Are Told and Why
The Harry Potter world appeals to many people everywhere but, it is lesser known that its stories follow the same tropes as numerous other books and movies. "Harry Potter and the Sorcerer’s Stone” by J.K. Rowling and “The Odyssey” by Homer both closely relate in the fact that they follow the Hero's Journey, a pattern of narrative identified by Joseph Campbell. Both “Harry Potter and the Sorcerer’s Stone” by J.K. Rowling and “The Odyssey” by Homer each follow the Hero’s Journey tropes, including their mentors, allies, and supreme ordeals.
Max Shulman’s piece, “Love is a fallacy” expresses many arguments expressed during every day social interactions. In the piece, the author comes into contact with his roommate, Petey Bellows and a possible love interest, Polly Espy. The author makes many unjustified guess pertaining to their wisdom and intelligence, and these false pretenses contribute to his interactions with the two, and he aims to take advantage of the opportunity of manipulating the two into achieving his own selfish desires. His plan backfires, and he is forced to reconsider his actions. In the process, Max Shulman reveals that his piece is both anti-women, anti-men, and Shulman underestimates the intuitive and emotional aspects of love.
Love is unarguably the most complex yet greatest feeling in the world. However, how can one come to feel such a feeling? Is physical love the most important feature? Both Plato and Vatsyayana agree that physical love is of least importance when it comes to Love. Plato’s character Socrates in the Symposium explains how Love stems from being able to look past one’s physical love. This character analyzes how as one gets to know a person more in depth, one is able to “reckon beauty of soul more valuable than beauty of body” (Plato 92). With one further understanding the deeper meaning Love, one will judge physical love as something that “…is beneath [them] and of small account” (92). Subsequently, one will realize that “… physical beauty in any
Hermione and Eilonwy: Comparing and Contrasting their Significances to the Hero’s Successes in J.K Rowling’s Harry Potter and the Philosopher’s Stone and Lloyd Alexander’s The Book of Three
In Harry Potter and the Half-Blood Prince by J. K. Rowling, when Harry discovers a mysteriously and brilliantly annotated potions book, Hermione Granger, a quick-witted young witch, immediately goes searching for the self-described ‘Half-Blood Prince’. While Harry assumes that the author must be male, Hermione instantly corrects him and exclaims, “The truth is that you don’t think a girl would have been clever enough!” (Rowling 538). Hermione expresses her outrage at the assumption that a girl would be incapable of success in potions, another way of saying that science is not women’s work. Hermione is deemed the “cleverest witch of her age”, achieving the highest marks in virtually all disciplines including the wizarding equivalents of math
Not that Daniel Radcliffe wouldn't care to put his Harry Potter days behind him — the 26-year-old on-screen character starting late revealed that he never needs to play the Child Who Lived until the end of time. Maker J. K. Rowling charmed Harry Potter fans when she made a move that shows that she's encountering impressive troubles the book on her dearest character. Then again, the accompanying segment in Harry Potter's life can't be found in the pages of a book — Rowling's new story about the wizard will create as a 2-exhibit stage play titled Harry Potter and the Castigated Tyke. The play will open in London one year from now.