Rain On The Roof Analysis

As an actor, playing the role of Elizabeth (younger), how do I interpret her character and explore the theme of sacrifice embodied by her character?

The poem “Red Shoes in the Rain” written by Jan Conn is a deeply personal poem of her actual experience of moving on from a past relationship. She writes about her feeling of post-relationship loss - that very feeling that something or someone is missing in her life. In this piece, Conn perfectly represents herself and her feelings in her time of weakness and vulnerability. The theme of this poem is loneliness, and the difficult road to recovery after losing a loved one, and with that thought in mind, this can be universally connected to young boys and girls across the globe. In time, every person - young or old, goes through a breakup. It’s just like you see in movies, the only thing is that it’s more dramatic and emotional. This poem can

In the story, The Man to Send Rainclouds, the author Leslie Marmon Silko talks about a family losing their grandfather death and putting them to rest and making sure they are peaceful, bringing different cultures together to honor the deceased. But many things are going on behind the scenes of planning the funeral, Leon warps Father Paul’s ministry to serve the Pueblos’ true intentions, Silko alters the short story’s intentions to show the process of cultural practices and progress. The plain talk and style seems an odd, unconventional way of telling the story. Silko does not describe her characters physically or personality wise, or develop much sense of individual personality. Characters say little to each other

Since “Annabel Lee” and “The Highwayman” are both narrative poems, the speakers of each story influence certain features of the plots. The narrator of “Annabel Lee” is also the affected lover who is recalling the catastrophic incident that is his lover’s death. Since he is actually a part of the storyline, he conveys the plot the way he had experienced it as it began “with a love that was more than love” but progressed onward to the “killing [of his] Annabel Lee”. The passionate narrating establishes his reliability as a narrator as the audience can truly sense his pain. However, the narrator of “The Highwayman” is not involved with any aspect of the storyline and, therefore, tells the story from a bystander point of view. Even though the narrator is not directly impacted by the events, they are still able to captivate the audience by utilizing lifelike elements, such as the “tlot-tlot; tlot-tlot” of the horse, to institute their trustworthiness as a narrator. Therefore, both narrators within “Annabel Lee” and “The Highwayman” add different elements of persuasion to their narratives to establish an authentic storyline.

Long before the likes of Raymond Carver, George Saunders and Lydia Davis, Flannery O’Connor was writing biting, grotesque gothic tales, scattered with strong religious and moral overtones. Her symbolic stories contrasted characters in existential extremes in simmering situations. In O’Connor’s precise and charged worlds, where something is always about to happen, she writes like she’s sucking oxygen from a room. Ultimately her work is deeply psychological, but she was the first to say that was not her interest and on more than one occasion was concerned about her work’s misreading.2 The Lame Shall Enter First 3 is a fine example of her deeply conflicted morals and beliefs, seeing human nature and society as innately corrupted, with redemption as the only way to alleviate suffering. Using psychological theory to explore the themes, this analysis mirrors Flannery O’Conner’s own conflicted short literary life. She died of lupus aged 39 having written two novels, 32 short stories and the occasional review and essay.

Gene Kelly’s Signing in the Rain is an extravagant fast paced musical that hold no dull moments, yet offers an honest perspective on past and present Hollywood. It is one of the most colorful movies I’ve ever seen both visually and musically. Many facets of this movie are excellently executed such as the acting, writing and dancing. The editing, pacing and music were also great, but they had some flaws that should be addressed. Needless to say, if you are looking for a reason to pull away from your television set, this is it.

Memory, in an average person, is far from a perfect video playback. Storing memories requires a process of encoding, storage, and retrieval. For most of us, our memories are limited by the efficiency of storage and the accuracy of retrieval. But for those with savant syndrome and highly superior autobiographical memory, it is theorized that these limitations can be bypassed resulting in extraordinarily accurate or seemingly infinite memory.

Richard Wilbur, while still living, is recognized as a great influential poet. He was born in 1921, and therefore was a prime age to be drafted as a soldier in World War II. Due to his horrific experiences fighting for America across seas, Wilbur found poetry as a way to express his view of the world. “One foes not use poetry for its major purposes, as a means to organize oneself and the world, until one’s world somehow gets out of hand,“ Wilbur once said. The way in which he organized his thoughts into words, however, at first maintained a very formal style which gained scrutiny because the dreadful topics with which he dealt were reduced to a sort of dark comedy, lacking true emotion. (1) Wilbur has been known to be a central example of the poetic formalism linked to the 1950 post-war period (2). When Wilbur grew old and continued his developing poetic distinctness, many of his poems grew with him to become much more personal, as if he had learned to accept and express his grueling experiences freely. Wilbur’s story is well reflected in his poetry, one especially written in 1950, titled, “The Pardon,” which serves as an example of work that encompasses subjects more near to him. “The Pardon” presents how a young boy grows into adulthood and comes to accept death through the creation of a juxtaposition between the narrator’s young self and older self while employing intricate rhyming and sounds, both intense concrete and withheld images, and supernatural elements.

The speakers in both poems are “made credible by their intimate knowledge of [the] given historical time and place and its in habitants” (Vendler 183), by making testimonies like “I was eight and very small”(5) in the “Incident”, and the numerous “I” statements in “I, Too”. The authors having a persona and imposing different structures made it easy to empathize the prejudice their speakers experienced. However, by integrating different tones, imagery and figurative language into their work, the authors were truly able to convey their messages; whether experience can dictate attitude or not.

Through different events from the book, Ruby struggles to get to her dad. She dodges killer rain, apocalyptic maniacs, malnutrition and dehydration just to get to her dad. With her friends and family all dead except for her dad, with all the dead bodies everywhere and all the water but not a drop that she can drink. It is a very stressful trip that even with other people around she has trouble controlling her anger. ”A millimeter from my face, rain streamed down. @!#$% poisoned rain. !@#$ $@!# #@!%$ poisoned %$!@ #!$% rain, teeming with million dillion (so,definitely cumulus congestus then.) I flattened my back against that front door, the measly little porch above. One frightened hand crept around behind me and went to open that front door.

The ending is pessimistic because the story did not have a hopeful outcome; the baby has died, and so has Paul’s last hope of farming the land. The reader can infer that the baby has died when the narrator says that, "[t]he child was quite cold. It had been her arms, perhaps, to frantic to protect him, or the smother of dust upon his throat and lungs" (118). Even though Paul finds Ellen, she has gone crazy and is saying that it will all be okay when it really will not. The fact that Ellen has lost her mind is revealed by the fact that she acts as if the baby has just gone to sleep and as if nothing terrible has happened; the reader can infer that she is in shock when she says, "I'll take him again. Such clumsy hands-you don't know how to hold a baby yet" (119). Furthermore, the storms have eaten away all the usable land, and left it "...black, naked Beaten and mounded smooth with dust as if a sea in gentle swell had turned to stone" (117). Paul’s hard work of farming the land and Ellen’s hard work

The film Singing' in the Rain was produced in 1952 but still takes the world with storm. The musical film, which was directed by Gene Kelly and Donen Stanley stars Donald O’Connor, Gene Kelley, Jean Hagen, and Debbie Reynolds has a lot for the audiences to desire and learn from. The film presents a skillful use of setting, music, makeup, costumes and standard photography (Cannon 2). The piece combines many effects together to catch the attention of the audiences. In fact, the viewers enjoy both the musical part and the visual element separately, something that makes it a well-thought piece. In other words, it is both a romantic piece, though a smog as well.

Notes on Hail Damaged Roof in an Easy to Follow Order A Secret Weapon for Hail Damaged Roof Asphalt shingles arrive in a diverse variety of colors, sizes and styles. There are lots of people who think if you don’t have shingles missing, you will be okay. When the majority of people consider roofing shingles, they are in reality thinking of asphalt shingles, the most frequent kind of shingles in the nation. Style Roofing knows that your main investment is your house or your business enterprise. For those who have damaged siding, vehicles, or have noticed neighbors receiving their roofs replaced, probably you’ve got hail damage too. In the event the roof isn’t leaking, the building operator will typically defer that capital price. Eventually your roof will most likely end up leaking.

In Wordsworth’s Preface to Lyrical Ballads, he writes, “I have wished to keep my reader in the company of flesh and blood, persuaded that by so doing I shall interest him” (297). With this assertion, Wordsworth highlights his desire that readers of his poetry respond with sentiment when presented with genuine, unembellished characters. His attempts to prove this claim can be seen in the poems Michael and The Ruined Cottage. Observing how the two poems handle certain rhetorical devices—a frame of narration, personification of nature, meditation on ordinary objects, and Biblical allusion—reveals their intended purpose as promotions of empathy. Discerning the similarities and differences between Michael and The Ruined Cottage allows the moral lessons within Wordsworth’s poetic experimentation to be uncovered.

Describing the experience metaphorically as “a melding of shapes in a hot rain” (‘The Eye-Mote’ -1959), Plath displays her disorientation and fatal struggle to accept her assigned role through the noun “melding”. Read universally as the contemporary futility of womanhood, Plath echoes the words of the feminist, Chandra Nisha Singh. Her argument that ‘hegemonic indoctrination’ and the ‘conventional and inevitable marriage plot’ leads to the sacrifice of women’s ‘felt desires’ and ‘character innovations’ also conveys that female domesticity is destructive. Similarly, in ‘Morning Song’, Plath “[stands] around blankly as [a wall]”; the passive, empty adverb “blankly” recertifying this notion of individual loss. Although the personal focus of her poetry may be interpreted as a premeditated attempt at the 1970s feminist movement in which the feminist argument switched from ‘attacking male versions of the world to exploring the nature of the female world’ [P. Barry], Plath’s exemplification of her lost self-value displays instead the inflexibility of the post-war patriarchal reestablishment. Describing the experience as “the wind gagging [her] mouth” (‘The Rabbit Catcher’ – 1965), the epitome of Plath’s sentiments of futility can be ascertained as she insinuates to her claustrophobia in both socially