Seduction In The Big Sleep

In the books The Big Sleep and Sir Gawain and the Green Knight, both authors, Raymond Chandler (The Big Sleep) and Simon Armitage (Sir Gawain and the Green Knight), create the protagonist of each story into archetypal knights. The protagonist of The Big Sleep is named Phillip Marlowe and in Sir Gawain and the Green Knight the protagonist is named Sir Gawain. The 3 knightly qualities that we will be focusing on in this essay are self-sacrifice, loyalty and courage. These qualities are displayed throughout each story in different and similar ways throughout each book.

Oppression of women in our patriarchal society is seen daily. Men dominate women in so many ways it becomes hard to distinguish one form of oppression from another. In the movie Sleeping With the Enemy, a young woman battles daily with an abusive, domineering husband. Although the outside world may view Laura's life as perfect, the viewer sees the whole truth. Laura's perfect life consists of an attractive, wealthy husband who would do anything for her-even kill. They live in a beautiful mansion on the coast, and Laura does not have to work if she so chooses. Every day Laura is tortured and ridiculed and criticized by her husband. Her husband, Martin Burns, is obsessed about keeping the household in perfect

Sleep—it's what divides the day and the night; the conscious and the subconscious; the aware and the unaware. It's image, then, is a powerful tool for polarizing such extremes. In his trilogy, The Oresteia, Aeschylus utilizes sleep imagery to divide between those who are aware and those who aren't. Though sleep's meaning changes throughout the plays, Clytaemestra is always able to use it to her aid. Her story accompanies a shift in a justice system that defines right and wrong. Throughout the trilogy, the meaning of sleep evolves from a clear division into a more indefinite one as the definition of right and wrong becomes increasingly ambiguous.

However, on the very next page of the novel, our view of Marlowe is undermined. As the

Mis-en-scene shows Viven matching Marlowe in wit and power. ‘You're not very tall are you?' represents the ‘higher standing' in society as a woman in late war America.

    Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.

The impression the reader gathers about Carmen from the first conversation she has with Marlowe and the description is that she is immature and very childlike. Contrary to the description of Carmen, Marlowe's description of Mrs. Regan's is one which allows the reader to see she is a more sophisticated and intelligent woman

In Raymond Chandler’s novel The Big Sleep, a private detective is trying to unravel a blackmailing case for a dying millionaire, General Sternwood. Philip Marlowe, the detective, finds that the case not only involves blackmail, but also homicide. Set and written in 1930’s America, the economic devastation of the Great Depression has a significant influence on the book’s plot, and showcases character’s struggle to retain honor and virtue in a world that revolves around profit-seeking delinquency and organized corruption. Marlowe’s work as a private detective brings him face to face with criminals of every variety, and each corresponds to a piece on the chessboard that appears repeatedly in the story. Marlowe’s symbolic identity is the well-intentioned knight, who represents the shred of chivalry that remains in a society of pawns and crooked kings, and the chess game is his combat against crime in a period of national despondency.

This interesting turn of events shows the novels overall restatement of the standard paradigm of sexual relations, with men dominating the women. In her final attempt to make the calls, Vivian offers Marlowe the option of being set free in exchange for not prying any longer. Marlowe, however, exerts his own power and rejects her proposal completely. After kissing, he begins to exert complete dominance of Vivian, reinforcing male superiority. Yet even as this power shift takes place, Marlow shows full dependence on Vivian.

Phillip Marlowe (Humphrey Bogart), P.I, is hired by the rich General Sternwood to out a blackmailer, but quickly finds himself tangled in the Sternwood family’s dirty laundry — it’s the classic film noir narrative. At the center of it all seems to be Vivian Rutledge (Lauren Bacall), a Sternwood daughter, and the woman attempting to cover up the murder at the bottom of Marlowe’s case. I used Vivian’s tidy adherence to the femme fatale archetype to dig deeper into its true message about women’s nature, beyond the mysterious façade.

In The Big Sleep, Chandler portrays Marlowe as the knight in shining armor. This establishes a motif of the stained glass window in General Stern wood’s home in the first chapter of the novel and is an appropriate motif in dictating Marlowe’s knightly role in the novel. The stained glass that is reflected in the novel places Marlowe in the position of the knight as it shows a knight who strives to reach a woman to set her free. The fact that he stares at the glass makes him develop the need to offer assistance. This motif is suitable because it sets the stage for what is to take place in the aftermath when Marlowe rescues Carmen. Secondly, Chandler tries to connect Marlowe with the knightly personality from the beginning of the novel that he intended to name his detective the modern knight and a brave man fighting for General Sternwood. He takes the role of the servant to Sternwood’s lord and therefore, in the knightly terms, it is sufficient to say that Marlowe is striving to find justice. Moreover, he is dedicated to rendering his services in the line of duty with much loyalty and honor despite the sexual and financial temptations that come his way. Like the ancient knights, Marlowe has deeply invested in his personal code of chivalry that contain among others, the need to overcome the sexual temptation of whatever magnitude that comes his way. Lastly, as a representation of the modern-day knight, Marlowe comes out in the novel as a tough detective and a brave individual

We have often seen numerous folktales that appear to be similar among different cultures. Often at times, the characters or locations change to accommodate the surrounding culture, but the message or moral of the story stays the same. In the case of the story, Sleeping Beauty, we notice that the earlier versions of the story are more crude and “adult” and as time passed on, the story evolved to become more suitable for a younger audience. Sleeping Beauty became a story of “rape, adultery, sexual rivalry, and attempted cannibalism” (Hallett, 1) to the clean and innocent Disney version we know today. The three versions of Sleeping Beauty that I will compare are Sole, Luna, E Talia (Sun, Moon, And Talia) by Giambattista Basile, The Sleeping

The novel “The Big Sleep” by Raymond Chandler was published in 1939 during the heart of the Great Depression. The novel is written in a very sinister, dark and kind of a gangster tone and carries much of the cynicism of 1930s America. The Big Sleep is a story of intrigue, corruption, delinquency and obliquity with a rather complex plot which can be very confusing. The main character in “the Big Sleep” is the private detective Philip Marlow who is very masculine man with values and a good moral. His strong moral is often evidenced throughout the novel. Marlowe is the only one in this complex world who cannot be corrupted because the other characters are all described as sleazy,

is like no other woman in the book or indeed of her time and by

It is mandatory to examine the hero and essence of masculinity, which is portrayed by Phillip Marlowe in both the novel and film versions of The Big Sleep in order to analyze changes in the perception of female femininity. Throughout Henry Hawk’s 1946 film version of The Big Sleep, Marlowe’s characterization as the hero of the film demonstrates standard masculine qualities of a man: