Symbols In Look Back In Anger

The Eye of the Sheep, written by Sophie Laguna is a strong example of how memorable texts can both disturb the reader as well as instil hope. The novel follows the story of the narrator Jimmy Flick, a young, unusual boy and his family. Laguna’s writing style and use of language throughout the text enables the reader to feel the pain and distress in Jimmy’s family without ever losing hope that things will work out. One of the ways in which she does this is through the use of Jimmy’s voice, as it allows the reader to feel the positive energy bubbling inside of Jimmy, while still witnessing the problems that Jimmy’s family have to deal with, such as his father’s drinking habits. Another way is the manner in which the characters are constructed. All the members of Jimmy’s family have multiple facets to them. They are all complex characters that have both light and darkness within them. Through these cleverly constructed characters, Laguna how even good people can do disturbing things. While reading the Eye of the Sheep, there have been multiple different perspectives that have enriched my own interpretation of this text, that again show different facets to the story.

The technical aspects of the production such as scenery, properties and costumes also played a keynote in the productions success. The scenery was fabulous it truly made the play. It was very realistic and extremely vibrant. Almost the entire play was performed in one setting, except for the railcar and dance scenes. The house, the main setting, was magnificent with painstakingly placed detail in every corner. All elements in the house matched wonderfully, for example the furniture, the photos on the wall, the telephone and even the trash can. Little bits of detail were everywhere adding to the beautification of the set, for example the lace decorations on the chairs, the etched glass above the front door and even the Christmas tree.

There are links in the description of the room by Offred to what is going on with Atwood's use of literary devices, such as the white carpet representing purity and the 'sprigged curtains' and 'skirted dressing table' being a representative of

When we are introduced to the characters, Wilder presents them in a way so that they fit human clichés. This technique allows for the audience to see parts of themselves within young George and Emily, and within their parents the Webbs and Gibbs’. Wilder’s approach with the characters, allows for the audience to develop the drama with their own experiences and memories, practically becoming a part of the play he is staging. Midway through act one, during his monologue the Stage Manager states, “Babylon once had two million people in it, and all we know about em’ is the names of the kings and some copies of wheat contracts…Yet every night all those families sat down to supper, and the father came home from his work, and the smoke went up in the chimneys,-same as here” (Wilder, 33). He reveals the commonality of human experience, from Babylon to Grover’s Corner, which Our Town tries to capture the essence of to enact and remember it. Wilder connects history to his work to accentuate the perception that daily life remains consistent throughout

The house, similarly to Emily, is a symbol - and the only surviving tribute of the decaying privileged class. By the time the story takes place plenty has changed. What was once “a big, squarish frame house that had once been white, decorated with

In Alison Bechdel 's Fun Home, there is a focus on a sculpted perception of gender roles produced by society and a great emphasis on how Bruce and Alison challenge these strict gender specific characteristics. Through Bruce’s femininity and Alison’s masculinity along with their homosexuality, they are able to go against the norms and the collection of rules set by society. It is also through their struggle with gender roles that one is able to understand their sexual orientation. Although Bruce and Alison seem fairly different from one another, there are elements that pull them closer together revealing their similarities.

Have you ever wanted to be perfect? Have you ever wanted a perfect society? Imagine a place where everyone was equally beautiful, and there were no responsibilities or worries. A place where you were given everything you could’ve ever asked for. If you had a place this luxurious, would you still want it? Sometimes we think our lives would be fulfilled if we were smarter, or prettier, or more athletic. It is these times that we neglect to see how great our lives already are. This is the theme of Scott Westerfeld’s novel, Uglies. Like all great writers, Scott Westerfeld supports the theme of his novel with symbolism that is hidden in every character and event.

The design elements of the play allowed for more depth in the telling of the story, blocky levels helping as a visual indicator of the social structure of the time period or even emotions being played. The foreground and living room allowed for the retro furniture to set the period whilst also allowing it to be bare enough to evoke a feeling of hollowness. When either Noah or his father separated to either sides of the home, to the office and his bedroom it created a nice parallel and

Green Eggs and Ham is a timeless tale which has remained in both the hearts and minds of readers due to the author’s unique utilization of repetition, imagery, and tone. Throughout the story, the narrator constantly repeats the phrase, “I do not like green eggs and ham” (Seuss 12). The repetition of this phrase, and others of similar meaning, intensifies the character’s distaste while also embedding the significant text into the reader’s mind. Along with repetition, the use of imagery distinguishes the book. The specific descriptions, such as “in a house” and “with a mouse,” allow readers to create vivid images, enhancing their enjoyment of the story (Seuss 19). Additionally, the transition from an annoyed tone to one of amazement establishes

At the start of her journey, Alice’s blunt and direct form of speech drives the animals away in either offence or wariness. In a state of excitement, Alice inflicts this upon herself while exclaiming, ‘“Dinah’s our cat. Why, she’ll eat a little bird as soon as [she] looks at it!’” (Carol 38). Because of Alice’s little knowledge in social norms, she immediately frightens the party of birds as she talks about her cat. While she is perplexed at the animal’s offence in her words, she is contingent on their guidance in navigating the foreign wonderland. After several failed interactions, Alice develops the inclination of social awareness in her speech as she begins to stop herself when talking with the mock turtle quipping, “‘and perhaps you were never introduced to a lobster-’ (Alice began to say, “I once tasted-” but checked herself hastily)” (Carol 94). Alice’s growth in social awareness stopped her from saying anything offensive, giving her the benefit of stable, though not always helpful, dependency on the animal’s

Set in Grover’s Corners, New Hampshire in 1901, an empty stage invites the viewer to use his or her imagination to understand the actions. During the first moments, the paperboy makes his deliveries just as the milkman. Meanwhile, at the two family houses, the women, Mrs. Gibbs who is African-American, prepares the breakfast for her two children, Rebecca and George. Simultaneously, her neighbor, Mrs. Webb is doing the same for her children and at the ring of a bell the children are sent to school. These activities are repeated almost every day in both of the houses. Following, the two neighbors gossip while sitting on Mrs. Webb’s yard and peeling beans. Because the stage is empty, the sound effects play a major part in creating a scene that can be easily understood. The noise of glass bottles when the milkman approaches or the whistles of the train are indispensable additions to the scenes. Every now and then, the stage manager interrupts the action to provide some fact either about the town itself, or about its inhabitants; therefore, she is outside of everything that happens. Still, the stage manager had a few of rolls as a member of the town that helped to support the play. Apparently a small town where everyone knows each other, Mrs. Webb’s daughter and Mrs. Gibbs son begin to show some interest in each other, and end up getting married three years later. The marriage ends with Mrs. Webb’s daughter Emily dying while giving birth to a child, at which point she still figures in the play, but as a spirit. Alongside, there are several other spirits that are shown, like that of he own mother-in-law, for instance. At this point, Emily goes on a self-reflection journey about the meaning of life, and as she goes back to her twelfth birthday, the sight of her family, specially her young mother both hurts her and helps her realize the beauty

Alice begins by startling at the sight of the Cat sitting on a tree bough, while the Cat only grins at Alice. As dear Alice asks for advice on which way she ought to continue, the Cat claims, “if you do not know where you want to end up, then surely it does not matter which way you go” (Carroll 49). This simplistic view of decision making plays on the complexity that humans weave into simple decisions of everyday life. Alice’s confusion is spotlighted by this overtly simple take on decisions, and her confusion can then be tied to the absence of a concrete identity. The Cat proceeds to reveal that in Wonderland, “we’re all mad here. I’m mad. You’re mad,” and this awareness and acceptance of “the fury” within himself further serves to bold Alice’s insecurity (Carroll 49). Perhaps, if Alice knew who she was to others – and to herself – in Wonderland, she would not deny the madness of Wonderlands creatures, including

 In Alice's Adventures in Wonderland Carroll shows the ridiculous nature of adults through his extraordinary characters. The amiable Cheshire Cat is the only character to help Alice in her struggle through Wonderland and admit that he is mad. "Oh you can't help that, we're all mad here. I'm mad. You're mad (Carroll )." All other characters are pointlessly didactic and feel the need to constantly snap at her, preach to her, confuse her, or ignore her. The Duchess, for instance, is inconsistent, unpleasant, pointless, and is of no help to Alice in her predicament. " flamingoes and mustard both bite. And the moral of that is Birds of a feather flock together (Carroll )." Many children see adults, especially those that are of authority, as having the same nature as the Duchess. The arbitrary , bloody Queen of Hearts is an

The setting of the play helped to develop the mood. First of all, the abundance of props brought the story to live successfully. For example, the bed and door created the forgotten, quiet feeling in the old man's room. Next, the floorboards were lifted up so it actually looked like the

Alice in Wonderland by Lewis Carroll endures as one of the most iconic children 's books of all time. It remains one of the most ambiguous texts to decipher as Alice 's adventures in Wonderland have created endless critical debate as to whether we can deduce any true literary meaning, or moral implication from her journey down the rabbit hole. Alice 's station as a seven year old Victorian child creates an interesting construct within the novel as she attempts to navigate this magical parallel plain, yet retain her Victorian sensibilities and learn from experience as she encounters new creatures and life lessons. Therefore, this essay will focus on the debate as to whether Alice is the imaginatively playful child envisaged by the Romantics, or a Victorian child whose imagination has been stunted by her education and upbringing.