The Kugelmass Episode By Woody Allen

In “Terwilliger Bunts One,” Annie Dillard recalls childhood memories to describe her mother’s eccentricity. Early in the narrative, Dillard recounts her mother’s love for language. She illustrates scenes where her mother ingeniously creates scenarios for her daughters along with unsuspecting strangers. Dillard also recounts occasions when her mother uses creative, quick-witted gags or questions to both teach her daughters to stay on their toes and catch other people off guard. Throughout the story, Dillard reflects on her mother’s tendency to engage people using her unique witticisms, questions, and personality. Throughout the piece, Dillard depicts her mother’s quirky nature and intellectual energy by incorporating imagery, word choice, and dialogue.

The most prominent rhetorical device used in the book is Pausch’s appeal to pathos. Pausch starts off his story by saying“ The obvious part is being with, and taking care of, my family. While I still can, I embrace every moment with them, and do logistical things necessary to ease their path into a life without me (pg 1)” in a way that brutally plays with the reader’s emotions. While multiple readers can envision living with both of their parents for years to come, readers would soon register that Pausch’s children won’t have the same opportunity, instead they would suffer the loss of their father at a very young age.In spite of this, Pausch makes sure that every second spent wouldn’t be roaming around depressed but instead fulfilling even more memorable moments with his

In addition, one can also argue about Paulina’s love-hate relationship with Gerardo, as she is clearly very emotionally attached to him, yet seems as though she treats him with a sort of disrespect or harsh manner. Paulina’s strange relationship also brings the audience to question this woman’s sense of judgment, and maybe even her past. Ironically, later she refers to him as ‘my little man’, contrasting with how he called her, and making sure that Gerardo knows that he is her husband, and she’s in charge.

In their lives a distant and cold character exists. When the war began in Sarajevo the men on the hills cut off the city’s water. Kenan’s elderly neighbor Mrs. Ristovski thrusted her plastic bottles towards him when he opened the door and all she said was “A promise is a promise.” and left him standing at the doorway. Even before the war Mrs. Ristovski had always acted abrasively; knocking on their door early in the morning and complaining about their first born’s crying. Not once has she shown

At the beginning of the story, Brush describes the couple as “unmistakably married,” and the woman is described as being “fadingly pretty.” Although it is clear that the two are indeed in a relationship, the description of the woman reveals that she once was beautiful, but now in a much more lackluster way; a way that Brush implies may have been more vibrant in the past. Despite the fact that there is no doubt the couple is married, Brush draws a subtle parallel between the woman’s faded appearance and her relationship with her husband, insinuating that it is time-worn and only bound to grow weaker in the future. In addition to this description, Brush also vividly depicts the actions of the husband to further develop her commentary. Once the birthday cake surprise is brought out for him, he is “hotly embarrassed, and indignant at his wife for embarrassing him.” Through this repetitive indication of embarrassment and the evident

In the beginning, while the main character’s name is unknown to the reader, they quickly learn of his arrogance, insecurity, and lack of self-awareness through the voice he uses when narrating. For example, his arrogance is shown in the beginning when he is concerned with how the visit with Robert will affect him and dismisses the relationship his wife had with him in the past, claiming the audiotapes to be just harmless chit-chat. His self-absorbance is also shown when he states, “She and I began going out, and of course she told her blind man

The preliminary settings are as ordinary as they can be. It is a “Wednesday afternoon” (245) boring classroom between a geography class and an art project. It is quite and peaceful in Five Oaks. In the background of a rural community consisted of “unemployed college graduates” and “stay-at-home moms”(246),Miss Ferenczi is a colorful stranger. She is a breath of excitement to the children's dull lives. She presents herself to the class in a very theatrical manner. First thing she mentions about herself is her royal Hungarian ancestors. Her tale fascinates the young minds. Tommy the narrator of the story, “does not take his eyes of the woman”(246). He notices a curious characteristic of her physical appearance “the two prominent lines, descending vertically from the sides of her mouth to the chin”(247). They resemble Pinocchio, who was never a real boy, but a prominent liar, further emphasizing the way Miss Ferenczi plays with truths and facts. Pinocchio reference is a push-pull phenomena. It brings to the story the argument of

Over time, every one changes or transforms. Most often people transform after a traumatic incident or after a failure. Woody Allen’s film Annie Hall captures the changes of a man named Alvy Singer. Alvy is just coming out of a failed relationship to a woman named Annie Hall. Although Alvy is sad, he begins to learn from his mistakes. Alvy (played by Woody Allen) begins the film as a death obsessed comedy writer with a bleak outlook on life. He is consumed by the fear of death and the desire for physical affection. Annie Hall is the story of Alvy’s growth as a person after the relationship has ended. While sifting through the good times and old haunts of the relationship, Alvy begins to realize what he did wrong and what he can take away from the experience. As Alvy relives moments from the relationship, he realizes how he can change into a better person. The first change is Alvy’s outlook on life. By the time the film has ended, Alvy begins to live life with hope and not fear. Next, Alvy transforms from a closed off man, into an open guy. Alvy does this by trying new things and even writing about his personal life. Then, Alvy slowly begins to reach out to people in his life. As the film is ending, Alvy and Annie meet again for lunch, which helps bring closure and security to Alvy. Last, Alvy begins to come to terms with himself. He begins the film with a lack of self-confidence and an inability to let himself enjoy the world around him. But before

During the play Cyrano de Bergerac there are often very deep and depressing moments and to pick the audience up Edmund Rostand used humor. This is seen in all of the acts throughout the play and is one of the main uses of humor in the play. This is not the only use of humor in this play it is also used by Cyrano to hide his insecurities. Throughout the play, Cyrano makes fun of his own nose to make it seem like he is comfortable with it and so others can not make fun of it. Humor definitely plays an important role in Cyrano de Bergerac and through this essay, I will be examining the role of Humor in the play in depth.

In Avi’s novel, The Man Who Was Poe, the reader learns all about the story’s focal antagonist, Edgar Allan Poe, under the alias of Dupin. Poe was a real man, who is one of the best-known American authors, with one of the most distinctive styles of writing. He is mostly recognized for is short stories that possess a gruesome plot and a hair-raising theme. In the novel, the style of Avi’s writing can easily be identified as an emulated version of the way Poe wrote. The way Avi used his writing to make the reader feel is also very similar to Poe. Both authors used descriptions and selective vocabulary in attempt to set the mood of the story and make the audience, who reads the story, feel a certain way. The elements of fiction play a big role in the style of the authors’ writing. The strategy, of usage, of setting, character, theme, plot, and mood, in Poe’s stories, and Avi’s novel, correspond to one another in many ways. Descriptions of Poe and the way he is depicted in the story also duplicated many of Poe’s real life characteristics. Poe’s style of writing is clearly a substantial influence on Avi, and is projected throughout the duration of his book with the usage of theme, setting and mood, along with the physical and mental characteristics of Poe himself.

Fun Home is a retelling of Alison Bechdel’s life through the lens of her relationship with her father. However, because of what she considers to have been his suicide, Alison is left with an incomplete picture of who he was in life. By calling Fun Home an autobiography, Bechdel enters an autobiographical pact with the reader that ensures that what Bechdel is telling us is the truth. However, elements out of her control leave Bechdel unable to provide certain objective facts necessary to her narrative. As an attempt to remedy these absences and in turn maintain the validity of her story, Bechdel uses intertextuality to fill in the gaps of in her retelling. By overlaying masterplots of fictional narratives over her own, the reader is able to get at an understanding of the kind of person Alison’s father was. In this way Bechdel is able to reveal things about her father that she can 't prove to be true, but are reflective enough of his life to become true.

The new desire for an uncomplicated life also stops him from developing a relationship with the opposite sex. Instead of pursuing females, he admires the “pattern” of their clothing from their “round Dutch collars” to their “silk stocking”. Krebs’ view of females is that they live “in such a complicated world” full of relationship issues. These issues keep him away because he does not want “any consequences” from the complications of a female. Krebs sees the girls as a “nice pattern. He liked the pattern”, but he cannot break into their pattern because it would deal with emotions. He believes that breaking the emotional pattern would not be worth the results.

Stella Adler, famous actress and acting teacher once stated that “the theatre was created to tell people the truth about life and the social situation.” Woyzeck by Georg Büchner is a play that perfectly represents Adler’s view on theatre. The plot of the play revolves around a troubled lower class man named Woyzeck, who ultimately murders his lover, Marie. But it is not merely the plot that makes this play align with Adler’s view, rather, it is the naturalistic style of the Woyzeck. Naturalistic theatre examines the human psyche and how one is influenced by nature and nurture. Through Büchner’s use of plot structure and thought, Woyzeck will be directed in a manner that makes the audience realize that human behavior is not simply a byproduct of nature versus nurture, that there is indeed a third option: self-will.

He judges others in a negative light at times and tries to see himself as a superior human being, or at least better than Daphne, by trying to justify his superiority in any way possible, such as saying he had a soul. This verbal irony reveals that some people cannot critique themselves fairly. “‘Persky,’ Kugelmass said, ‘what’s your scam?’” (349) and still decides to pay to go into the novel Even though Kugelmass thought that Persky was scamming Kugelmass, Kugelmass still decided to pay 20 dollars. This irony of the situation reveals that Kugelmass is very desperate to experience romance, which further reveals that humans are likely to not see their own mistakes because Kugelmass is willing to impulsively accept this offer even though his implied impulsiveness led to his terrible situation today.

And the natural world with which she is associated produces jarring ‘metallic tints’ (Tarr, 2010. p.48). Similarly, when Kreisler rapes bertha he is both a ‘mad beast’ and someone who has ‘revenged himself as a machine might do’. Tarr combines something which Eliot stated to be ‘the thought of the modern and the energy of the cave-man’. And Anastasya, although a modern and independent woman from a middle-class family, appears to Kreisler as though ‘bespangled and accoutred like a bastard princess or aristocratic concubine of the household of Peter the Great, hanging and rumbling like a rare savage show through abashed capitals’ (Tarr, 2010.