Deus ex machina

Tragedies across Time In our modern language, the word “tragedy” has become a word that describes mundane incidents that are negative. At the most, a tragedy is used describe horrific event that involves severe misfortune; however, when comes to the theatre term, the definition of tragedy is much more specific then the modern use of the word. In essence, a tragedy depending on the time and place was used to tell the tale of tragic hero and the flaw that contributed his eventual downfall. Unfortunately

in Tartuffe” examines the all-powerful king’s theatrical resolution of the story of “Tartuffe”. Zwillenberg writes “It is so unexpected as to cast doubt upon the dramatic coherence of the entire comedy” (583). Zwillenberg concludes that the “deus ex machina” (583) ending not only brings closure to the stories of Orgon and Tartuffe, but also restores the comedic equilibrium that is upset by Tartuffe throughout the play. I agree in full with Myrna Kogan Zwillenberg’s assertion that the conclusion to

The Hobbit: Literary Analysis “Going on from there was the bravest thing he ever did. The tremendous things that happened afterward were as nothing compared to it. He fought the real battle in the tunnel alone, before he ever saw the vast danger that lay in wait” (132). In J.R.R.Tolkien’s The Hobbit, the reader is taken through a parable that follows Bilbo Baggins on the ‘Hero’s Journey.’ This fantasy classic begins with an ‘everyman’ hobbit, Bilbo Baggins, who takes on a perilous journey

Mr. Herbert establishes an idea that is transcendent throughout humanity. To possess large amounts of wealth is imperative to the pursuit of happiness, but in order to acquire it one must put himself at the mercy of those who control money, and at the mercy of their own desire left unchecked. This ideal can be seen in the actions that Ebenezer Scrooge partakes in in A Christmas Carol by Charles Dickens. Ebenezer is an old mizer, egregious in his disdain for humanity, and wealthy unlike anyone in

second, and full with sound and fury, Sherlock said, “Die you dirty rat. Just that instant, there was a strange noise surrounded by a thick white mist. Mystifyingly, once the object landed, out of the mist, and whirring of helicopter blades, and, deus ex machina, two men descends from the chopper and winch Markel, Sherlock’s polar opposite, in screaming silence, aboard the craft and then zipped away, before Sherlock could regain his

fears that at last during the catastrophe Oedipus pokes out his eyes which leads to the liberation of emotional tension giving pleasure to the audience. ‘Deus ex Machina’ is a literary technique which means “god out of a machine.” This technique is not used in between the play, but can be used at the beginning as a report or at the end. Deus ex machina can be found in the character of Tiresias, the blind old man who reveals the true identity of

Children of Men (Dir. Alfonso Cuarón, 2006) is a story told in a dystopian society where, the human race is crippled by infertility and the deteriorating capitalist economy. Oddly enough, in 2027, when the film is set, the world regresses to revolve around Briton, so this small country is being overwhelmed by the rest of the world. As in any dystopian story, if there is still a remaining establishment, there is always a drastic separation between the wealthy and the poor with divided ideologies.

to be justified. In times of emotional turmoil, Deckard turns towards ‘just’ murder as a form of suppressing and fixing any existential personal questions that androids create in his life. For Deckard, a bullet in the head of an android is his deus ex machina which saves him from dealing with his deep empathy towards androids. When Deckard sees Luba - an android disguised as an opera singer - for the first time she is singing in

What would any normal person do when they experience writer’s block? Get rid of all distractions? Create a deadline for yourself? Well, if you’re Charlie Kaufman you write a meta-fictional screenplay about it. In her article, “Adaptation, Metafiction, Self-Creation”, Julie Levinson writes, “Adaptation is an exemplar of a particular type of metafiction in which the narrative charts its own processes of creation” (Levinson). In short, Adaptation follows Kaufman’s struggles to adapt The Orchid Thief

When I was reading “Oedipus Rex” by Sophocles, the play effectively toyed with my emotions and gave me a new perspective on Greek cultures and plays. Before reading “Oedipus Rex,” I always thought the only job of the chorus was to sing their lines. I had no idea that the Greek chorus had three important roles during the play. They represented the common people, enhanced the mood, and advised the protagonist. After I realized that the Greek chorus was an important part in the telling of the play