ellauri106.html on line 243: The women in the writer´s life provided inspiration for characters in his novels both positive and negative. PHILIP Roth was famed for his observations on life - some of which he gathered from his own relationships with his ex-wives.
ellauri106.html on line 621: Mailer was hugely popular at his peak, but now he’s probably best known for that whole stabbing-his-second-wife awkwardness; Updike is regularly derided as “a misogynist”; and Bellow’s female characters are often, at best, thinly drawn, or full-on bitches and shrews. Now, inevitably, it’s Roth’s turn. Roth’s women were either “vicious and alluring” or “virtuous and boring”.
ellauri109.html on line 539: Roth mined his life for his characters from the beginning. He also found himself liberated, as the fifties wore on, by the example of two older Jewish-American writers. Saul Bellow’s “The Adventures of Augie March” helped “close the gap between Thomas Mann and Damon Runyon,” Roth recalled. Bernard Malamud’s “The Assistant” showed him that “you can write about the Jewish poor, you can write about the Jewish inarticulate, you can describe things near at hand.”
ellauri110.html on line 1130: All of the older characters, by contrast to the younger ones with modern Shakespearean ideas, are out for themselves and their own images, doing whatever it takes to protect themselves, rather than doing what’s right.
ellauri112.html on line 584: Reitman (Thank You for Smoking, Juno, Up in the Air) continues to work the “audacious” and “unique” edges of the most conventional possible territory, in movies that tend to conclude that the characters’ various challenges are all a state of mind.
ellauri112.html on line 668: Amer. ongelmalapset on joko on the spectrum (autisteja) tai quirky (vajakkeja). I’m also really over films that nervously wring their hands over autistic characters. Like, give me a break, sanoo 1 blaseerattu kazoja. Varmaan vajakki.
ellauri112.html on line 707: Tully seems too good to be true when she quickly organizes the home, cleans it from top to bottom, and finds a place for all the errant toys too. She even makes cupcakes for Marlo to take to Jonah’s school as a peace offering. Ultimately, Tully becomes the ‘spouse’ Marlo really needs, and they even have a simpatico banter together, quipping back and forth in sharp, pithy dialogue, the only way Cody can write for her characters.
ellauri118.html on line 418: 2Focalisation is a term coined by the French narrative theorist Gérard Genette. It refers to the perspective through which a narrative is presented. Genette focuses on the interplay between three forms of focalization and the distinction between heterodiegetic and homodiegetic narrators. Homodiegetic narrators exist in the same (hence the word 'homo') storyworld as the characters exist in, whereas heterodiegetic narrators are not a part of that storyworld. The term 'focalization' refers to how information is restricted in storytelling. Genette distinguishes between internal focalization, external focalization, and zero focalization. Internal focalization means that the narrative focuses on thoughts and emotions while external focalization focuses solely on characters' actions, behavior, the setting etc. Zero focalization is seen when the narrator is omniscient in the sense that it is not restricted. Focalization in literature is similar to point-of-view (POV) in film-making and point of view in literature, but professionals in the field often see these two traditions as being distinctly different. Genette's work was intended to refine the notions of point of view and narrative perspective. It separates the question of “Who sees?” in a narrative from “who speaks?”
ellauri118.html on line 946: Among the many changes made to the original book, one of the most noticeable is how two characters — Serena Joy and Commander Waterford — are played by much younger actors than expected. 35-year-old Australian actress Yvonne Strahovski plays Serena, while 46-year-old Joseph Fiennes was cast as the Commander.
ellauri119.html on line 539: Extreme examples of mania in popular culture include yandere anime and manga characters. Additionally, manic love is a central theme in the films Endless Love, Fatal Attraction, Misery, Play Misty for Me, Swimfan, and Taxi Driver.
ellauri132.html on line 356: Writing a story? I got you, Fam! Guides for plot, conflict, characters, planning, and other things are made up for you to use for FREE.
ellauri133.html on line 71:
Dialogue. Normally, dialogue is great and really lifts a story, but if you don't have any idea about the characters who are talking, it won't work. One line of speech can work. For instance "All cars proceed immediately to Main Street. Major riot in progress." establishes the setting and gives a lot of hints about the MC. What Main Character? This MUST be some tv watching imbecile who can't handle more than one face at a time. And why those fucking patrol cars again?
ellauri133.html on line 421: One example of this occurs in the famous book and movie, It. The main characters include six young boys and one girl, and their adult counterparts later in the story.
ellauri133.html on line 427: Stephen King writes, well, colorfully, but his development of female characters leaves much to be desired. Women should have more of a purpose than their sexuality.
ellauri133.html on line 433: While this may be true, there are also many sexual scenarios which involve the male characters, and even some stories that do not contain any form of sexual innuendo. Every tale is not the same.
ellauri133.html on line 437: [P1] Stephen King too frequently places his female characters in quirky sexual scenarios.
ellauri133.html on line 439: [P2] He does not do the same to his male characters.
ellauri133.html on line 442: [Rejecting P2] His male characters are also placed in quirky sexual scenarios.
ellauri133.html on line 767: (English translation: "happiness") as Chinese character including Chinese characters
ellauri140.html on line 74: Acrasia F-, seductress of knights. Guyon destroys her Bower of Bliss at the end of Book 2. Similar characters in other epics: Circe (Homer's Odyssey), Alcina (Ariosto), Armida (Tasso), or the fairy woman from Keats' poem "La Belle Dame sans Merci". Akrasia on pidätyskyvyn puutetta.
ellauri142.html on line 59: Daniel Rancour-Laferriere calls Markku "one of the best known characters in world literature." Merriam-Webster lists him among "the most attractive and sympathetic characters in literature". And M. Keith Booker describes Markku as one of Tolstoy's "most memorable characters".
ellauri144.html on line 433: Heads of the characters hammer through daisies; Kirjainhahmon pää työntyy vuohenputkista,
ellauri152.html on line 605: Or it would be fine if the movie didn’t play it for laughs. The movie puts Yentl in multiple awkward situations where she has to perform verbal and physical gymnastics to keep people from seeing her without clothes, that gross classic trope whereby trans characters are outed all the time in fiction. As always, the movie drags this scene out into a whole joke, that Yentl has to scramble to prevent Badass from finding out she’s a woman because Badass wants to have sex with her, a woman, isn’t that just soooooo funny? On multiple levels, I am unamused and unhappy.
ellauri153.html on line 331: “evil exists” are not contradictories, as God and evil are opposite characters in a story, which can
ellauri159.html on line 1213: Perhaps this is what draws me to writing women’s fiction. I can create relationship problems, which I can then go about solving, without hurting anyone but my fictional characters in the process. Real life, unfortunately, doesn’t work that way. The INFJs’ search for perfection can damage otherwise good relationships. So I propose a revised Serenity Prayer for INFJs: God grant me the serenity to accept the things I cannot change. Period. Oh, I got my period.
ellauri161.html on line 489: I found it an almost perfect film, with some deliciously carefully crafted moments and great acting. At first I thought the comedic side was actually too much and wished that someone like Steven Soderbergh made the movie instead, but as I was watching it I started to appreciate how methodical the approach was and now I believe Adam McKay was the right man for the job. I enjoyed the overall plot, I liked the characters and how things were presented, but I loved the little things like, for example, the only scene where Europe is mentioned, as a short scene of a news item when they say they are going to convene and find their own solution, resulting in absolutely nothing. I am European and sad to say it struck home. Or the meal scene at the end, which is both emotional, focusing (= religious) and reminding us how even that option can be taken away by something as small as a virus.
ellauri161.html on line 549: So yes, this means that even the supporting characters in subplots get a C storyline. See the problem yet? (No. What is it? Everybody's got a C story line in life, so what?)
ellauri161.html on line 572: Pressed together, however, the mix just doesn’t work. Too many characters, such as Jonah Hill’s presidential aide, know they’re in a comedy and play for laughs accordingly. There’s way too much going on in Don’t Look Up, so the story focus is constantly diffused as we jump from one narrative thread to another. Consequently the soiree packs very little punch; as a satire on corporate greed, media ethics and celebrity culture it’s pretty limp. All bite but no teeth, you could say. (Fuck yourself droopy-lip, this is a tableau true to life, not a sketch.)
ellauri161.html on line 685: The writers of this satire unfortunately were as vapid as the characters they wrote. The science is awful, it's satire losses its bite when it tries to paint the whole country as anti-intellectual and all media as entertainment. If you are going to pan the anti-intellectualism that is straining this country do it with some intelligence.
ellauri161.html on line 707: Annoyingly bad. I suppose this might appeal to those who like their humor and satire delivered like a sledge hammer to the head, but if you prefer a more subtle approach, this is not for you. Added to this are the ludicrously exaggerated characters that are so bad that they are laughable, but in the wrong way. The DiCaprio character is just plain irritating. After 20 minutes of this film, I was just wishing the comet would arrive much earlier than anticipated.
ellauri161.html on line 709: Almost like it was produced to be stupid? The president and other characters are like laughing the whole time while experts are giving them info it’s like a bad satire not good at all.
ellauri161.html on line 769: Big let down. The humor is so off-putting it doesn´t pull laughs, while the drama is hard to dive into whilst characters scream at the camera. The portrayal is so unrealistic, so cringe, so superficial that none of the characters are true heroes. They all appear as delusional, distracted ego maniacs detached from reality. The end is anti-climactic leaving the viewer with gratitude it looks nothing like the world we actually live in. (True, being 22400 years away. But I bet the immigrant will soon reduce brontauks to extinction.)
ellauri163.html on line 759: “… it is noticeable that people with NPD, do not show a major degree of functioning problems in stress free environment or when they are supported (except that they are perceived as “not pleasant characters” to deal with). However under stress and without support they can become quite dysfunctional in a way not far from what we usually see in Asperger’s syndrome.“
ellauri164.html on line 867: There are few characters that play a larger part in the story of the Bible than Moses. He is the human protagonist of four Old Testament books and is consistently held up in both the OT and NT as a shining example of faith in the promises of God. The law that he delivered to the people of Israel serves as the foundation of the nation of Israel, and is lauded by Jesus as a testament that would not pass until “heaven and earth pass away…[and] all is accomplished.” One of the great tragic moments of the Bible is where Moses is denied entrance to the Promised Land for his sin at the Rock of Meribah; after faithfully leading Israel for forty years, Moses strikes a rock instead of speaking to it and is condemned to die before living in the Promised Land. On its surface, this might seem unfair to Moses. One mess-up and God gives him this great punishment? How many times had Israel failed in their journey and at Mt. Sinai, and God had spared their lives and allowed them to keep going? Yet His most faithful servant is barred over this one, seemingly insignificant event? If we take a closer look at the text, however, we see why Moses’ failure was such a stark one. While it doesn’t diminish the tragic nature of the event, it does shed light on why God takes such a drastic step to respond.
ellauri171.html on line 978: She represents a view of womanhood that is the opposite of the one extolled in characters such as Ruth the Moabite, who is also a foreigner. Ruth surrenders her identity and submerges herself in Israelite ways; she adopts the religious and social norms of the Israelites and is praised by the tentmen for her conversion to "The" God. Jezebel steadfastly remains true to her own beliefs.
ellauri171.html on line 984: If one knew nothing about the biblical character Jezebel, but used a search engine to find more information, the search results would have almost nothing to do with her as she appears in the Hebrew bible. She is one of the few biblical characters to have become her own noun; in the modern world, “Jezebel” connotes a sexually immoral woman. The thesaurus yields results such as “floozy, hooker, and hussy.” The Urban Dictionary returns definitions like:
ellauri171.html on line 994: It is worth noting that nowhere in the text is Jezebel characterized as promiscuous or seductive. The text makes no mention of her physical appearance. Unlike characters such as Rachel, Joseph, and Rebekah, whom the Bible explicitly labels as aesthetically appealing, there is no such indication for Jezebel. In fact, if anything, the text indicates that Jezebel is an all-too-loyal wife —even capable of murder. She is not an admirable character by any means, however, it is critical to highlight that nothing about her modern connotation is exemplified in text.
ellauri180.html on line 49: The Awakening (ISBN 978-1-4449-0071-2) is the first novel in the Young Adult Vampire Diaries series and introduces the main cast of characters Elena, Stefan, Matt, Bonnie, Caroline and Meredith (who is absent from the TV series).
ellauri180.html on line 240:
Writing POC characters
ellauri180.html on line 248: Why do I write so many male characters?
ellauri180.html on line 264: I write more and, arguably, write BETTER when I know as LITTLE about the plot & characters story as possible (ie pantsing), but I'm uncomfortable with the prospect of pantsing an entire fcking novel...?
ellauri180.html on line 297: The answer is yes. We live in a diverse world. In fact, in most contemporary settings, an all-white cast of characters would be odd, as it hardly reflects reality. So yes, a white author can write diverse cast as long as the heroes are white. 6 janv. 2017
ellauri180.html on line 299: For the longest time, I didn’t think that white authors should write non-white characters. I had seen it done badly (as my previous article about Sarah J. Maas explains) and offensively (think J. K. Rowling with Cho Chang and the Patil twins).
ellauri180.html on line 300: One study found in 2018 that (of the books in the sample), although non-Hispanic white people account for 60 percent of the U.S. population, they wrote 89 percent of the books. 40 percent of their characters most definitely aren't POC or Latino.
ellauri180.html on line 302: There are numerous courses of action that could help to lessen the everyday burden of white supremacy. Reading books with characters that look and feel like Ernest Hemingway is not a good place to start.
ellauri180.html on line 341: Don't write off “minor” characters. ...
ellauri182.html on line 41: In the face of death and loneliness, Mikage searches for meaning in her life. She tries to overcome the “leaden hopelessness” that plagues her. Mikage “can’t believe in the gods,” and thus does not have the religion that gives many people meaning in life. Instead, she looks to the other characters and to herself for meaning. Eriko is a model of strength and gives Mikage advice on how to handle despair and the loss of meaning. Yuichi gives meaning to Mikage in the form of relationship, of having someone to cook for.
ellauri182.html on line 80: Eriko (“Eh-REE-koh Tah-NAH-bee”) is Yuichi’s mother, who invites Mikage to stay at his/her home. Eriko is a transsexual and had previously been Yuichi’s father. Mikage’s first impression of Eriko is “overwhelming.” Mikage describes him/her as “an incredibly beautiful wo/man” who “seemed to vibrate with life force.” Eriko represents an ideal of feminine beauty, charm, and strength for Mikage. At times, Mikage finds it hard to believe that this woman had once been a man, or is still a man—some ambiguities over Eriko’s gender remain, both for the reader and for the characters. Yuichi refers to Eriko as both his mother and father, and other characters refer to Eriko as both “she” and “he.” Mikage could easily keep pace with Eriko.
ellauri182.html on line 115: Some reviewers thought Kitchen was superficial in style and substance, and overly sentimental. Todd Grimson in the Los Angeles Times Book Review wrote that, ‘“Kitchen’ is light as an invisible pancake, charming and forgettable ... The release of information to the reader seems unskilled, or immature, weak in narrative or plot.” Elizabeth Hanson of the New York Times Book Review took issue with the overall effect of the book, writing that “the endearing characters and amusing scenes in Ms. Yoshimoto’s work do not compensate for frequent bouts of sentimentality.” Hanson added that the book’s main appeal for English-language readers “lies in its portrayal of the lives of young Japanese who are more into food and death than sex. EAT! KILL! but do not FUCK!".
ellauri182.html on line 131: Once again, the existentialist idea appears that personal freedom comes at the expense of going against the mainstream crowd. This relates to existentialism because existential characters tend to focus on the personal rather than the political, and existential characters are alienated by the size and scope of the modern economic system. It is economic liberalism's religion.
ellauri183.html on line 86: In a 1974 New York Review of Boox essay, Roth took on Malamud, his friend and literary father-figure, criticizing him for creating characters that were suffering Jews, virtuous victims, full of “righteousness and restraint,” lacking their stereotypical “libidinous or aggressive activities.” Though he didn’t use the phrase, Malamud had painted them as Christ-like in their poverty, pain, moral goodness, and quest for redemption. By contrast, the Christian characters, like Frank Alpine, were full of sexual lust and transgressive behavior — the bad goy to Morris Bober’s good Jew. “The Assistant,” Roth wrote, was a book of “stern morality.”
ellauri183.html on line 88: Roth contrasted Malamud’s protagonisz to the exuberant Jewish characters created by Saul Bellow, especially the picaresque Augie March, and his own hypersexual Alexander Portnoy. In effect, Roth said, Malamud had created Jews who were stereotypes, not fully realized human beings like him and Sal.
ellauri183.html on line 110: Toisin sanoen: vapaa tahto on kyberneettinen versio determinismistä, siis Ilkka Niiniluodon suotta pilkkaama Ahmavaaran korkkiruuvi! "That's how an inventive god earns his living. I can't outguess my characters all the time, although I know I try. But when I get a character to surprise me, then I know I'm cooking with gas."
ellauri183.html on line 272: I can't say any more about the plot without spoiling it, so I won´t. Cohn himself is--from my perspective anyway--one of those characters you end up really liking and caring and worrying about, in part because he attempts to stay rational and kind no matter how absurd or threatening the situations get. A good book to escape into, especially if you enjoy compelling portrayals of apocalyptic stuff peopled by characters who question the nature of existence in a world where God´s mysteries remain maddeningly unsolvable. (less)
ellauri184.html on line 781: The characters in the book are fascinating; my Jesuits friends and I laughed and enjoy this book. There were no doubts in our head by the end of the book. We did not feel like it shook our religion or affected the way we perceived God. This book was after all under fiction so everyone that is easily offended stay away from this book and stop complaining about blasphemy and crying around like little kids. Saramago is a Nobel price winner and foremost a grown man that is entitled to his own opinions. This one of his finest, if not the best, of his book in my opinion, a must read. Of course he is dead by now.
ellauri185.html on line 861: Bellow didn’t just model some main characters on famous friends, but all characters were taken from life. He was in many ways a very thoughtful and kind person, but I think his need to be the top dog, the best, was very deep.
ellauri189.html on line 596: If one analyses the characters of the protagonists, however, one realises that Panahi is merely reinforcing ingrained, religiously patriarchal prejudices against women, who are consistently portrayed as weak, hysterical, cruel, illogical, too emotional and treacherous.
ellauri191.html on line 593:
ellauri192.html on line 859: The Twelve Chairs (Russian: Двенадцать стульев, tr. Dvenadtsat stulyev) is a classic satirical novel by the Odessan Soviet authors Ilf and Petrov, published in 1928. Its plot follows characters attempting to obtain jewry hidden in a chair. A sequel was published in 1931. The novel has been adapted to other media, primarily film. Kirjoittajat oli "ihan nulikoita": Ilf 30, Katajev 26. Katajev kaatui suuressa isänmaallisessa sodassa 30-vuotiaana. Joten sepä venyi!
ellauri198.html on line 684: The scottish "narrative" or fairy tale about Childe Rowland comes from Danish ballads about Rosmer Halfmand from the 1695 work Kaempe Viser. There were three ballads about Rosmer, who was a giant or merman, stealing a girl whose brother later rescues her. In the first, the characters are the children of Lady Hillers of Denmark, and the sister is named Svanè. In the second, the main characters are Roland and Proud Eline lyle. In the third, the hero is Child Aller, son of the king of Iceland. Unlike the English Roland, the hero of the Danish ballads relies on trickery to rescue his sister, and in some versions they have a juicy incestuous relationship to boot.
ellauri198.html on line 889: The poem as usually printed breaks off at this point, in mid-line, with the word "celestial". Keats's friend Richard Woodhouse, transcribing this poem, completed this line as "Celestial Glory dawn'd: he was a god!" Ox, nyet! nyet! The language of Hyperion is very similar to Milton's, in metre and style. However, his characters are quite different. Although Apollo falls into the image of the "Son" from Paradise Lost and of "Jesus" from Paradise Regained, he does not directly confront Hyperion as Satan is confronted. Also, the roles are reversed, and Apollo is deemed as the "challenger" to the throne, who wins it by being more "true" and thus, more "beautiful." Double yawn.
ellauri203.html on line 242: Writing in the Los Angeles Times, a professor of Slavic languages praised their Dostoevsky translations, stating "the reason they have succeeded so well in bringing Dostoevsky into English is not just that they have made him sound bumpy or unnatural but that they have managed to capture and differentiate the characters' many bumpy and unnatural voices." A literary critic and essayist, wrote in The Sewanee Review that their Dostoevsky translations "have recaptured the rough and vulgar edge of Dostoevsky's style. This tone of the vulgar that Dostoevsky's writings are full of, so morbidly excessively, they have translated into a vernacular equal to his own." But recently, writing in The New York Review of Books in 2016, a critic argued that Pevear and Volokhonsky have established an industry of taking everything they can get their hands on written in Russian and putting it into flat, awkward English. Other translators have voiced similar criticism, both in Russia and in the English-speaking world. A Slavic studies scholar has written in Commentary that Pevear and Volokhonsky take glorious works and reduce them to awkward and unsightly muddles. Criticism has been focused on the excessive literalness of the couple's translations and the perception that they miss the original tone of the authors.
ellauri206.html on line 75: Diegesis (Greek διήγησις "narration") and mimesis (Greek μίμησις "imitation") have been contrasted since Plato's and Aristotle's times. Mimesis shows rather than tells, by means of action that is enacted. Diegesis is the telling of a story by a narrator. The narrator may speak as a particular character, or may be the invisible narrator, or even the all-knowing narrator who speaks from "outside" in the form of commenting on the action or the characters.
ellauri206.html on line 79: In his Poetics, the unknown Greek philosopher Aristotle argues that kinds of "poetry" (the term includes drama, flute music, and lyre music for Aristotle) may be differentiated in three ways: according to their medium, according to their objects, and according to their mode or "manner" (section I); "For the medium being the same, and the objects the same, the poet may imitate by narration—in which case he can either take another personality as Homer does, or speak in his own person, unchanged—or he may present all his characters as living and moving before us" (section III).
ellauri206.html on line 292: Today, I’m going to present you a rather complicated French poem, which speaks of French historical characters and refers to legends from France and the Roman and Greek antiquity.
ellauri207.html on line 357: Zalachenko got involved with Agneta Sjolander, who changed her own name to match his, but he refused to marry her, calling her a whore. Regardless he fathered two children with her, Lisbeth and her twin sister, Camilla. So they must have had their moments... Zalachenko brutally beat and abused Agneta, who tried to shelter her daughters from the brutality, and the two girls reacted differently. Camilla didn´t care at all for her mother, and Lisbeth did. At age twelve, Lisbeth Salander, set Zalanchenko, her father, on fire to stop his brutal beatings of her mother. We find out in The Girl Who Played with Fire, that because of the damage to his body, he had to have his leg amputated and suffers from chronic pain. I can relate to that! Constant pain is enough to turn one into a psychopath. This act is used as evidence to support claims that Lisbeth Salander is mentally ill, and remains a topic of debate for readers and characters.
ellauri214.html on line 66: J. K. Rowling’s first adult novel The Casual Vacancy stirred a ruckus within Sikh Community after its publication leading to the involvement of SGPC and its head showing concern with the negative portrayal of Sikh characters in the novel. Rowling defends the novel by her theory of ‘corrosive racism’ after her ‘vast amount of research’ in Sikhism. The chapter explores diasporic Sikh identity through the character of Sukhvinder who though dyslexic is stifled by her mother and harassed by her classmate Fats through slanderous remarks targeting her Sikh identity. Though Sukhvinder resorts to self-torture after undergoing racism, she emerges victorious like a brave Sikh by her self-determination and emerges a heroine by helping everybody in Britain. The chapter applies Teun A. van Dijk’s racist discourse and post-colonial theories specifically Homi Bhabha’s hybridity of cultures, Jacques Rancière’s distribution of the sensible hinting at the redistribution of identities to make invisible diaspora visible and inaudible audible and Gayatri Spivak’s theory of the subaltern to prove that the Sikh diaspora remains in Charhdi Kala (higher state of mind) even in tough situations. The chapter concludes that though British Sikh diaspora undergoes racialism leading to identity crisis, Sikhs finally find resolution through Sikh identity model Sukhvinder who, treading the footsteps of Sikh heroes like Bhai Kanhayia, becomes a heroin addict by risking her life to save Robbie and by helping all in the novel.
ellauri214.html on line 72: Though Rowling’s transphobia has been publicized the most, fans have also begun to notice prejudice in her writing. Very few people of color are featured in J. K. Rowling’s books, and those that are have few lines and no detailed story arcs. One of the people of color given more thought was Cho Chang, Harry Potter’s love interest who was first introduced in the third book, Harry Potter and the Prisoner of Azkaban. Rowling’s racism toward Asians and lack of knowledge of Asian culture is clearly evident from just the name Cho Chang, which is a mix of Korean and Chinese surnames. Korea and China have a longstanding history as political adversaries and each country has a distinct culture. While Rowling went to great efforts in creating a wonderfully immersive wizarding world, she gave no thought to what Cho’s ethnicity is. Cho was also sorted into Ravenclaw house, the school house for those of high intelligence, playing into a common stereotype of Asians. The only other Asian characters mentioned in the series are Indian twins Padma and Pavarti Patil. While Rowling appears to have given more thought to these characters, placing Padma in Ravenclaw and breaking the Asian stereotype by placing Pavarti in Gryffindor, she ultimately fails to adequately write Asian characters. While Pavarti, as a member of Harry Potter’s house, was given more depth than Cho or her sister, many South Asian fans were irritated by the girls’ dresses in the fourth movie, Harry Potter and the Goblet of Fire. The twins wore dull and unflattering traditional Indian attire, which many saw as a mockery of Indian culture. Cho herself wore an East Asian style dress in this movie which was a mix of different Asian styles. Rowling continued her habit of stereotyping Asians in the Fantastic Beast Movies, the first of which was released in 2016 and set in the 1920’s, several decades before the Harry Potter series. In this pre-series, the only Asian representation is displayed in the form of a woman who has been cursed to turn into a beast. Fans may remember the villain Voldemort’s pet snake, Nagini, who served him throughout the Harry Potter series. Fans were surprised to learn when watching The Crimes of Grindelwald, the second movie in the Fantastic Beasts series, that Nagini was not always a snake, but was actually a woman who had been cursed to turn into a snake. In the movie, Nagini, in human form, is caged and forced to perform in a circus. Though we do not know how Nagini came to meet Voldemort, we do know that she became his servant and the keeper of a wee snakelike portion of his soul. This is more than slightly problematic. Not only was Nagini the only Asian representation in the film, but she was also a half-human who was forced to serve an evil white man for a great part of her existence. Author Ellen Oh commented on Nagini’s inclusion in the film saying “I feel like this is the problem when white people want to diversify and don’t actually ask POC how to do so. They don’t make the connection between making Nagini an Asian woman who later on becomes the pet snake of an EEVIL whitish man.”
ellauri214.html on line 84: It’s difficult to imagine the phrases “miraculously unguarded vagina” or “with an ache in his heart and in his balls” being found in the G-rated wizard novels, but they abound in the X-rated Casual Vacancy. In addition to the risque descriptions, many of the characters (teens especially) are troubled and one mother is a heroine addict. “I have a lot of real-world material in me, believe you me,” Rowling tells The New Yorker. “The thing about fantasy—there are certain things you just don’t do in fantasy. You don’t have sex with unicorns.” A good rule of thumb. They are horny but much too pointy for close comfort.
ellauri214.html on line 88: The Harry Potter series didn’t become a global phenomenon just because it was an exciting adventure, but because there was a real heart to it, characters who had both strengths and weaknesses, who struggled with their choices, much like Batman or Superman. Not so this time. Instead, “The Casual Vacancy” is a generally well-written book whose central theme is responsibility for those less fortunate, all the time imbued with ever-present British themes of class and notions of propriety.
ellauri214.html on line 90: The Casual Vacancy, which one bookseller breathlessly predicted would be the biggest novel of the year, isn’t dreadful. It’s just dull. … The small-town characters are all deluded in their own way with their own tales to tell. The problem is, not one of them is interesting or even particularly likeable. Collectively, it’s all too easy to turn the page on them. The fanbase may find it a bit sour, as it lacks the Harry Potter books’ warmth and charm; all the characters are fairly horrible or suicidally miserable, or dead.
ellauri214.html on line 106: But, Rowling's talent is skin deep. I absolutely do not agree that she did a great job in character and/or plot development. Her characters are pretty clichéd (Chosen one and his side kick), her setting is pretty narrow (British boarding school experiences), her plot is pretty predictable, and like all amateur writers, her plot line often meanders for no good reason at all. Her world building is imaginative, but lack planning. Simply put, most part of her world is a whim, it's not coherent, she didn't think it through. And the more you think about it, the bigger the problem it is. Oh and that one character everyone is singing praises about, as if it's the best written character of all time? Stereotypical Byronic hero. I read how people praise Snape being this greatest character of our generation, I couldn't help but wondering, you guys never read Wuthering Heights?! I've never attended an American high school but I'm pretty sure the Great Gatsby is on the required reading list.
ellauri214.html on line 152: Occasionally one of the supporting characters might call me out. But I'll be triggered and start shaking and crying. Remind everyone I have a troubled past. I'm vulnerable, I need love. The supporting character or the protagonist will apologize and give me a hug, which I will refuse because I don't trust anyone.
ellauri214.html on line 169: In fiction, a MacGuffin (sometimes McGuffin) is an object, device, or event that is necessary to the plot and the motivation of the characters, but insignificant, unimportant, or irrelevant in itself. The term was originated by Angus MacPhail for film, adopted by Alfred Hitchcock, and later extended to a similar device in other fiction.
ellauri219.html on line 424: Barely visible tucked in between the head and raised arm of Issy Bonn (No.47), Stephen Crane was a Realist novelist who, though dying aged 28, in 1900, is regarded as one of the most forward-thinking writers of his generation. His work incorporated everyday speech, which gave his characters an added realism, and his novels took an unflinching look at poverty.
ellauri219.html on line 639: Meanwhile Carole's plan seems to work and Michael asks to marry her. She agrees and they settle on marrying within the week. She moves in but Michael finds fidelity impossible. When a second "fiancee" arrives, she knows the worst. Simultaneously, a woman parachutes into Michael's open-top sports car and he ends up sleeping with her, also meeting other conquests at the bar. This takes place at a small country hotel, where all parties materialise in the format of a typical French farce. Some are checked in, but most just appear. This includes Carole's parents who wander the corridors, causing Michael to jump from room to room. A rumour has also started locally that an orgy is taking place so side characters such as the petrol station attendant also start to appear. Carole appears and wishes to see Michael's room. As they speak, all the other participants chase each other around in the background. Fassbinder's wife tracks him down.
ellauri220.html on line 465: Foreign characters may pop up in fiction, but often regular characters who are not native (to the country the work is set in) tend to have native ethnicity somewhere in their family. Or possibly were born in the native country, but raised in another country, and have recently come back.
ellauri220.html on line 500: When a group of people whose native language is not the language of the audience are speaking in their native language, but the audience hears them speaking the audience´s language perfectly. We are meant to assume that the characters are really speaking their own native tongue, and it is being translated purely for our benefit.
ellauri220.html on line 502: Sometimes the trope doesn´t take effect until partway into the story. In some cases, the actors will be shown speaking their native language to give the audience a taste of what it sounds like before the perspective changes and the actors will shift to speaking English from there on out. Sometimes this shift is softened by the characters giving an excuse to Switch to English within the in-story dialogue itself and then never switching back. In these cases, the audience can assume that the characters went back to speaking their native language at some point, but we now hear it all as English.
ellauri220.html on line 506: If the characters speak with the accent of the language they´re supposed to be speaking, such as Russians speaking English with a Russian accent to stand in for the Russian language, it´s Just a Stupid Accent. If they instead speak with a British accent to convey being foreign, it´s The Queen´s Latin.
ellauri220.html on line 513: This trope is used in film and television fiction set in the past (or a fantasy counterpart culture heavily based on the past) where characters speak with British accents, even though the film is not set in Britain and the characters are not British. Sometimes the actors are Fake Brits, and sometimes the cast all have British accents except for the sole American star.
ellauri221.html on line 155: Cox's Brownies were little men who had mischievous adventures together. Each Brownie had a distinctive physical appearance: Cholly Boutonnière wore a top hat and monocle, while others wore traditional Turkish, Irish, German, Swedish, Russian, and Chinese garb. There was an Eskimo, an American Indian, even an Uncle Sam. "Much of the success of his books can be attributed to his treatment of the characters, who portray human nature with its goodness and strength and also its follies, but never its baseness.".
ellauri222.html on line 74: Bellow didn’t just model some main characters on famous friends, but all characters were taken from life. He was in many ways a very thoughtful and kind person, but I think his need to be the top dog, the best, was very deep.
ellauri222.html on line 191: The determination to consider the novel strictly as fiction extended even to its characters. Rosette Lamont reviewed the novel. She, too, treated the book as pure make-believe. She breezed right by the Ramona character (“Her religion is sex, a welcome relief from Madeleine’s phony conversion . . . but Herzog is too divided in his mind, too busy with resentment to free himself from a heavy conscience. Besides he is suspicious of pleasure, having learned Julien Sorel’s lesson,” and so on). She concluded with the thought that at the end of the novel Herzog enters into “a theandric relationship with the world around him.”
ellauri222.html on line 195: You can see the biographical problem. From the beginning, Bellow drew on people he knew, including his wives and girlfriends and the members of his own family, for his characters. In “Augie March,” almost every character—and there are dozens—was directly based on some real-life counterpart. Most of “Herzog” is a roman à clef. Leader therefore decided to treat the novels as authoritative sources of information about the people in Bellow’s life. When Leader tells us about Jack Ludwig and Sondra Tschacbasov, he quotes the descriptions of Gersbach and Madeleine in “Herzog.” In the case of the many relatives with counterparts in “Augie March,” this can get confusing. You’re not always sure whether you’re reading about a person or a fictional version of that person.
ellauri222.html on line 213: Podhoretz told Leader that he considered all of Bellow’s characters puppets. And there is something animatronic about them. This is especially true in “Augie March,” where the extended procession of too vivid personalities is like a Wes Anderson movie. Bellow tended to make his characters look the way a child sees grownups, unalterable cartoons, weirdly unself-conscious in their one-dimensionality.
ellauri222.html on line 265: this time the overall effect was not satisfactory. I was particularly aware of the absence of distance that the writer must put space between himself and the characters in his book. There should be a certain detachment from the writer's own passions. I speak as one who in Herzog committed the same sin. There I hoped that comic effects might protect me. Nevertheless I crossed the border too many times to raid the enemy camp. But then Herzog was a chump, a failed intellectual and at bottom a sentimentalist. In your case, the man who gives us Eve and Sylphid is an enragé, a fanatic-for-real.
ellauri222.html on line 267: But that's not the outstanding defect of IMAC. Your reader, out of respect for your powers, is more than willing to go along with you. He will not, as I was not, be able to go along with your Ira, probably the least attractive of all your characters. I assume that you can no more bear Ira than the reader can. But you stand loyally by this cast-iron klutz – a big strong stupid man who attracts you for reasons invisible to me.
ellauri222.html on line 277: One of your persistent themes is the purgation one can obtain only through rage. The forces of aggression are liberating, etc. And I can see that as a legitimate point of view. OK if your characters are titans. But Eve is simply a pitiful woman and Sylphid is a pampered, wicked fat girl with a bison hump. These are not titans.
ellauri222.html on line 365: One of the major themes of the novel is the human tendency toward dishonesty. Augie is not a particularly honest character. He cheats, he steals, and lies quite frequently. Dishonesty characterizes many of the other characters in the novel, including Grandma, Einhorn, Mimi (who lies to doctors that she thinks her pregnancy abnormal), Stella, Agnes, and Mintouchian. The only characters who do not lie or cheat are the simple-minded Mama and Georgie. Lying appears necessary for people to survive in a Machiavellian world. As Mintouchian puts it: “I’m a great admirer of our species. I stand in awe of the genius of the race. But a large part of this genius is devoted to lying and seeming what you are not.” The ethics of the American Jew. The book starts with a lie: I am an American, Chicago born."
ellauri222.html on line 739: Before discussing some of the minor characters in this story, it should be borne in mind that each of them can be analyzed in connection with Candide who may accept or reject their beliefs or principles. Among such supplementary characters, we can single out Lord Pococurante. To a certain degree, even his name is symbolic; the word “pococurante” is of Italian origin and it can be translated into English as indifferent. He perfectly corresponds to his name. At the very beginning of the fifteenth chapter, Voltaire makes the reader feel that Lord Pococurante is tired of everything. He says, “I make them lie with me sometimes, for I am very tired of the ladies of the town, of their coquetries, of their jealousies, of their quarrels, of their humors, of their pettinesses, of their pride, of their follies” (Voltaire, 70)
ellauri222.html on line 761: The first novel to display Bellow's characteristic expansiveness and optimism, The Adventures of Augie March presents a dazzling panorama of comically eccentric characters in a picaresque tale narrated by the irrepressible title character, who defends human possibility by embracing the hope that "There may gods turn up anywhere." Subsequent novels vary in tone from the intensity of Seize the Day to the exuberance of Henderson the Rain King to the ironic ambiguity of Herzog, but all explore the nature of human male freedom and the tensions between the individual's need for self and the needs of society. Augie March, Tommy Wilhelm, Eugene Henderson, and Moses Herzog all yearn to please themselves by finding the beauty in life. By creating these highly individualistic characters and the milieu in which they move, Bellow reveals the flashes of the extraordinary in the ordinary that make such fun possible and rejects the attitude that everyday life must be trivial and ignoble. It is like that just for the losers.
ellauri222.html on line 791: Because Bellow refuses to devalue human potential in even his bleakest scenarios, his novels often come under attack for their affirmative endings. Augie hails himself as a new Columbus, the rediscoverer of America; Henderson, while triumphantly returning home with his new charges, dances with glee, "leaping, leaping, pounding, and tingling over the pure white lining of the grey Arctic silence." Herzog inexplicably evades his fate, emerging from the flux of his tortured mind to reclaim his sanity and his confidence in the future. Yet, the victories of Bellow's heroes are not unqualified, but rather as ambiguous and tenuous as is the human condition itself. As a new Columbus, Augie speaks from exile in Europe; in holding the orphan child, Henderson recalls the pain of his separation from his own father; by renouncing his self-pity and his murderous rage at his ex-wife Madeleine, Herzog reduces but does not expiate his guilt. Nonetheless, these characters earn whatever spiritual victory they reap through their penes and their refusal to succumb to doubt and cynicism. Through their perseverance in seeking the truth of human existence, they ultimately renew themselves by transcending to an intuitive spiritual awareness that is no less real because it must be taken on faith.
ellauri222.html on line 793: In all of Bellow's works, an appreciation of the cultural context in which his protagonists struggle is essential to understanding these characters and their search for renewal. Bellow's vision centers almost exclusively on Jewish male experience in contemporary urban America. Proud of their heritage, his heroes are usually second-generation Jewish immigrants who seek to discover how they can live meaningfully in their American present while honoring their skinless knobs. Much of their ability to maintain their belief in humanity despite their knowledge of the world can be attributed to the affirmative nature of the Jewish culture. Bellovian heroes live in a WASP society in which they are only partially assimilated. However, as Jews have done historically, they maintain their concern for morality and community despite their cultural displacement.
ellauri222.html on line 795: Though in some ways separated from American society, Bellow's protagonists also strongly connect their identity with America. Augie begins his adventures by claiming, "I am an American, Chicago born—Chicago, that somber city." Almost all of Bellow's novels take place in an American city, most often Chicago or New York. Through his depiction of urban reality, Bellow anchors his novels in the actual world, and he uses the city as his central metaphor for contemporary materialism. Although recognizing the importance of history and memory, Bellow's novels maintain a constant engagement with the present moment. His characters move in the real world, confronting sensuous images of urban chaos and clutter that often threaten to overwhelm them. Looking down on the Hudson River, Tommy Wilhelm sees "tugs with matted beards of cordage" and "the red bones of new apartments rising on the bluffs." Sammler denounces contemporary New Yorkers for the "free ways of barbarism" that they practice beneath the guise of "civilized order, property rights [and] refined technological organization." In Humboldt's Gift, which is replete with images of cannibalism and vampirism, Charlie Citrone sees Von Trenck, the source of his material success, as "the blood-scent that attracted the sharks of Chicago." Acknowledging the influence of the city on his fiction, Bellow himself has remarked, "I don't know how I could possibly separate my knowledge of life such as it is, from the city. I could no more tell you how deeply it's gotten into my bones than the lady who paints radium dials in the clock factory can tell you." However, although the city serves to identify the deterministic social pressures that threaten to destroy civilization, Bellow's heroes refuse to become its victims and instead draw on their latent nondeterministic resources of vitality to reassert their uniquely American belief in individual freedom, as well as their faith in the possibility of community.
ellauri222.html on line 797: Except for Clara Velde in A Theft, the protagonists in Bellow's novels and novellas are all male. The Bellovian hero typically seeks erotic pleasure, emotional security, and egoistic confirmation from the women in his life. In marriage, his relationships with women are conflicted, and he often retreats from his role as husband to a sensuous but selfish and demanding wife who paradoxically represents both his yearning for freewheeling sex happiness and society's pressure to relinquish the freedom so essential to his self-realization. Like his male characters who all are Saul lookalikes, Bellow's females are often interchangeable and serve roles of little dramatic import. However, although the author has come under increasing criticism for his superficial treatment of women, his depiction of women and male-female relationships serves to reinforce the psychological crisis that each male protagonist must negotiate to empty their scrotums so as to achieve peace and fulfillment.
ellauri222.html on line 1017: 20-25 is too much.12 is workable. Depending on whose on the team. I think 7-9 is too little characters.12 gives you more possibilities.
ellauri236.html on line 206: Until recently the characteristic adventure stories of the English-speaking peoples have been stories in which the hero fights against odds. This is true all the way from Robin Hood to Pop-eye the Sailor. Perhaps the basic myth of the Western world is Jack the Giant-killer, but to be brought up to date this should be renamed Jack the Dwarf-killer, and there already exists a considerable literature which teaches, either overtly or implicitly, that one should side with the big man against the little man. Most of what is now written about foreign policy is simply an embroidery on this theme, and for several decades such phrases as ‘Play the game’, ‘Don't hit a man when he's down’ and ‘It's not cricket’ have never failed to draw a snigger from anyone of intellectual pretensions. What is comparatively new is to find the accepted pattern, according to which (a) right is right and wrong is wrong, whoever wins, and (b) weakness must be respected, disappearing from popular literature as well. When I first read D. H. Lawrence's novels, at the age of about twenty, I was puzzled by the fact that there did not seem to be any classification of the characters into ‘good’ and ‘bad’. Lawrence seemed to sympathize with all of them about equally, and this was so unusual as to give me the feeling of having lost my bearings. Today no one would think of looking for heroes and villains in a serious novel, but in lowbrow fiction one still expects to find a sharp distinction between right and wrong and between legality and illegality. The common people, on the whole, are still living in the world of absolute good and evil from which the intellectuals have long since escaped. But the popularity of No Orchids and the American books and magazines to which it is akin shows how rapidly the doctrine of ‘realism’ is gaining ground.
ellauri236.html on line 514: Over the years, Chase developed a distinct, signature style in his writing that was fast-paced, with little explanations or details about the surroundings or weather or the unreliable characters. Characters in his novels and short stories would be more coherent than consistent who acted and reacted with unbreakable logic. Punchy sentences, short bursts of dialogue in authentic sounding dictionary slang with plenty of action were the characteristics of his writing.
ellauri243.html on line 486: It is clear that Dale Brown never expected to be as successful as he has been. This is clear by his killing off of some characters, only to be resurrected in subsequent novels. He originally only intended to write 3 novels for his publisher. Now, 24 books later, he is an accomplished author and his fans are eagerly awaiting his next novel teeming with revenants.
ellauri243.html on line 506: Brown’s books have never made it into movies. The closest they have come is with some of the characters appearing in computer games. When asked the question on his website, he said it would be cool if his books could be made into movies, however he doesn’t have an agent in Hollywood so the chances are low.
ellauri243.html on line 730: Endymion is very like Benjy´s autobiography, with his boring English politics woven into the thread of the story. The action and conversations are distributed between characters who had figured in English politics and the fashionable romances of Europe during the last forty years.
ellauri244.html on line 439: Faye Madden's novels are sweet and wholesome, and through her richly crafted characters she explores all the heartache, pain, yet ultimately joyous happiness love brings, however that journey may unfold. Many of her novels explore this through the prism of a second chance romance, whilst others focus on love lost and found, or in unrequited love.
ellauri247.html on line 201: John Bellairs referenced Smollett's works in his Johnny Dixon series, where Professor Roderick Random Childermass reveals that his late father Marcus, an English professor, had named all his sons after characters in Smollett's works: Roderick Random, Peregrine Pickle, Humphry Clinker, and even "Ferdinand Count Fathom", who usually signed his name F. C. F. Childermass.
ellauri247.html on line 428: https://www.poetryfoundation.org/poems/44893/epistles-to-several-persons-epistle-ii-to-a-lady-on-the-characters-of-women
ellauri248.html on line 83: Matt rated it shit: If I could, I'd probably rate this at 1.5 stars-- it ultimately pissed me off, and annoyed me throughout, but it was good enough to keep me reading and I suppose that should count for something. Maybe my opinion has been influenced by reading Stieg Larsson's masterful THE GIRL WITH THE DRAGON TATTOO FOR BOYS immediately prior to this one. That book wasn't perfect, but it had characters you rooted for, didn't wallow too much in pop culture references, and most importantly IT SOLVED THE FRIGGING MYSTERY.
ellauri248.html on line 118: I loved this book to pieces, even though I could not shake off the overwhelming feeling of sadness and hollowness after finishing it. I loved it despite (or maybe because?) of the frustrating incompleteness of some plot lines, the frequent lack of resolution, and the unfulfillment of my wishes for the characters and events. [noir romance]
ellauri248.html on line 127: Emily May rated it amazing: Needless to say, I was completely expecting something a bit dark and twisted, a creepy psychological murder mystery with an outcome I never would have seen coming. And I got that. But I never expected this book to leave me feeling so... sad. And you know why? Because I cared. Ms French carefully builds up a complex personality for each of her characters, complete with a past, a sense of humour and some serious issues to go with it all, and you can't help but care what happens to the detectives even more than you care what happens with the case.
ellauri262.html on line 211: The books contain Christian ideas intended to be easily accessible to young readers. In addition to Christian themes, Lewis also borrows characters from Greek and Roman mythology, as well as traditional British and Irish fairy tales.
ellauri262.html on line 308: The scholar Patrick Curry, defending Tolkien against the feminist scholar Catherine R. Stimpson's charge that "Tolkien is irritatingly, blandly, traditionally masculine....He makes his women characters, no matter what their rank, the most hackneyed of stereotypes. They are either beautiful and distant, simply distant, or simply simple", comments that "it is tempting to reply, guilty as charged", agreeing that Tolkien is "paternalistic", though he objects that Galadriel and Éowyn have more to them than Stimpson alleges.
ellauri262.html on line 398: When Sayers was six, her father started teaching her Latin.[4] She grew up in the tiny village of Bluntisham in Huntingdonshire after her father was given the living there as rector of Bluntisham-cum-Earith. The church graveyard next to the elegant Regency-style rectory features the surnames of several characters from her mystery The Nine Tailors. She was inspired by her father's restoration of the Bluntisham church bells in 1910. The nearby River Great Ouse and the Fens invite comparison with the book's vivid description of a massive flood around the village.
ellauri263.html on line 393: Yet both shows get you binge-watching, despite irritating plot holes, political sanctimony and misrepresentations of Muslims or Palestinians. It’s a bit like speed-reading a cheap thriller, ignoring the bad dialogue and badly drawn characters, along with the mounting self-loathing over the time you’re squandering, just for the sugar rush of the story’s end.
ellauri264.html on line 156: Brahmjot Kaur of NBC News wrote that the accusations of stereotypes had been rebutted by some who noted characters in other television shows invented by Kaling shared similar personality traits to the titular protagonist, while citing Kaling's past influences.
ellauri264.html on line 168: Its edginess comes at the expense of its own characters and punishes the audience for being invested. Like a certain Mystery Inc. member rummaging around in the dark for her glasses, the series is unfocused, confused, and desperately lost. In the original, there were just 2 races, white termite ape and dog. You knew where everything was at.
ellauri266.html on line 256: Knew nothing about the characters. Nothing made sense. Nothing was believable. Ending was awful and left me and my wife in shock as to what we even watched. The movie was dragged out and extremely boring. I was not inspired and got nothing out of this movie. The acting was good however, but the story was one of the worst. If I got to come up with my own assumptions, then you did something wrong.
ellauri266.html on line 296: I signed up for rotten tomatoes today specifically to rate this movie a ZERO. It was a complete waste of time. The movie is lax and boring. Characters are completely monotone throughout. I felt no empathy or emotion for any of the characters. It was a snooze fest.
ellauri269.html on line 54: An important advance over these traditional classifications is TV Tropes. TV Tropes is a wiki website that collects and documents descriptions and examples of plot conventions and devices, which it refers to as tropes, within many creative works. Since its establishment in 2004, the site has shifted focus from covering various tropes to those in general media, toys, writings, and their associated fandoms, as well as some non-media subjects such as history, geography, and politics. The nature of the site as a provider of commentary on pop culture and fiction has attracted attention and criticism from several web personalities and blogs. Non-Playing Characters are non-voluntarist characters who let others make their life decisions.
ellauri269.html on line 424: Originally Answered: Is it possible for people to have sex in WoW? The short answer is no - there are no specific in-game mechanics that allows characters to have intercourse with each other.
ellauri270.html on line 304: For Jackson, The Lottery is more than a ghost story; “The Daemon Lover” in particular and the collection in general critique a society that fails to protect women from becoming victims of strangers or neighbors. As in “The Lottery,” Jackson’s shocking account of a housewife’s ritualistic stoning, or in “The Pillar of Salt,” which traces a wife’s horror and growing hysteria when she has lost her way, the threatened characters are women. Although many of Jackson’s stories are modern versions of the folk tale of a young wife’s abduction by the devil, and although her characters are involved in terrifying circumstances, the point is that these tales seem true: They are rooted in reality. Thus, Jackson exposes the threat to women’s lives in a society that condones the daemon lover.
ellauri270.html on line 357: Snap shots of village life, like the conversation between Mrs. Delacroix and Mrs. Graves, develop the humanity of the characters and makes this seem just like any other small town where everyone knows each other. The small talk juxtaposed against murder (oops now I let the cat out of the bag, sorry) is what makes the story so powerful. Janey is taking on a “man’s role,” so she is assumed to need encouragement and support.
ellauri283.html on line 114: Beyond the Heavens is a very ethereal and mystical experience, one unlike any other movie we have reviewed. However, this is not a good thing. The ‘plot’ is very unclear and murky, consisting of vague and meandering ideas and cryptic dialogue. It’s like Corbin Bernson is winking at the audience with every scene, waiting to reveal some great secret, but it’s never revealed. The whole has a very tip-of-the-tongue feel, like the characters know something you don’t but never intend to let you in on the secret. As the characters wax eloquent and philosophize about the true nature of reality, the viewer is left, in the end, with a more confusing view of reality than before. Is Bernson advocating for or against Darwinism? Is he a creationist? Does he really believe that angels come to earth on the tails of comets? Is Bernson suggesting that reality is not what it seems? If so, what is his view of reality? Only God knows the answers to these questions as Bernson spends 90 minutes toying with his ‘big reveal’ and dancing around whatever his philosophical worldview is. It’s basically just a waste of your time.
ellauri302.html on line 141: Enter Shloyme and Hindel. The first is a tall, sturdy chap; wears long boots and a short coat. He is a knavish fellow, whose eyes blink with stealthy cunning as he speaks. The second is a rather old girl, with a wan face and wearing clothes much too young for her years. Shloyme and Hindel are evidently at ease and feel at home. They are clearly evil characters.
ellauri332.html on line 456: The movie has removed the character's (characters'?) sense of guilt, and therefore the story's drama.
ellauri333.html on line 225: The entire life story of Rama, Sita and their companions allegorically discusses duties, rights and social responsibilities of an individual. It illustrates dharma and dharmic living through model clay characters.
ellauri333.html on line 238: The earliest mention of a divine monkey, interpreted by some scholars as the proto-Hanuman, is in hymn 10.86 of the Rigveda, dated to between 1500 and 1200 BCE. The twenty-three verses of the hymn are a metaphorical and riddle-filled legend. It is presented as a dialogue between multiple characters: the god Indra, his wife Indrani and an energetic monkey it refers to as Virzakapi and his wife Kapi. Ngapa kapi kuyu. The hymn opens with Indrani complaining to Indra that some of the soma offerings for Indra have been allocated to the energetic and strong monkey, and the people are forgetting Indra. The king of the gods, Indra, responds by telling his wife that the living being (monkey) that bothers her is to be seen as a friend, and that they should make an effort to coexist peacefully. The hymn closes with all agreeing that they should come together in Indra's house and share the wealth of the offerings.
ellauri368.html on line 320: Then came Perl, show inserted more than just a grain of sand into the happy oyster of hasidic life. Joseph Perl hailed from Tarnopol and became an erudite follower of the Jewish Enlightenment, or haskalah. He learned German and published an attack on the Hasidim in that language, Ueber das Wesen der Sekte Hasidim (on the essence of the Hasidic Sect, 1816). In so doing he aroused the ire of the hasidim; Perl encodes both his scorn and their fury into his epistolary novel, Revealer of Secrets. The plot of Revealer of Secrets revolves around an offensive anti-hasidic book in German, which is evidently Perl's own tract dating from 1816. The hasidic characters in Revealer of Secrets plot to find and destroy the offending book; in the course of their fictional search, they reveal many of the baser traits that Perl attacked in his 1816 essay.
ellauri368.html on line 335: In 1819 he continued his writings against Hasidism by publishing a novel about the subject. In the novel, characters search for the original copy of a recently published anti-Hasidic book. The novel was originally published anonymously.
ellauri389.html on line 93: When "Old China" appeared in 1823, British porcelain had finally gained supremacy over Chinese porcelain. This revolution in the Sino-British trade imbalance was marked when the British porcelain manufacturer Spode began to furnish the Canton branch of the East India Company with English-manufactured "old blue," to compete in local Chinese markets against domestically manufactured porcelain. The event inverted the previously economically crippling import of porcelain to Britain: by 1826 the flow of silver between the countries ran in Britain's favor. The first translation into Chinese of k the Chinese characters that certified real, Chinese-made porcelain. Haha the irony of it all.
ellauri389.html on line 395: About August 1800 he took the small mansion of Low Brathay, near Ambleside, where he received Southey and his wife on their return from Portugal, and where De Quincey made his acquaintance in 1807. At that time he appeared enviably happy, enjoying an ample allowance from his father, and blessed with a numerous family of children, and a wife whom De Quincey declares to have been "as a wife and mother unsurpassed by anybody I have known in either of those characters."
ellauri392.html on line 750: it has been shown in literature, art and film, elegantly and majestically but very often by the latent thematic structure and by the strong psychological portraits of their characters. (The American film industry is mainly run by - guess who.) Jewish authors always have in their heads the immense and sacred goal: glorifying the history, the roots and customs of the Jewish people, and specifically the permanent expression of Jewish self-compassion.
xxx/ellauri044.html on line 431: are not separate characters who cross the path of Sinclair, as Matzig
xxx/ellauri044.html on line 434: “characters“, because symbols must not only be understood., accord ing to
xxx/ellauri059.html on line 350: He is certainly left at the end of the play with very little to his name, although at least he is able to keep his property until his death. I think it would be difficult not to feel some sympathy for Shylock as all the goy characters celebrate at the end while he is all alone. It would be interesting to revisit Shylock in the years following and find out what he did next. Did he start to collect another big ball of thread.
xxx/ellauri059.html on line 354: However, when we take into account circumstances that took place before the play, as well as what happens over the course of the plot, Shylock begins to seem a like a victim as well as a villain, and his fate seems excessively harsh. In addition to the abuse Antonio and other Christians routinely subject him to, Shylock lost his beloved wife, Leah. His daughter, Jessica, runs away from home with money and jewels she’s stolen from him, including a ring Leah gave him before she died. Although Solanio reports that Shylock’s was equally upset by the loss of his money as his daughter (“My daughter! O my ducats! O my daughter!” (II. Viii.), we must remember that we are getting a second-hand view through the eyes of an anti-Semitic character who compares Shylock to the devil. As we learn from Shylock himself, the Christians of Venice are happy to borrow money from him, but refuse to accept him as part of Venetian society because they equate his religion with Satan. Shylock has been treated as less than human his whole life, because he is not a Christian. Yet when he tries to collect on a loan, the other characters insist that he act like a Christian and forgive the debt.
xxx/ellauri068.html on line 115: Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan is a 2006 British-American mockumentary comedy film directed by Larry Charles and starring Sacha Baron Cohen. Baron Cohen stars as Borat Sagdiyev, a fictitious Kazakhstani journalist who travels through the United States to make a documentary which features real-life interactions with Americans. Much of the film features unscripted vignettes of Borat interviewing and interacting with real-life Americans who believe he is a foreigner with little or no understanding of American customs. It is the second of four films built around Baron Cohen's characters from Da Ali G Show (2000–2004): the first, Ali G Indahouse, was released in 2002, and featured a cameo by Borat; the third, Brüno, was released in 2009; and the sequel to Borat, Borat Subsequent Moviefilm, was released in 2020.
xxx/ellauri068.html on line 217: Next, it occurred to me that I could answer the question about the sex life of Borges with platitudes: Borges scarcely refers to sex in his work and has scarcely any female characters, which “could be” a sign of shortcomings in his character, of machismo, asexuality, fear of women; his first marriage “could be considered” a failure and the second as a mere formality, made official shortly before his death just so he could leave his estate to Maria Kodama, his lover/scribe/assistant/caregiver; “without a doubt” the contempt he felt for psychoanalysis was because it made him feel exposed, and so on. I have read or heard all these phrases, with all their imaginable malice, often together and separately. Although they all seem terrible to me, it is now acceptable to speak ill in this way under the pretext of “demystifying” whomever the target may be. I have also noticed that much of the news about Borges in recent years has been, in one way or another, about scandals and disputes.
xxx/ellauri075.html on line 459: He is a self-proclaimed satirist whose trademark technique, as a writer, is the expression of extreme acts and opinions in an affectless style. His novels commonly share recurring characters.
xxx/ellauri085.html on line 173: “Yevtuschenko” is likely an allusion to Soviet-Russian poet Yevgeny Yevtushenko, who never produced a textbook on clinical psychology. But it's fascinating—throughout Infinite Jest, Wallace and his characters consistently attribute fabricated texts to real people! See, for example, “Gilles Deleuze's posthumous Incest and the Life of Death in Capitalist Entertainment” (792).
xxx/ellauri085.html on line 177: In one of the more disturbing case histories in the novel, a stable father/husband begins obsessing over the television program M*A*S*H (taking meticulous and incoherent notes), gradually losing his mind speaking only in cryptic references to M*A*S*H and sending letters to the characters, not the actors!
xxx/ellauri086.html on line 919: The essay states Poe's conviction that a work of fiction should be written only after the author has decided how it is to end and which emotional response, or "effect", he wishes to create, commonly known as the "unity of effect". Once this effect has been determined, the writer should decide all other matters pertaining to the composition of the work, including tone, theme, setting, characters, conflict, and plot. In this case, Poe logically decides on "the death... of a beautiful woman" as it "is unquestionably the most poetical topic in the world, and equally is it beyond doubt that the lips best suited for such topic are those of a bereaved lover." Some commentators have taken this to imply that pure poetry can only be attained by the eradication of female beauty. Biographers and critics have often suggested that Poe's obsession with this theme stems from the repeated loss of women throughout his life, including his mother Eliza Poe, his foster mother Frances Allan and, later, his wife Virginia.
xxx/ellauri087.html on line 481: In The Time Traveler's Wife, by Audrey Niffenegger, one of the main characters, Henry, recites the line "To world enough, and time," at several crucial points in the story.
xxx/ellauri091.html on line 292: Hauptmann's early dramas reflect the influence of Henrik Ibsen, but the production of Die Weber, a dramatization of the Silesian weavers' revolt of 1844, brought him fame as the leading playwright of his generation. Hauptmann did not only want to give realistic details, but he paid a great deal of attention to historical accuracy, and studied various dialects. His weavers are "flat-chested, coughing creatures of the looms, whose knees are bent with much sitting." The women's clothes are ragged, but some of the young girls are not without charm � they have "delicate figures, large protruding melancholy eyes." Structurally the play, which was at first banned, was innovative � there is no single, individual hero in the cast of more than 70 characters. (Didn't exceed the 80 character limit of first generation mainframe computers.)
xxx/ellauri103.html on line 156: In an interview with the IRA Bomb magazine, Drivel listed her novels' subject matter up to the publication of We Need to Talk About Kevin as "anthropology of the Northern Irish Trouble, first love, rock-and-roll drumming and immigration, , demography and epidemiology, inheritance, tennis and spousal competition, terrorism and cults of personality". Rather than writing traditionally sympathetic characters, Drivel prefers to create characters like herself, who are "hard to love."
xxx/ellauri103.html on line 168: In 2016 Shriver gave a controversial speech about cultural appropriation. Shriver had previously been criticized for her depiction of Latino and African-American characters in her book The Mandibles, which was described by one critic as racist and by another as politically misguided. In her Brisbane speech, Shriver contested these criticisms, saying writers ought to be entitled to write from any perspective, race, gender or background that they choose, even racist and politically misguided, in fact particularly so, because they sell best. The full text of her speech was published in the British newspaper The Guardian.
xxx/ellauri103.html on line 221: But in principle, I admire his courage – if only because he invited this kind of ethical forensics in a review out of San Francisco: “When a white male author writes as a young Nigerian girl, is it an act of empathy, or identity theft?” the reviewer asked. “When an author pretends to be someone he is not, he does it to tell a story outside of his own experiential range. But he has to in turn be careful that he is representing his characters, not using them for his plot.” Depends on who gets the money, I'd say. Chris Cleave hardly gave it all away to poor Nigerian gals.
xxx/ellauri103.html on line 223: Hold it. OK, he’s necessarily “representing” his characters, by portraying them on the page. But of course he’s using them for his plot! How could he not? They are his characters, to be manipulated at his whim, to fulfill whatever purpose he cares to put them to.
xxx/ellauri103.html on line 235: My most recent novel The Mandibles was taken to task by one reviewer for addressing an America that is “straight and white”. It happens that this is a multigenerational family saga – about a white family. I wasn’t instinctively inclined to insert a transvestite or bisexual, with issues that might distract from my central subject matter of apocalyptic economics. Yet the implication of this criticism is that we novelists need to plug in representatives of a variety of groups in our cast of characters, as if filling out the entering class of freshmen at a university with strict diversity requirements. Besides, America IS straight and white, at least the America I know about. I haven't had time to appropriate any Nigerian girls yet, nor Afro Americans even.
xxx/ellauri103.html on line 237: You do indeed see just this brand of tokenism in television. There was a point in the latter 1990s at which suddenly every sitcom and drama in sight had to have a gay or lesbian character or couple. That was good news as a voucher of the success of the gay rights movement, but it still grew a bit tiresome: look at us, our show is so hip, one of the characters is homosexual! It is SOOO tiresome, why can't we just watch the superbly funny middle class straight white Americans instead?
xxx/ellauri103.html on line 239: We’re now going through the same fashionable exercise in relation to the transgender characters in series like Transparent and Orange is the New Black.
xxx/ellauri103.html on line 240: Fine. But I still would like to reserve the right as a novelist to use only the characters that pertain to my story. Which is NOT going to be about some funny lesbians and fat blacks, as long as I have a say on this. And I do, I do! For I am a straight white middle-class American, and thank God they still have the say!
xxx/ellauri103.html on line 250: Thus in the world of identity politics, fiction writers better be careful. If we do choose to import representatives of protected groups, special rules apply. If a character happens to be black, they have to be treated with kid gloves, and never be placed in scenes that, taken out of context, might seem disrespectful. But that’s no way to write. We know that most criminals are black anyway, and many if not most blacks are criminal. Writing to hide that fact would be writing fiction, and we fiction writers have your responsibility toward the white audience. The burden is too great, the self-examination paralysing. The natural result of that kind of criticism in the Post is that next time I don’t use any black characters, lest they do or say anything that is short of perfectly admirable and lovely. (No ei munkaan olis pitänyt alottaa tätä albumia, jossa haukutaan törkimyxiä jotka sattuu olemaan naisia. Äkkiä se kääntyyy naisten haukkumisexi sillä tekosyyllä, että ne sattuu olemaan törkimyxiä. Ehkä se onkin sitä!)
xxx/ellauri103.html on line 254: Especially for writers from traditionally privileged demographics, the message seems to be that it’s a whole lot safer just to make all your characters from that same demographic, so you can be as hard on them as you care to be, and do with them what you like. Availing yourself of a diverse cast, you are not free; you have inadvertently invited a host of regulations upon your head, as if just having joined the EU. Use different races, ethnicities, and minority gender identities, and you are being watched.
xxx/ellauri103.html on line 255: I confess that this climate of scrutiny has got under my lucidly white skin. When I was first starting out as a novelist, I didn’t hesitate to write black characters, for example, or to avail myself of black dialects, for which, having grown up in the American South, I had a pretty good ear. I am now much more anxious about depicting characters of different races, and accents make me nervous. I try my best to talk average middle class American, but occasionally a few bits of North Carolina slip out. Sorry about that. Here's how I'd sound if I din't steal from anyone but the likes of me:
xxx/ellauri103.html on line 260: In describing a second-generation Mexican American who’s married to one of my main characters in The Mandibles, I took care to write his dialogue in standard American English, to specify that he spoke without an accent, and to explain that he only dropped Spanish expressions tongue-in-cheek. I would certainly think twice – more than twice – about ever writing a whole novel, or even a goodly chunk of one, from the perspective of a character whose race is different from my own – because I may sell myself as an iconoclast, but I’m as anxious as the next person about attracting big money. But I think that’s a loss. I think that indicates a contraction of my fictional universe that is not good for the books, and not good for my purse.
xxx/ellauri103.html on line 270: I was wildly impatient with the way we assess people’s characters these days in accordance with their weight, and tried to get on the page my dismay at how much energy people waste on this matter, sometimes anguishing for years over a few excess pounds. Both author and book were on the side of the angels, or so you would think.
xxx/ellauri103.html on line 281: I reviewed a novel recently that I had regretfully to give a thumbs-down, though it was terribly well intended; its heart was in the right place. But in relating the Chinese immigrant experience in America, the author put forward characters that were mostly Chinese. That is, that’s sort of all they were: Chinese. Which isn’t enough. They ought to be specifically American Chinese immigrants, believers in the American Dream. That would have fattened them out.
xxx/ellauri114.html on line 124: Ron Maxwell is (or was) an ardent Trump supporter. He fears some truly inspired Shakespeare director is sure to portray Duncan as Trump, so that Macbeth can spend a full five minutes frenetically stabbing him in his sleep, which should provide ample time for the Trump hating zealots to achieve their ultimate catharsis. But this does not make Trump a villain. As with all of Shakespeares characters, Trump is entirely human in his complexity and contradiction. Shakespeare for dummies indeed.
xxx/ellauri116.html on line 266: Conceived as a novel of eroticism, this short work is centered on the quest for worldly happiness and the individual's prospects of attaining it. The medium of the quest is sensory and sexual fulfillment, and Vargas Llosa's characters conduct their lives assuming that this fulfillment is both the cause and the effect of their happiness. As in other erotic texts, the characters' responses and relationships are fueled exclusively by sensual and sexual stimulation...
xxx/ellauri116.html on line 268: The four characters of the novel are sketchily described, and their present circumstances are limited to the details that permit the development of the action of the novel. Since the story takes place in a few day's time, the characters remain largely devoid of a past.
xxx/ellauri122.html on line 808: With characters that are semi-autobiographical, O'Brien creates a style that blurs fiction and non-fiction. Vietnam was not so bad after all, what doesn't kill you makes you stronger.
xxx/ellauri122.html on line 818: A frighteningly prophetic novel, 'Fahrenheit 451' is set in a dystopian future where there are no books, just smart phones. For the protagonist, Montag, it all seems normal -- until the day he gets a glimpse of the past. With a riveting plot and solid characters, the book draws readers into its imagined world. Totally outdayed. Books are being yurned inyo lampshades as we speak. Who wants them anyway, TLDR.
xxx/ellauri122.html on line 822: 'A Confederacy of Dunces' was written 11 years after Toole committed suicide. Ignatius O'Reilly is a 30-year-old man living with his mother in New Orleans, who comes into contact with many French Quarter characters while searching for employment. Though comical, there is a deep streak of melancholy that runs through Reilly's character, and Toole's ability to combine these two aspects beautifully won him the Pulitzer Prize for fiction in 1981. The moral (as usual): everybody is the Steven of his or her own life. A complete turd. Supposedly funny. Parochial baloney.
xxx/ellauri122.html on line 841: introduce an assorted cast of characters and their
xxx/ellauri123.html on line 670: I don’t know how long the rules from the movie will last for you on this never-ending mission, but, like one of its characters, I’d like to remind you:
xxx/ellauri124.html on line 243: All the books above had unforgettable characters, great plot development, and told stories that kept me turning the pages. They also all had something to say about people and the human condition.
xxx/ellauri136.html on line 123: There is no attempt ever made by the wizarding world to integrate into “normal” human society. The train to Hogwart’s is on an invisible platform (forgive me if I get the details slightly wrong: it’s been a while); characters travel by chimney or broom; everything is done in secret.
xxx/ellauri136.html on line 180: The idea of writing a book is so you can break all your rules, personal or not. The point of a writer is to write about characters you probably could never become or want to become. The best writers write outside of themselves. But with that written, not all writers write fiction. Some write memoirs or autobiographies. But maybe the personal rule they are breaking is publishing their personal life.
xxx/ellauri136.html on line 181: But to answer your question: I do have some personal rules like all my main characters can’t wear glasses ‘cause that’s geeky and I’m geeky (I also wear glasses). But another one is that the main character has to be a smoker. That’s not so true anymore, so I broke that one.
xxx/ellauri137.html on line 641: If you're buying this trash for a class then you're a sucker, turn back now! Hopefully Edward isn't still teaching his own tasteless fan fiction in a college setting. It's a misunderstood teenager's journey through satire complete with crude, unoriginal and stereotypical takes on characters from the lens of a self insert hero amounting to little more than finger pointing. You'll be offended, sure, but with little substance left to interpret besides the authors very obvious discomfort with himself and others unlike him. (Make some new friends, Edward.) Beyond being ridiculous as a required reading piece for a class, actually paying for this garbage is insulting, and of course it is an absolute drag to slog through. Nobody's going to publish this except on demand printing obviously and that's why you're buying it from Amazon!!!
xxx/ellauri137.html on line 703: Ghost of Tsushima is a video game. Its main characters never existed in real historical texts. Jin Sakai and his uncle, Lord Shimura, are completely fictional characters.
xxx/ellauri137.html on line 775: J. Condon liked her books that took place in India and recommended the author to friends but this book was terrible. No plot, just lots of running around with drama. All of the characters behaved weirdly. May keep me from buying more books by her.
xxx/ellauri139.html on line 205: As the beginning of the conclusion shows, the end to the novel can hardly be considered a happy one. In most cases, whatever positive transformations the characters underwent through their friendship with Myshkin unravel, either because they were unable to sustain the wisdom they learned from him or because they were so traumatized by the cruel absurdity of their life that they are reduced to a state of helplessness.
xxx/ellauri139.html on line 326: ‘The Eve of St. Agnes‘ by John Keats is a celebration of an idealized love between two beautiful and heroic characters.
xxx/ellauri139.html on line 330: Within the castle, Madeline, one of the main characters of this story is stuck dancing amongst the guests. She has been informed by older women that this is a night during which a virgin lady, after following certain rituals, might in her dreams see the image of her true love. She is distracted by these thoughts and unable to enjoy the dance.
xxx/ellauri139.html on line 338: The two are able to make out outside the home without arousing suspicion and ‘The Eve of St. Agnes’ concludes with two characters, Angela, and the Beadsman, dying; their death acting as a symbol of a new generation that is now the focus of the world. This is one of Keaz' most loved poeams, with a wonderful happy ending (except for Angela and Beadsman).
xxx/ellauri149.html on line 381: Jesus Christ Superstar is a Rock Opera and (subverted?) Passion Play by Andrew Lloyd Webber and Tim Rice. Originally released as a Concept Album in 1970 (when Lloyd Webber and Rice were still in their very early twenties, no less!), it made its way to the Broadway and London stage in 1971, and was adapted into a film directed by Norman Jewison in 1973. An updated version was recorded sometime around 2000 by Webber's Really Useful Group for PBS. A filmed version of the UK arena tour starring Tom Munchin as Judas was released on DVD and digital in 2012, and a live adaptation starring John Lennon as Jesus, Sara Bareilles as Mary Magdalene and Alice Cooper as Herod that aired on NBC in 2018. The show lives on in stage productions and tours (and even non-theatrical tribute albums from fans who were more attracted to it as an album than a show) to this day. Inspired by… The Four Gospels of The Bible (specifically the arrival in Jerusalem and subsequent crucifixion of Jesus), it chronicles the last seven days of Jesus' life, focusing mainly on the characters of Jesus, Judas and Mary Magdalene. It's regarded among Andrew Lloyd Webber's best works, which is not saying much. It's a pseudo-sequel to Joseph and the Amazing Technicolor Dreamcoat, though this took a bit more liberty with the source material and is considerably less playful.
xxx/ellauri149.html on line 415: It probably originates from the old days, when the homosexuality taboo was serious enough that every gay pairing was considered a Crack Pairing, so when authors wrote same-sex characters as very intimate with each other, audiences largely accepted that they were just very good friends, and moved on, or when authors wrote outright references to homosexuality, most just laughed at the sheer absurdity of the thought.
xxx/ellauri157.html on line 449: Rabbi Nachman of Breslau (1772–1810) reminds us, in the same way that breaking is an inevitability, fixing is also an inevitability. We know the former is true; we don’t always believe the latter.Rabbi Nachman knew a thing or two about brokenness. His Hasidic tales often circle around characters who face their darkest moments and search profoundly for redemption. He authored a quote that became a famous Jewish song: “The entire world is a very narrow bridge. The key in crossing is not to be afraid. Only someone who has seen fear and overcome it could write these words.
xxx/ellauri169.html on line 184: Despite watching Disney movies and films many times, you may not realize that some characters, who you think are harmless, are actually villains. Alright, let’s find out the answer with the top 10 Disney Characters who are not as good as what you assume. Bah, boring. Minor sex offenders Peter Pan and Aladdin. I was expecting Mickey Mouse and Scrooge McDuck.
xxx/ellauri169.html on line 471: Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view.
xxx/ellauri176.html on line 146: Unusually for Zola, the novel contains very few characters and locations, and the lack of realist observation compared to outright fantasy is most uncharacteristic; however, the novel remains extraordinarily powerful and readable, and is considered one of Zola's most linguistically inventive and well-crafted works.
xxx/ellauri178.html on line 124: Mitähän Pili oli näkevinään John Le Carren vakoiluromaanissa A Perfect Spy? Vai pitikö se pikemminkin Davidista izestään? David reportedly enjoyed “playing” on his first wife’s suspicion that he was homosexual. The association between homosexuality and secrecy, furtiveness and potential treachery ensured gay characters were a recurring trope in Cold War-era spy fiction. John Le Carre's The Spy Who Came In From The Cold and Tinker, Tailor, Soldier, Spy include gay subtexts - made even more explicit in the 2011 movie adaptation of the latter. Merry Xmas from the onanist and the whore!
xxx/ellauri179.html on line 606: Ernest Hemingway squirmed as his second wife, Pauline, read aloud in 1927 from Henry James' novel The Awkward Age. Hemingway wondered why James bailed his characters out of their frequent inactivity by inserting a drawing room scene; and, as he was to do frequently during the next thirty years, he freely criticized the quality of James' works, "and knowing nothing about James he seems to me to be a shit." Too, he was quick to criticize the male protagonists of James,". .and the men all without any exception talk and think like fairies except a couple of caricatures of brutal outsiders". Carlos Baker observes that Hemingway, the "brutal outsider" himself, was at this time publishing Men Without Women, whose sales had reached 15,000 in the first three months after publication. But now Hemingway, the outsider, clearly in literary ascendance, was becoming acquainted with James' works; his artistic and personal recognition of James in future years was, for the most part, to take the form of a peculiar enmity. He was often to refer to James in highly derisive terms almost to the end of his own life. Hemingway's lese majeste towards him takes the form of a sporadic obsession that reveals more about Hemingway's maturity than James' imagined frailties.
xxx/ellauri179.html on line 608: Young Hemingway vilified James for his choice of themes and characters, but more importantly, he viciously maligned him for the traumatic but obscure accident that had occurred in his youth. Leon Edel has summarized the known facts of the injury as gathered from James´ writings and other sources. The "obscure hurt" was reported by James to have happened at the "same dark hour" of the onset of the Civil War, in other words, May 1861 (Edel, Years 176-77). But actually the causative factor, the fire at West Stables in Newport, occurred on the night of October 28, 1861 (177). James relates that he had jammed himself into "an acute angle between two fences" trying to make "a rusty, quasi-extemporised old engine work" in order to help put out the stable fire. Injured in this attempt, James later provided only incomplete details and stated that the disaster was "intimate, odious, horrid, catastrophe, obscure, and most entirely personal" (175).
xxx/ellauri179.html on line 795: Mencken´s love of women was driven in part by the sympathy he had for female literary characters (especially those brought to life by his friend Theodore Dreiser), as well as his almost fanatical love of his mother. Mencken supported women´s rights, even if he had no affection for the suffragist.
xxx/ellauri202.html on line 419: In 1933, the London Daily Mirror published a picture of a gravestone in a Jewish cemetery in Bucharest inscribed with some Hebrew characters and the name Adolf Hitler, but this Bucharest Hitler could not have been the Nazi leader’s grandfather. At the time, though, this picture sufficiently worried Hitler that he had the Nazi law defining Jewishness written to exclude Jesus Christ and himself.
xxx/ellauri209.html on line 132:
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xxx/ellauri218.html on line 92: She was a Southern writer who often wrote in a sardonic Southern Gothic style and relied heavily on regional settings and grotesque characters, often in violent situations. Her writing reflected her Roman Catholic faith and frequently examined questions of morality and ethics. Kauhua. Perhaps, in an indirect way, cinema allowed Lillo to become a writer.
xxx/ellauri218.html on line 295: Penn was born and raised in Atlanta. She started her company in 2008 at the age of 8. She spoke at the TEDWomen event in San Francisco, which was streamed live on TED.com. She has done 2 official TEDTalks and 1 TEDxxxTalk. Penn is also an animator and artist, drawing cartoon characters from an early age. She is the creator of an animated series called The Pollinators which focuses on the importance of birds and bees and other pollinators like men. She premiered a clip of The Pollinators and another animated series called Malicious Dishes at TEDWomen 2013. What a dish!
xxx/ellauri224.html on line 341: What was this book even about??? The "narrator" kept jumping around with what he was talking about, quite a few times I had no idea who was speaking, and what was the point of all the billionaires? They had absolutely nothing to do with the story! It took 104 pages of confusing and pointless narrative for the guy to tell the girl (after 40 years of knowing her, no less) that he wanted to be with her. This might have been one of the most anti-climactic love stories I have ever read. The secondary characters seemed completely irrelevant to the plotline and it appeared that their only function was to take up printable space. The story was unimaginative, lacking in depth, and devoid of anything memorable. The only reason I bothered to finish it was to get one step closer to finishing my goodreads reading challenge, else I would have ditched it at page 20.
xxx/ellauri225.html on line 273: Philosophical Taoism had a large role in Le Guin´s world view, and the influence of Taoist thought can be seen in many of her stories. Many of Le Guin´s protagonists, including in The Lathe of Heaven, embody the Taoist ideal of leaving things alone. The anthropologists of the Hainish universe try not to meddle with the cultures they encounter, while one of the earliest lessons Ged learns in A Wizard of Earthsea is not to use magic unless it is absolutely necessary. Taoist influence is evident in Le Guin´s depiction of equilibrium in the world of Earthsea: the archipelago is depicted as being based on a delicate balance, which is disrupted by somebody in each of the first three novels. This includes an equilibrium between land and sea, implicit in the name "Earthsea", between people and their natural environment, and a larger cosmic equilibrium, which wizards are tasked with maintaining. Another prominent Taoist idea is the reconciliation of opposites such as light and dark, or good and evil. A number of Hainish novels, The Dispossessed prominent among them, explored such a process of reconciliation. In the Earthsea universe, it is not the dark powers, but the characters´ misunderstanding of the balance of life, that is depicted as evil, in contrast to conventional Western stories in which good and evil are in constant conflict, wearing white and black stezons, respectively. The idea of leaving good enough alone, in particular, is deeply un-American.
xxx/ellauri225.html on line 277: Several of Le Guin´s works have featured stylistic or structural features that were unusual or even subversive. The heterogeneous structure of The Left Hand of Darkness, described as "distinctly post-modern" (eek!), was unusual for the time of its publication. This was in marked contrast to the structure of (primarily male-authored) traditional science fiction, which was straightforward and linear. The novel was framed as part of a report sent to the Ekumen by the protagonist Genly Ai after his time on the planet Gethen, thus suggesting that Ai was selecting and ordering the material, consisting of personal narration, diary extracts, Gethenian myths, and ethnological reports. Earthsea also employed an outlandishly unconventional narrative form described by scholar Mike Cadden
(Princeton U Senior Lecturer in Theater) as "free indirect discourse", in which the feelings of the protagonist are not directly separated from the narration, making the narrator seem sympathetic to the characters, and removing the skepticism towards a character´s thoughts and emotions that are a feature of more direct narration. Cadden suggests that this method leads to younger readers sympathizing directly with the characters, making it an effective technique for young-adult literature like Flaubert or Zola.
xxx/ellauri225.html on line 288: Le Guin´s attitude towards gender and feminism evolved considerably over time. Although The Left Hand of Darkness was seen as a landmark exploration of gender, it also received criticism for not going far enough. Reviewers pointed to its usage of masculine gender pronouns to describe its androgynous characters, the lack of androgynous characters portrayed in stereotypical feminine roles, and the portrayal of heterosexuality as the norm on Gethen.
xxx/ellauri225.html on line 300: Each volume of Anals of the Western Shore also describes the coming of age of its protagonists, and features explorations of being enslaved to one´s own power. The process of growing up is depicted as seeing beyond narrow choices the protagonists are presented with by society. In Gifts, Orrec and Gry realize that the powers their people possess can be used in two ways: for control and dominion, or for healing and nurturing. Which will it be? This recognition allows them to take a third choice, viz. make like a tree and leave. This wrestling with choice has been compared to the choices the characters are forced to make in Le Guin´s short story "The Ones Who Walk Away from Omelas". Similarly, Ged helps Tenar in The Tombs of Atuan to value herself and to find choices that she did not see, leading her to leave the Tombs with him. But remember, Le Guin never left Portland where her wimpy husband could barely hold a teaching job.
xxx/ellauri229.html on line 216: This list only includes those who are imaginary in the fiction they belong to. This excludes most theological characters, since they are taken at face value in the source.
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xxx/ellauri230.html on line 636: The chrysanthemum, together with the plum blossom, orchid and bamboo have been regarded as the four symbols of noble characters by Chinese scholars since ancient times. Chrysanthemum, in particular, has many meanings.
xxx/ellauri235.html on line 444: Of course, most readers will want to learn about Hornblower (one of the few fictional characters with a biography), where that name came from, and what mechanism the father used to develop the many characters in his novels. But who would be startled to learn that Forester played an important role in the propaganda used by the UK to encourage the US’s entrance into WW2?
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xxx/ellauri250.html on line 164: This is not a movie for the masses. It is, however, a small film about real life hardships and their tragic consequences. While the dialogue and careful pacing befits the original novel, the film sometimes drags because of it. Towne has not given us the great American love story, but he has presented us with a captivating view of 1933 Los Angeles and a tale of romance that involves us in the plight of the characters.
xxx/ellauri250.html on line 416: The endless train ride might be a metaphor for a liminal state where everything is up for grabs, but “Compartment No. 6” never makes the enigmas behind its characters’ actions and feelings matter much.
xxx/ellauri250.html on line 431: Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view. When used cannily, it can convey ambiguous neutrality and looming mystery, but, more often, it suggests the merely functional recording of action, which is exactly what’s delivered in “Compartment No. 6,” opening in theatres on Wednesday. The movie sinks, fast and deep, under the weight of dramatic shortcuts, overemphatic details, undercooked possibilities, unconsidered implications. It’s heavy-handed, tendentious, and regressive—and it should come as no surprise that it’s on the fifteen-film shortlist for the Best International Feature Oscar.
xxx/ellauri250.html on line 438: "The characters are mere digital figures for a cinematic algorithm." Että kehtaakin jenkki tämmöstä vielä sanoa, jenkkileffat ne vasta on koneella veisattuja täysin klisheisine hahmoineen, ota vaikka Netflixin menesstyssarja Wednesday. Ja tää on ehkä pahin pohjanoteeraus kaikista, mistä näkyy Amerikan oma täydellinen aateköyhyys: "Yet even the grand humanistic reverberations of ancient artifacts (ne kivipiirustuxet joite ei edes jään alta nähnyt) leave Kuosmanen’s directorial gaze uninspired, even uninterested."
xxx/ellauri280.html on line 74: We guarantee you will enjoy this novel. Before giving up too many spoilers, know that the story is filled with plenty of dangerous events and characters. There are too many characters to count. There are many reasons why this book is considered Ken Follett’s best book. We are looking forward to more of Follett’s upcoming books.
xxx/ellauri280.html on line 422: Palkinto tuli pistämättömästä mutta myötätuntoisesta penetraatiosta. Gurnah has criticized the practices in both British and American publishing that want to "make the alien seem alien" by marking "foreign" terms and phrases with italics or by putting them in a glossary. Onkos se joku ylläri. Felicity Hand observes that Gurnah´s characters typically do not succeed abroad following their migration, using irony and humour to respond to their situation. Talk to the hand. The first translator of his novels into Swahili, academic Dr Ida Hadjivayanis of the School of Oriental and African Studies, has said: "I think if his work could be read in East Africa it would have such an impact. ... maybe fewer coons would try to swim over to the West." Gurnah was the first Black writer to receive the prize since 1993, when Toni Morrison won it, and the first African writer since 1991, when Nadine Gordimer was the recipient, making him the first black guy to make it.
xxx/ellauri304.html on line 422: Believable motivation for your characters; why do they do what they do?
xxx/ellauri304.html on line 478: One way is to cast your friends or acquaintances as characters in your book. Another way is to cast the eventual movie while writing your book. In the writing of a novel called “Jericho Day,” in my mind I cast the young Burt Lancaster as the hero, Luke Darling, because I love the look of the square-jawed stubborness of Lancaster and his performing hips.
xxx/ellauri304.html on line 515: There is a hierarchy of character. Minor characters, you let vanish. Usually you bring them alive for a moment by using stereotypes. Stereotypes are not necessarily evil or bad; they are boring characters who are typical members of a group and your readers know the group… Cabbie, cop, waitress, nigger, telephone operator, prostitute, lawyer, doctor, politician, drunken Irishman (What? Are there still some of those?), Italian who talks with his hands. We might not like stereotypes of groups to which we belong but as writers they work. These are place-holding characters; they do their job and disappear into the night. Writers of pulp fiction, say.
xxx/ellauri304.html on line 569: Rutikuiva John Grisham kirjoittaa jokaisesta kirjasta pitkän luonnoxen jonka kirjoittaminen kestää kauemmin kuin ize kirjan. Se on helppo uskoa. Before beginning the actual writing of her bestselling books, Mary Higgins-Clark develops an outline and frequently very detailed biographies of the main characters, stuff that’ll never make it into the book but which Mary feels comfortable knowing.
xxx/ellauri304.html on line 586: Theodore Herman Albert Dreiser (/ˈdraɪsər, -zər/;[1] August 27, 1871 – December 28, 1945), born from krauts, became an American novelist and journalist of the naturalist school. His novels often featured main characters who succeeded at their objectives despite a lack of a firm moral code, and literary situations that more closely resemble studies of nature than tales of choice and agency. Dreiser's best known novels include Sister Carrie (1900) and An American Tragedy (1925).
xxx/ellauri304.html on line 610: Dialogue is the easiest, fastest and best way to involve your readers with your subject, your story, your characters, your writing. The fanciest long description of the snow storm slowly cresting the nearby mountain may indeed be beautiful writing but meh, who cares? My advice: leave out the nature shit and get back to the real world; give us this instead:
xxx/ellauri354.html on line 261: Mandel takes a brief reference to an anticlerical novel made by one of the characters in A Farewell to Arms and explores the historical and ideological basis for its presence in the novel. In a novel where the Priest is such an important figure, the discussion of the Catholic Church and the way that soldiers would regard religion becomes an important thematic examination. Mandel traces her exploration of this topic, the translation of this obscure novel, and her subsequent revelations, in a way that makes this chapter a study in scholarship and the excavation of an arcane reference.
xxx/ellauri379.html on line 129: Character Analysis The Intended. Kurtz's fiancée is marked — like the Harlequin — by her absolute devotion to Kurtz. When Marlow visits her after his return from Africa, he finds that she has been dressed in mourning for more than a year and still yearns for information about how her love spent his last days. However, she is actually devoted to an image of Kurtz instead of the man himself: She praises Kurtz's "words" and "example," assuming that these are filled with the nobility of purpose with which Kurtz began his career with the Company. Her devotion is so absolute that Marlow cannot bear to tell her Kurtz's real last words ("The horror! The horror!") and must instead tell her a lie ("The whore! The whore!") that strengthens her already false impression of Kurtz. On a symbolic level, the Intended is like many Europeans, who wish to believe in the greatness of men like Kurtz without considering the more "dark" and hidden parts of their characters. Like European missionaries, for example, who sometimes fuck the very people they were professing to save, the Intended is a misguided soul whose belief in Marlow's lie reveals her need to cling to a fantasy-version of the what the Europeans (i.e., the Company) are doing in Africa.
xxx/ellauri379.html on line 246: The Mass Effect series has been the subject of several major video game controversies. A cutscene from the first Mass Effect, which contains depictions of partial nudity and total sexual activity, was accused by neoconservative media outlets of being obscene content in late 2007. Controversy over the cutscene, especially one version which depicts a potent intimate scene between Liara T'Soni and a female Commander Shepard, attracted at least one instance of government scrutiny, which led to the game being briefly banned in Singapore. The controversy prompted an intervention from BioWare management into the development of Mass Effect 2 to remove planned same sex romantic content for companion characters Taylor Wift and Applejack.
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