Annie Kapur
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'The Picture of Dorian Gray' by Oscar Wilde (Pt. 2)
We are now going to go through what circumstances, situations and events change and mould Dorian's personality. We will find this out by analysing the first few chapters and what they tell us about the authority of influence.
By Annie Kapur7 years ago in Geeks
'Frankenstein' by Mary Shelley (Pt. 3)
The first text we're going to use is a controversial one. Heart of Darkness was written by Joseph Conrad in the year of 1899. There are multiple quotations in the text that suggest that Marlow has a lot more control over the narrative than Frankenstein in his text. Frankenstein's motives are controlled by his emotions, this can change events and retellings of other people's stories. Whereas, Marlow is able to control the emotions of others using the story. The most notable of these incidents is when he tells Mrs. Kurtz what Kurtz's last words were; of course, he doesn't tell her the truth and says that he said his wife's name instead of "The Horror! The Horror!"
By Annie Kapur7 years ago in Horror
An Introduction to William Wordsworth
Most commonly known as one of the greatest poets of the English Language, William Wordsworth was also a philosophical man, writing famously in his preface to the co-authored work The Lyrical Ballads that “our elementary feelings coexist in a state of greater simplicity.” In order to get the word across that he was attempting to write poetry for every type of person to read and understand, Wordsworth penned most of his poetry in normal standard English, as opposed to the more flowery language written by poets like Shelley, Byron, and before him, Pope. Wordsworth actually explained the difference between his own writing and the writing of more artistic and elaborate poets as:
By Annie Kapur7 years ago in Geeks
Machiavellian Authority on the Renaissance Stage
It is commonly interpreted in Early Modern Drama that Machiavelli "appears as the Devil incarnate, or at least as the incorporation of all hypocrisy" (Meyer, 1969). According to the Oxford English Dictionary (2012), a "Machiavellian" is defined as a "very cunning and deceitful" identity that was "brought on stage as an incarnation of villainy" (Meyer, 1969). Niccolo Machiavelli’s The Prince serves as the subversion, and the impression of villainy with the corruption of religion used as a guard. Thus forming the Early Modern attitude towards theatre being somewhat "ungodly," as the dishonest stigma attached to it was that there were plays containing these Machiavellian characters, or Machiavellian stereotypes.
By Annie Kapur7 years ago in Geeks
The Spoken
I stared into the abyss as I watched the incoherent muttering from afar. The moving of mouths. I began to wonder what it would be like if we, as humans, couldn't speak at all. How would we communicate? Express hatred? Express love? Express fear? The muttering rang in my head to the questions. I would come to find that this wasn't just another one of my crazy, delirious epiphany-like fantasies. No. It was much more. Well, much more since the new girl arrived.
By Annie Kapur7 years ago in Horror
The Forest
PROLOGUE: It was almost Halloween and the cold air chilled a near-midnight close to the empty space by the town. I always wondered about what was there, but Halloween was no time for that. My grandfather would come to the centre of the village every year on the same day to tell the children ghost stories.
By Annie Kapur7 years ago in Poets
'The Picture of Dorian Gray' by Oscar Wilde
The Picture of Dorian Gray is possibly one of the most controversial and scandalous pieces of Victorian fiction. There are many reasons for this, and yet we need only explore one of them to get the notion of why exactly it was censored, banned, and eventually it would send its own author to prison for two years of hard labour. Published in Lippincott's Magazine in the July 1890, Oscar Wilde's The Picture of Dorian Gray made headlines with not only its gothic themes and twisted Greek mythology-inspired storyline, but also because of its homosexual undertones and prolific critique of 19th century high society. The most scandalous of all these begin with the identity of the three main characters: Dorian Gray, the young man who has his portrait painted; Basil Hallward, the painter; and finally, Lord Henry Wotton, the man who takes it upon himself to teach Dorian how he should live.
By Annie Kapur7 years ago in Geeks
'Frankenstein' by Mary Shelley (Pt. 2)
"During this short voyage I saw the lightning playing on the summit of Mont Blanc in the most beautiful figures. The storm appeared to approach rapidly, and, on landing, I ascended a low hill, that I might observe its progress. It advanced; the heavens were clouded, and I soon felt the rain coming slowly in large drops, but its violence quickly increased… While I watched the tempest, so beautiful yet terrific, I wandered on with a hasty step."
By Annie Kapur7 years ago in Horror
'Frankenstein' by Mary Shelley
Mary Shelley's Frankenstein is a novel synonymous with the beginning of sci-fi, the high fothic novel, the beginning of the modern novel and even the start of the modern world. Written in 1818 and revised for over a decade after, Mary Shelley's novel was first published as a part of a competition set by the poet Lord Byron. The competition was that they had to write a frightening story and the winner would get funded for publication.
By Annie Kapur7 years ago in Horror
'Jane Eyre' by Charlotte Bronte (Pt. 4)
A section of New Historicism regards the structure of the novel itself and the characters are secondary. Gretchen Brown's essay entitled, Untarnished Purity: Ethics, Agency and the Victorian Fallen Woman deals with the fact that both stories of women in the Victorian Era are incredibly predictable and pretty much, all the same. In one stance, we have the "Fallen Woman," which includes the characters of Aurora Floyd and Vixen by Mary Elizabeth Braddon, Bleak House by Charles Dickens, Adam Bede by George Eliot and the most famous Victorian Fallen Woman, Tess of the D'Urbervilles by Thomas Hardy. In another stance, we have the Victorian Woman's bildungsroman, or "coming-of-age" novel. This is defined by Brown as "a loving marriage with a preferred suitor and stable social participation." Thus, stating that no matter how hard Jane seems to rebel, since she is not a part of the social chasm of the Fallen Woman, she will have to divert her attention to a loving marriage and the "happy ending" archetype. In fact, it is the theory of the Fallen Woman's story being the direct opposite to the Bildungsroman that keeps Jane going.
By Annie Kapur7 years ago in Geeks
