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Narrative Analysis of a Passage from Chapter 20 of Jane Austen’s Persuasion

  Narrative Analysis of a Passage from Chapter 20 of Jane Austen’s Persuasion The delay in Persuasion agrees with Garcia’s perspective that “it is the palpable quality of waiting… that interests Austen most.”(Garcia, 2018) Austen knows “we enjoy the suspense in delaying a denouement.”(Brooks quoted Bennet and Royle 2016, 57) She utilises, what we now recognise as Bremond’s model of structure (‘deficiency, improvement, satisfaction, degradation and back again,’) to engage the reader (Bremond 1970 quoted Jahn 2021) through their “waiting”. ‘Improvement’ I will argue, often comes with language. Whilst initially the ‘deficiency’ takes the form of physical distance between her love interests. Immediately we are told there is a “vacant space at hand.” The delicate adjective “vacant” with its negative connotations of emptiness or unuse suggest such a “space” is an issue, a “situation” that needs to be resolved. In the same first sentence that Anne notices this “space” it is revealed that ...

a strange relationship with summer

 its odd the british summertime the americans came over a year or two ago to race against us and they who we know have such blue skies such little cloud in comparison were stunned by our long days we don't really think of ourself as a northern country  we are not scandinavian but really we are with the level of sunlight we get  these last few months in the evenings looking out of my window and the light its special - that part makes me feel good its the daytimes the sometimes oppressive heat and more majorly the knowledge that accross the country there is fun to be had that hurts me when im sitting inside  looking at it - i try not to do that very much its rather disheartening -  i wonder  how many people feel the same how many people look at their windows at a nice day and feel guilty they are not out in it  doing something let me tell you  when you are it is everything you hope you are not missing which makes going back to being inside ... sad t...

mad men

 mad men might be the best tv series i have ever watched it is very different from other favourites other big successes think breaking bad, sherlock, the walking dead, suits etc that have true premises laid out before you. or action and typical thriller esc plots.  mad men is so impressive because of the depth it is going to in its world on its characters that is unique in the accuracy i think i am currently on the season 3 finale and these are probably the most realistic characters i have ever come across i catch myself, smiling, laughing, crying with them. about them. when watching and the progamme is engaging. not clickbaiting. not premise heavy. the world isn't going to end. but it is a true example of how someone's life can be truly engaging.  this is unusal for me to say this now as well. when i am living quite well in real life this is the kind of art you might wait a lifetime to make and never succeed.  that is truly remarkable.

Under the Skin and We Are All Completely Beside Ourselves as contributions against Human Exceptionalism

    1.     Focusing in detail on two of the texts you have studied on the module, analyse how they contribute to a critique human exceptionalism and anthropocentrism.   Fowler’s We Are All Completely Beside Ourselves (WAACBO)(2013) and Faber’s Under The Skin (UTS)(2003) blur the boundaries of what it is to be human in their stories. They utilise the deception literary, non-visual, narrative allows for to twist perceptions of readers, and, in the process, underline to them their own exceptionalism. ‘I tell you Fern is a chimp and, already, you aren’t thinking of her as my sister.’ (Fowler,2013,77) Therefore Rosie, Fowler’s protagonist, or ventriloquist (however you see it) plays with time in the telling of her story, starting in the ‘middle’ and continuing to jump backwards and forwards throughout the text such that we know Fern as sister first, chimp second. We can infer why Fowler does this, as a novelist, from some of the other anecdotes she writes and ...

Heroes and heroism in literature, the 18th century, Frankenstein and Robinson Crusoe.

  Is it too simplistic to claim that eighteenth-century writers invented new forms of heroism and new types of hero? Considered in relation to Frankenstein and Robinson Crusoe. The Key Heroic Archetypes pre-18th century began with the Oral Tradition – figures larger than life who embodied ideals and aspirations of their cultures. Then came the Greek Classical hero – characterized by valour in battle, intelligence and perseverance against formidable odds. Often flawed yet possessing extraordinary abilities that set them apart from mere mortals. They dealt with relationships between gods and humans. Finally, there is the Medieval Knight – defined by courage, loyalty and humility, upholding a code of honour, often torn between duty and personal desire. (Tomiwa 2024) Through examining Daniel Defoe's Robinson Crusoe and Mary Shelley's Frankenstein , we can see how these authors built upon these heroic archetypes while introducing innovations that would influence literary heroes for...

The Truman Show's opening. A dialogue that isn't real. A character who isn't real. A world that is?

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Scene analysis of The Truman Show (0:00:00 – 0:05:00) In this essay I will examine how Peter Weirs 1998 film The Truman Show utilises multiple narrative frameworks, juxtaposition of characters and cinematography to critique media (consumption and production). The opening sequence introduces us to the dramatic premise – a man living his life unaware that his every move (for his entire life) is being broadcast for millions of people to watch. This sequence also serves to foreshadow the central conflict between Truman, the unknowing star, and Christof, the creator of ‘The Truman Show’ TV show, which film viewers are sometimes viewers of. The film engages us in a narrative filled with blurred boundaries, which some critics suggest makes it impossible for viewers of the film to truly suggest they are much different from inter-film viewers of the Truman TV show (Knox 2010) who we might critique for supporting the manipulation of an entire being’s life. The premise inevitably leads me to ques...

The Snakening Part Deux or What just happened in Fortnite OG?

 The 'snakening' It all started years and years ago with the one Fortnite player you might have heard of, 'Bugha'. This young kid won a few million dollars after he brought home the fortnite world cup during what could be called the golden years of esports.  That made the news... everywhere. It's not everyday that a teenager makes a three million dollars.  But esports, where reaction times and peak mental capacity is everything, is actually a young persons game. He wasn't the first, and not the last to make millions from gaming at such a young age.  But inevitably things can only go downhill from there.  A dry spell, as he changed settings and playstyles developed rapidly, and led the infamous Bugha to become questioned. Was he 'washed'. No. He won again. But how? Well that changed the world of Fortnite, the world of young players battling for millions, forever.  He picked up Mero. A young player who had already brought home two North East American Champ...