What dramatic interest is achieved through the character of Juliet and how do the film directors, Zeffirelli and Luhrmann portray her Essay Example For Students

What sensational intrigue is accomplished through the character of Juliet and how do the movie executives, Zeffirelli and Luhrmann depict her? Paper Juliet is a fascinating character because of her changing character over the span of the play. Toward the start of the play, Shakespeare attempts to depict Juliet as an honest little youngster, who is dutiful and conscious to her folks. As she goes gaga for Romeo and turns out to be increasingly defiant, she fakes her own demise to her folks something she could never have done before in the play. There have been a wide range of translations of Romeo and Juliet since it was composed by William Shakespeare in the seventeenth century. The exemplary romantic tale despite everything stays well known right up 'til the present time. Franco Zeffirelli coordinated a movie variant of Romeo and Juliet in 1968 and Baz Luhrmann coordinated a film of the play in 1996. I imagine that the tale of Romeo and Juliet has remained so mainstream during the time since it shows how incredible love can be, as it brings the two fighting families together. We will compose a custom exposition on What sensational intrigue is accomplished through the character of Juliet and how do the movie chiefs, Zeffirelli and Luhrmann depict her? explicitly for you for just $16.38 $13.9/page Request now In spite of being a principle character, Juliet doesn't show up in the play until Act 1 Scene 3. Shakespeare utilizes this scene to present Juliets character, to give the crowd a generally excellent thought of what her character resembles before she meets Romeo. We find that Juliet is exceptionally faithful towards her folks when she comes into the play; when she is called, she shows up. Her first expressions of the play reveal to us a great deal about her character. The manner in which she calls her mom, Lady Capulet, madam, gives us that she regards her folks. She asks her mom what is your will? proposing that she is eager to do whatever her mom advises her. From this scene we can tell how Juliet regards her folks. This shows how youthful she is. Act 1 Scene 5 sees the primary gathering of Romeo and Juliet, in Capulets chateau, at the gathering. Romeo is first pulled in to her in view of her magnificence. He portrays her as a frigid bird trooping with crows. This symbolism, which infers that Juliet stands apart from every other person at the gathering, depicts Juliet as a blanketed pigeon. Shakespeare picks the differentiation of white against dark (white bird, dark crows) for Juliet intentionally, as white represents goodness and virtue. This thought of an association among Juliet and the shading white happens a few times in the play. At this phase in the play, Juliet shows just a physical fascination towards Romeo, and utilizations strict symbolism to show this fascination; holy people have hands that travelers hands do contact, and palm to palm is sacred palmers kiss. In Act 2 Scene 2 (the overhang scene), the connection among Romeo and Juliet changes; their affection is not, at this point dependent on an absolutely physic al fascination. They organize an errand person to come and see Romeo the following day, to mastermind a period and spot for them to be hitched. It is irregular for a lady to carry on as Juliet does in this scene as she is arranging her own marriage behind her folks back, without assent. Typically, at the time that the play was composed, the marriage would be masterminded by the guardians. It is particularly irregular for Juliet, as toward the start of the play, Juliet is a respectful, submissive young lady. This is the greatest model so far in the play of Juliets evolving character. In this piece of the play, the emotional intrigue is accomplished through the way that Juliet is being called from inside, and she needs to surge. Symbolism for speed and development is utilized as Juliet is being called by the Nurse; for instance, when Romeo says love goes toward adoration as students from their books, yet love from affection, toward school with substantial looks. This implies two sweethearts go towards one another as quick as a student disappears from school, however two darlings disappear from one another as quick as a student goes to class (with substantial looks: the student would not have any desire to go to class). In Act 2 Scene 5, Juliet is pausing, in Capulets chateau, for the Nurse to come back with updates on Romeo. Juliet is restless, and makes reference to that adoration should make the Nurses return speedier. Romeo and Juliet get hitched in Act 2 Scene 6. The sensational enthusiasm for this scene originates from the way that the marriage is a mystery, and Juliets guardians are anticipating that her should wed Paris. Juliet gets some answers concerning Tybalts passing and Romeos expulsion from Verona in Act 3 Scene 2. At the point when the Nurse shows up in Juliets room, she is upset, and can't offer an unmistakable response when Juliet asks what the issue is. From the start, Juliet accepts that it is Romeo that has been executed. Juliet in the end discovers that it is Tybalt, not Romeo, who is dead. In spite of the fact that she is annoyed with the updates on her cousins passing, she guards Romeo when the Nurse attempts to scrutinize him (disgrace come to Romeo) for executing Tybalt. .u83c130707950aa6eec7a3a6bf378f859 , .u83c130707950aa6eec7a3a6bf378f859 .postImageUrl , .u83c130707950aa6eec7a3a6bf378f859 .focused content territory { min-tallness: 80px; position: relative; } .u83c130707950aa6eec7a3a6bf378f859 , .u83c130707950aa6eec7a3a6bf378f859:hover , .u83c130707950aa6eec7a3a6bf378f859:visited , .u83c130707950aa6eec7a3a6bf378f859:active { border:0!important; } .u83c130707950aa6eec7a3a6bf378f859 .clearfix:after { content: ; show: table; clear: both; } .u83c130707950aa6eec7a3a6bf378f859 { show: square; change: foundation shading 250ms; webkit-progress: foundation shading 250ms; width: 100%; mistiness: 1; change: haziness 250ms; webkit-progress: murkiness 250ms; foundation shading: #95A5A6; } .u83c130707950aa6eec7a3a6bf378f859:active , .u83c130707950aa6eec7a3a6bf378f859:hover { darkness: 1; progress: obscurity 250ms; webkit-change: murkiness 250ms; foundation shading: #2C3E50; } .u83c130707950aa6eec7a3a6bf378f859 .focused content region { width: 100%; position: rel ative; } .u83c130707950aa6eec7a3a6bf378f859 .ctaText { fringe base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: intense; edge: 0; cushioning: 0; text-adornment: underline; } .u83c130707950aa6eec7a3a6bf378f859 .postTitle { shading: #FFFFFF; text dimension: 16px; textual style weight: 600; edge: 0; cushioning: 0; width: 100%; } .u83c130707950aa6eec7a3a6bf378f859 .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; outskirt: none; fringe range: 3px; box-shadow: none; text dimension: 14px; text style weight: striking; line-stature: 26px; moz-outskirt sweep: 3px; text-adjust: focus; text-design: none; text-shadow: none; width: 80px; min-tallness: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/basic arrow.png)no-rehash; position: total; right: 0; top: 0; } .u83c130707950aa6eec7a3a6bf378f859:hover .ctaButton { foundation shading: #34495E!important; } .u83c130707950aa6eec7a3a6bf378f 859 .focused content { show: table; tallness: 80px; cushioning left: 18px; top: 0; } .u83c130707950aa6eec7a3a6bf378f859-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .u83c130707950aa6eec7a3a6bf378f859:after { content: ; show: square; clear: both; } READ: Oliver Stone's Controversial Film - JFK EssayJuliet faces another issue in Act 3 Scene 5 when her folks reveal to her that they need her to wed Paris. Capulet, Juliets father, who has not seen the adjustment in his little girl since his gathering, is incensed by this, revealing to her that on the off chance that she doesn't wed Paris in two days time, he will abandon her. As she goes to the Nurse for comfort, the Nurse deceives her, and says that she ought to wed Paris, at her folks will. The emotional intrigue increased here is through the way that Juliet is turning out to be increasingly disconnected and alone; the main individual she can co nverse with is Friar Lawrence, as Romeo has been expelled. Juliet goes to see Friar Lawrence (the main other individual who thinks about Romeo and Juliets marriage) in Act 4 Scene 1. At the point when the Friar proposes an arrangement to Juliet, including her hazardously faking her own passing, she seizes the opportunity; she feels that she has nothing left to lose. Juliet faking her own passing adds to the dramatization and strain of this scene; and furthermore shows the amount she has changed since the beginning of the play, when she was so devoted to her folks. Juliets language in this scene is extremely frantic; she remarks that she would prefer to bounce from off the bastions of any pinnacle than wed Paris; and proceeds to list numerous other unbelievable things that she would prefer to do than wed Paris. Shakespeare utilizes sensational incongruity in Act 4 Scene 2; the crowd realizes that Juliet won't wed Paris, though Capulet is persuaded that Juliet is happy to be hitched on Thursday. In Act 4 Scene 3, Juliet is going to take to the elixir, yet starts to have questions, adding strain to the scene. She has fears that the elixir that the Friar has given her truly is poison, and that he is killing her to secure his notoriety. When she has thrown these questions away, she starts to have new questions; fears of suffocation in the burial chamber and of going distraught with dread when she rises and shines. She again needs to confront her feelings of dread in Act 5 Scene 3 (the passing scene), when the Friar leaves her with the watch coming to discover her. She faces her feelings of dread and remains at the burial place, where she slaughters herself utilizing Romeos blade. I feel that Juliet must be respected in Act 3 Scene 5, as she gives no indication of dread notwithstanding demise. Despite the fact that she is separated from everyone else (she has lost the help of her folks, the Nurse, Friar Lawrence and Romeo has passed on), she settles on the choice to end it all. This demonstration of freedom shows how Juliets character has changed over the span of the play; she chooses to slaughter herself, despite the fact that she can take the easy way and simply return to her folks. Juliets passing discourse in Act 5 Scene 3 is a lot shorter than Romeos: ah dear Juliet, why

Love Essays (1600 words) - English-language Films,

Reverend Arthur Dimmesdale, a fundamental character in Nathaniel Hawthorne?s tale The Scarlet Letter, ends up being a heathen against man, against God and above all against himself since he has submitted infidelity with Hester Prynne, bringing about an ill-conceived youngster, Pearl. His erring against himself, for which he at last followed through on the cost of death, end up being more hurtful and more ruinous than this wrongdoing of the substance, and his transgression against God. Socrates stated, ?Know thyself,? furthermore, Shakespeare stated, ?To thine own self be valid.? In the event that Reverend Dimmesdale had been consistent with himself he positively wouldn?t have endured as much as he did. What drove Dimmesdale to hold in his self-denouncing truth? To answer this, it?s important to look at the entire character of Reverend Dimmesdale while clarifying his evil circumstance. Dimmesdale isn't oblivious, he is very knowledgeable. As Hawthorne states, Rev. Mr. Dimmesdale; a yo uthful minister who had originated from one of the incomparable English colleges, bringing all the learning of the age into our wild forestland. His expert articulation and strict enthusiasm had just given the sincere of high greatness in his calling.? (Hawthorne 72) This man?s ethics had, until the infidelity, been high. He is profound on the grounds that on being of the Puritan confidence, he is a pastor of the expression of God. All through a large portion of the novel, Rev. Dimmesdale is compelled to conceal his blame of being Hester?s accomplice in wrongdoing. When in all actuality, he isn't being constrained by anybody, however himself, for he is the person who decides not to uncover his mystery to the town. Dimmesdalehas a covered sin that is, eating at him. He just doesn?t have the fortitude to concede his wrongs. He is by all accounts a quitter during these seven years of living with blame. There is a scene in section 3 where Rev. Dimmesdale states, ?Hester Prynne?If thou f eelest it to be for thy soul?s harmony, and that thy natural discipline will in this manner be made progressively solid to salvation, I charge thee to stand up the name of thy individual ?delinquent and individual victim! Be not quiet from any confused pity and delicacy with him; for, trust me, Hester, however he were to step down from a high spot, and remain there next to thee on thy platform of disgrace, yet better would it say it were things being what they are, than to conceal a blameworthy heart through life? What can thy quiet accomplish for him, aside from it entice him-yea propel him in a manner of speaking to add bad faith to sin (73) In this scene it is as though we see Dimmesdale talking as a faker, himself! Dimmesdale depicts himself amusingly. He is an all around regarded reverend but then, has, throughout the previous 7 years, chipped away at lecturing the expression of God, particularly while he asks the gathering to admit straightforwardly to apologize unto God. Whil e, truly, Dimmesdale is the one whoneeds a clean cognizant. He has a feeling that he needs to admit not exclusively to the town yet in addition too himself. Partially through the novel Dimmesdale still can't seem to uncover reality, which, up until this point, has been eating up him, truly and intellectually. Since this great reverend is so otherworldly, he can't uncover his certainties to the town so essentially. He is of the Puritan confidence and being an adherent of that, the wrongdoing of infidelity is a fantastic sin. The entire town would look down on him as though he were a charlatan. Which indeed, he is, however his wrongdoing of infidelity in that town would have been laughed at similarly as Hester?s has. The reverend is so popular with the townsfolk that Hawthorne states, ?They liked him the mouthpiece of Heaven?s messages of shrewdness, reproach, and love. In their eyes, the very ground on which he trod was blessed.? ( 139 ) How else can the reverend live without uncover ing his personality? He has been doing it for a long time, and it must be hard for him, intellectually and genuinely. Intellectually, his entire body closes down on the grounds that he can't bear it any longer, despite the fact that he doesn't yield to admit yet. He has become withered in light of the fact that he has let the transgression against himself stir inside and on

Critical Process Paper Term Example | Topics and Well Written Essays - 1000 words

Basic Process - Term Paper Example Because of this investigation the most honest assessment is that videogames move and develop forceful conduct no pretty much than different types of media like TV or web. This announcement was a premise on which computer games previously got a First Amendment assurance during the endeavor of state legislature of California to preclude selling brutal videogames to minors. By and by in spite of the triumph of videogames in that fight, however it gave them equivalent rights with other media, the principle war is as yet seething on. Specialists, scientists and above all else radically and unreasonably cautious and on edge guardians try to discover right strategies to fault videogames in an inappropriate conduct of their youngsters. Such situation gradually moves yet at the same time guardians themselves are progressively answerable for any issues that they have with their youngsters and videogames have nothing to do about it. With respect to different kinds of media they are progressively free and not all that youthful as videogames. For the individuals who don’t realize it might be intriguing that these days there is a genuine conversation on the matter of giving videogames a status of craftsmanship. This requires increasingly huge and mindful look from the administration, makers of videogames and clients. Books, motion pictures and movies are carefully sorted by the degree old enough and furthermore a ton of different limitations and necessities (for instance defamation and criticism towards other individual must not happen in any media). In this way, by associating with the universe of genuine media and workmanship videogames must be of an elevated level. The pace of the game isn't like the pace of savagery in it. Savagery is only an additional alternative on the grounds that a dominant part of all games need one player or a group of players to overcome, crush, beat or essentially make lose the other player or group of players. The vast majority of the games observe the wilderness rule of natural selection (eat or be eaten). Such guardians' anxiety about the

A Love Song for Bobby Long Analysis Essay

â€Å"A Love Song for Bobby Long† composed by Grayson Capps and â€Å"The Love Song of J. Alfred Prufrock† composed by TS Eliot help the world to remember men who battle with the evil spirits of life. The little voices in your mind saying â€Å"I don’t figure you can do that.† These voices cause you to question yourself and your abilities. They end the life out of you, and cause you to think about whether you even have a reason here on earth. Presently let’s investigate these sonnets and intently examine their likenesses and contrasts. Bobby Long, an attractive football prospect who had the ability of prevalent acting, was a man who was known for squandering his gifts and settling on an inappropriate choices. He picked a â€Å"road less traveled† : a way through life that numerous individuals attempted to stay away from. He was a smashed elderly person who thought back on life, not on the grounds that he could adjust his perspectives, but since the individuals around him wish he had made more brilliant ones. A long time pass, and he at long last acknowledges how his poor choices drove him to the dark opening he is currently stuck in. An opening burrowed so profound that he can’t see outside of it. It’s all dim around him and he feels every one of his issues will be explained when he is at last dead. Prufrock won’t assemble the mental fortitude to go up to somebody he loves, yet simply because he needs Charisma. He comes up short on the certainty expected to proceed to be the gutsy man he used to be. He can no longer discover what he needs or needs and he feels it is the apocalypse, with no expectation left in him. He understands he is arriving at a point where he is coming to anempty conclusion. He needs the solutions to his obscure inquiries however he second speculations everything he might do. Does she like me? Does she not? These inquiries wait in his psyche however they will never get addressed in light of the fact that he never constructs the mental fortitude to tell the ladies he prefers or appreciates. Rather, he just gets enveloped with the fragrance of their aroma and the sound of their voices, behind their covered face. He understands nonone is great and everybody commits errors However, he needs to realize his own and asks why he was had with appalling occasio ns. He simply needs answers. Answers to questions he doesn’t even have the boldness to ask†¦ In the two sonnets, the primary character, or speaker is alluding to themselves as a scoundrel disappointment. They don’t ever assemble the mental fortitude to confront their internal evil presences. They never understand their actual ability, rather simply question themselves, in any event, when individuals offer them praises that originate from the heart. In their eyes, they will never be adequate. They will never be the perfect spouse, yet rather, simply the peculiar man everybody focuses to and giggles at. In Bobby Long’s love melody, he understands he isn’t the perfect spouse; anyway he despite everything womanizes the ladies and doesn’t care, as long as he never gets explicitly baffled. Be that as it may, Prufrock battles with moving toward a lady. His nerves bamboozle him and he can't fabricate the boldness to move toward her and aska her the extreme inquiry. Bobby Long battles with the disarray of not having the option to pick sides (between the villain and God.) He experiences the battle of having the option to make the correct decions, or which to follow. Prufrock battles with his inward devils. He is his greatest adversary. He makes himself endure and continue pondering. Asking why he would never be the main job in his own life. He asks why he would never be â€Å"Prince Hamlet.† Then later acknowledges perhaps he simply was never intended to have that job. In Bobby Long and Prufrock’s life, they question their capacity to be extraordinary. They feel that they have arrived at the apocalypse thusly why attempt? They are abandoning life in light of a couple of incidents and terrible choices. They will never be happy with themselves until they are gone perpetually, or dead. Regardless of how others see them, the two of them accept they were never intended to be the star of their OWN life, however rather a job player who nobody truly focuses on.

Hamlet Method In The Madness Essays - Characters In Hamlet

Hamlet: Method in the Madness Technique in the Madness: Hamlet's Sanity Supported Through His Relation to Ophelia and Edgar's Relation to Lear In both Hamlet and King Lear, Shakespeare joins a topic of franticness with two characters: one genuinely distraught, and one just acting frantic to serve a rationale. The frenzy of Hamlet is as often as possible questioned. This paper contends that the contrapuntal character in each play, in particular Ophelia in Hamlet and Edgar in King Lear, goes about as an adjusting contention to the next character's frenzy or rational soundness. Lord Lear's increasingly unequivocal qualification between Lear's slightness of psyche and Edgar's created franticness attempts to more readily characterize the connection between Ophelia's breakdown and Hamlet's north-north-west brand of craziness. The two plays offer a character on each side of mental soundness, however in Hamlet the differentiation isn't as clear all things considered in King Lear. Utilizing the more express relationship in King Lear, one finds a superior comprehension of the relationship in Hamlet. While Shakespeare doesn't straightforwardly pit Ophelia's craziness (or breakdown) against Hamlet's frenzy, there is rather a reasonable consummation in Ophelia's condition and an unmistakable vulnerability in Hamlet's franticness. Clearly, Hamlet's character offers more proof, while Ophelia's breakdown is fast, however progressively convincing in its accuracy. Shakespeare offers clear proof highlighting Hamlet's rational soundness starting with the main scene of the play. Hamlet starts with watches whose principle significance in the play is to offer validity to the phantom. If Hamlet somehow happened to see his dad's apparition in private, the contention for his franticness would enormously improve. However, not one, yet three men together observer the apparition before speculation to inform Hamlet. As Horatio says, being the main of the gatekeepers to assume a noteworthy job in the remainder of the play, Before my God, I may not this accept/Without the reasonable and genuine admit/Of mine own eyes. (I.i.56-8) Horatio, who shows up often all through the play, goes about as an irrefutably normal plausible excuse to Hamlet again when confining the King with his response to the play. That Hamlet addresses the phantom alone diminishes fairly from its believability, however all the men are observer to the apparition requesting they talk alone. Horatio offers a quick admonition: Imagine a scenario in which it entices you toward the flood, my master, Or to the frightful highest point of the precipice That creepy crawlies o'er his base into the ocean, And there accept some other appalling structure Which may deny your sway of reason, And bring you into franticness. Consider it. (I.iv.69-74) Horatio's remark might be the place Hamlet gets the plan to utilize a request of craziness to work out his arrangement. The significant actuality is that the apparition doesn't change structure, but instead stays as the King and addresses Hamlet judiciously. There is additionally valid justification for the apparition not to need the gatekeepers to recognize what he tells Hamlet, as the play couldn't continue as it does if the watchmen were to hear what Hamlet did. It is the apparition of Hamlet's dad who lets him know, however howsomever thou seeks after this demonstration,/Taint not thy mind. (I.v.84-5) Later, when Hamlet sees the apparition again in his moms room, her astonishment at his franticness is very persuading. However one must contemplate the cautious arranging of the phantom's validity prior in the play. After his first gathering with the apparition, Hamlet welcomes his companions brightly and goes about as though the news is acceptable as opposed to the decimation it truly is. Horatio: What news, my master? Hamlet: O, brilliant! Horatio: Good my master, tell it. Hamlet: No, you will uncover it. (I.v.118-21) This is the main look at Hamlet's capacity and tendency to control his conduct to accomplish impact. Obviously Hamlet isn't feeling happy as of now, yet on the off chance that he tells the watchmen the seriousness of the news, they may presume its tendency. Another case of Hamlet's conduct control is his gathering with Ophelia while his uncle and Polonius are holing up behind a window ornament. Hamlet's warmth for Ophelia has just been set up in I.iii., and his total dismissal of her and what has unfolded between them is obviously a deception. Hamlet by one way or another speculates the spies, similarly as he surmises that Guildenstern and Rosencrantz are sent by the King and Queen to

Topics for Psychology Case Studies

Topics for Psychology Case Studies Student Resources APA Style and Writing Print Topics for Psychology Case Studies By Kendra Cherry facebook twitter Kendra Cherry, MS, is an author, educational consultant, and speaker focused on helping students learn about psychology. Learn about our editorial policy Kendra Cherry Updated on December 10, 2019 Ridofranz / Getty Images More in Student Resources APA Style and Writing Study Guides and Tips Careers At some point in one of your psychology classes, you might be asked to write a case study  of an individual. What exactly is a case study? It is essentially an in-depth psychological investigation of a single person or group of people. Case study topics often focus on people who are experiencing symptoms of an illness or on people who have had experiences that cannot be replicated in a lab. What Should Your Case Study Be About? The format of your case study might vary depending upon the requirements of the assignment and your instructors expectations, but most include a detailed background of the individual, a description of the problem the person is facing, a diagnosis, and a description of an intervention using one or more therapeutic approaches. Of course, the first step in writing a case study is to select a subject. In some cases, you might be allowed to conduct a case study on an actual volunteer or on someone you know such as a friend or family member. In other cases, your instructor might prefer that you select a less personal subject such as an individual from history or a famous literary figure. Psychology Case Study Ideas Looking for a good subject for your case study? Here are just a few ideas that might inspire you: Write About a Famous Psychologist Famous or exceptional individuals can make excellent case study topics. There are plenty of fascinating figures in the history of psychology who would make for an interesting case study. Sigmund Freud, Harry Harlow, Erik Erikson, B. F. Skinner, and many other famous thinkers led interesting lives that offer plenty of material for a great case study. Examining their upbringing, experiences, and lives can provide insight into how they developed their theories and approached the study of psychology. Focus on a Famous Patient in Psychology Some of the most famous people in psychology sometimes arent psychologists at all. Instead, the patients, clients, and cases studied by psychologists might prove even more interesting. Think of people like Anna O., Phineas Gage, and Genie. Other individuals you might want to consider include Kitty Genovese, Little Albert, and David Reimer. By taking a closer look at the lives of these patients, you can gain greater insight into their experiences. It can also be interesting to see how mental health treatments were different in the past compared to those that might have been used today. Write About a Famous Historical Figure Other famous historical figures can also make excellent case study topics. Eleanor Roosevelt, Napoleon, Adolf Hilter, George Washington, Abraham Lincoln, and many other famous (and infamous) people could potentially serve as a subject for your case study. Obviously, this will involve some reading and research on your chosen subjects life and accomplishments, but it could certainly make for an interesting paper. Focus on a Fictional Character or a Famous Literary Figure Another fun and interesting approach is to conduct a case study of one of your favorite fictional characters. You might opt to tackle a classic character such as Shakespeares Macbeth or Romeo or Jane Austens Elizabeth Bennet or Fitzwilliam Darcy.  Or instead, you might opt to focus on a more contemporary literary character such as Suzanne Collinss Katniss Everdeen or J.K. Rowlings Harry Potter. Write About Someone You Know In some cases, your instructor may allow you to write your case study on a person that you know. Such a project may, however, require special permission from your schools Institutional Review Board. You may also be required or simply prefer to use a pseudonym in order to protect the identity and privacy of your subject. This type of project often requires interviewing your subject and possibly talking to other sources who know the subject such as friends and family members.   A Word From Verywell As you can see, there are plenty of great options out there when selecting a subject for your case study. First and foremost, always start by paying attention to the directions given by your instructor. In many cases, there will be specific guidelines about whom and what you are allowed to write about. Talk about your case study topic idea with your instructor before you begin to make sure that you have permission to proceed with your project.

The Role of the Post-Modern Narrator Challenging the Truth of Constructions in The Hour of the Star and How I Became a Nun - Literature Essay Samples

Unlike the author, whose job it is to write the story, the role of the narrator is to tell the story. The narrator provides the window through which the reader looks, framing the discourse, and deciding what is, and what is not, important, where to focus, and, what to ignore. The narrator can set the tone of the narrative by word choice and perhaps even influence the way in which the narrative will be interpreted by the reader.T here are many ways in which the narrator can tell the story. In the case of a third person omniscient narrator, he can give the reader insight into the minds, thoughts, feelings, and motivations, of any, or all, of the characters. He can also give the reader information about the characters pasts, and, explain the importance of certain events giving a wider picture and deeper understanding of the narrative. In contrast, a narrator can also be written in the first person and only reveal what the main character thinks, feels, and experiences. The two novels, The Hour of the Star, by Clarice Lispector, and, How I Became a Nun, by Cesar Aira, are both written in a post-modern narrative style that mimics the autobiographical mode of storytelling. The narrator, in both of these novels, however, rather than telling a true story, tells a story that is full of inconsistencies and draws attention to itself as outright fantasy or, at best, heavily biased. By constantly reminding the reader that the storyteller is unreliable, literally calling him a liar, and having him give conflicting information, the author casts doubt on the narrator and encourages the reader to see him as being neither capable of being a source of truth, nor, competent of correctly interpreting the facts. Another way the author has the narrator undermine his own authority is by constantly calling attention to process of storytelling, reading, and, writing, as constructions. The narrator in the post- modern novel becomes one of the cast of characters and highli ghts the way in which cultural constructions promote themselves as truth rather than as fiction. Serving as a biased and unreliable voice, the narrator is able to undermine the readers faith in the ability of artistic constructions to represent universal truths. He points out that the very processes of reading and writing are constructions, with shared cultural meanings, rather than universal systems of representations. By highlighting the very process of how a story, or information, is filtered through the biased observer, re-constructed, and transmitted to others, using the medium of language, the authors of these two novels cast shadows on the very foundation of knowledge itself. This brings into question the nature of truth and raises epistemological doubts. Are there universals truths or is everything a cultural construction? And how can one know that something is true when observation and communication are not reliable sources of information? Both of the novels, The Hour of the Star, and, How I Became a Nun, are written in as if they were autobiographies, representing a real persons thoughts and feelings, as if to mimic reality. In the first novel, The Hour of the Star, the narrator, Rodrigo S.M., is cast as the writer of Macabeas story. Over the course of the novel he constantly interrupts the narrative to self-consciously explain himself, and the process of writing, directly to the reader. He swings wildly from one end of the confidence spectrum to the other. At times having total belief in himself as a God-like omniscient creator of another human being. He states, ironically, that this narrative will deal with something delicate: the creation of a whole person who surely is alive as I am(11), and he insists that â€Å"there is no doubt she’s a physical person† (14). This, of course, is ironic because, just as his characters are not alive, he also is a character being written by an author, and so is a repr esentation, not an actual living person. He even goes so far as to contradict himself as her all-knowing creator and says â€Å"I did not invent this girl. She forced her being upon me† transforming his creation from a two- dimensional character into a being with free-will (21). From this position of total self-confidence as a creator he often falls into deep self-doubt about his abilities saying not only that has he no idea how this thing will turn out, but that he is even ignorant of his own self. He asks the reader to forgive him, explaining that he is going to keep talking about me who am unknown to myself (7). Rodrigo also literally calls himself a liar, saying I only lie precisely when its time to liebut I don’t lie when I write (10). This can be seen as an ironic contradiction in terms because all fiction is a form of lying. He also admits to making mistakes in his judgement of his characters personalities and not knowing the details of their lives. He contradic ts himself and changes his mind about his characters saying will they get married? I still don’t know, I just know that they were somehow innocent and cast little shadow upon the ground. No, I lied, now I see it all: he wasn’t innocent in the least He had, I just discovered, inside of him the hard seed of evil (38-39). Rodrigo states that he is astonished to know the truth so well considering that this story never happened to me or anyone I know (48). By the end of the narrative he admits to his reader that dealing with facts is such a bore, daily matters wipe [him] out and [he doesnt] feel like writing this story(63), but he cannot rewind the last few minutesbecause [he has] already gone too far and cant turn back now (70). Similarly, the narrator of the novel, How I Became a Nun, is unreliable. Not only does he admit to being a liar, and, not being able to tell fact from fantasy, but the narrator also gives conflicting information which casts doubts on whether or not any of the story is a real account of his past. The first clue that there is something askew is the discrepancy between whether Cesar is a boy or a girl. Throughout the narrative all the characters refer to Cesar as a boy but internally he refers to himself as a â€Å"devoted daughter† (4) and a â€Å"difficult girl† (30) who lives long enough to â€Å"take the veil† (3). There is a strong emphasis on the difference between how things appear outwardly to others and the inward processes of Cesar. This is echoed in the ironic confrontation between Cesar and his father; when Cesar insists that his personal experience is that the ice cream tastes bad, and his fathers outrage and insistence that, even without tasting it, th e ice cream is perfectly fine; not only because this is his experience with ice cream but also because he wishes to believe it. Cesars father does not trust the information his son is giving him, probably given that Cesar admits to being hypersensitive(5), fussy about food, and [also had] mastered the art of feigning disgust when [he] didn’t feel like eating(4). The humor of his fathers exaggerated frustration as a parent turns to horror with the revelation that Cesar was telling the truth, and there is an accompanying shift in authority from the father to the ambiguous son/daughter. This shift, which leads the reader to believe that Cesar is the voice of a trustworthy narrator, does not last long. Cesar confesses that after spending a month in the hospital recovering from cyanide poisoning â€Å"something had broken inside a value, the little safety device that used to allow [him] to switch levels†.Perhaps the levels being the ability to switch back and forth between fact and fiction, and, tell the difference between the two.While Cesar is being cared for in the hospital he also admits to spending much of his time lying to his doctor, â€Å"an urge, a whim or a manic obsession that not even [he]could explain impelled [him] to sabotage the doctor’s work, to trick him[he] said the opposite of the truth[and] considered it [his] duty to lie every time† (34-5). He says â€Å"fiction and reality were fusedsimulation was becoming real† (37). Further on in the story his memory also becomes unreliable.He struggles to remember his best friend c learly, saying, â€Å"his name was Fariasor was it QuirogaI’m getting the names mixed upor maybe there were two of them (53).The narrative supposedly takes place over a twelve- month time span and he assures the reader that â€Å"everything in this story I am telling is guaranteed by my perfect memory† (71). However, according to Cesar, his memory also â€Å"merges with the radio† (72). For Cesars mother the radio was company (72) and reassembled her identity as woman and housewife(73), but for Cesar, he achieved a complete identification with the voices in the etherfastened onto the illusion like a vampire [and] lived on the blood of a fantasy paradise (73). The radio is not only a kind of reality (74) for Cesar but is seen by society as the voice of truth with its historically accurate re-enactments, news, quizzes, and music. In the same way that Cesar cannot remember his best-friends name, cannot tell if his friend’s stories are true or not, neither c an we, the readers of Cesar’s stories, know if they are fact or fiction. Although he calls his death by strawberry ice cream a â€Å"real death†, it comes off as an absurd extended wordplay with the use of the phrase â€Å"a strawberry eye scream† in the final scene (115). In addition to both novels featuring an untrustworthy narrator, they also both make use of metafiction to call attention to the processes of reading, writing, and, the concept of culturally constructed meanings.By self-consciously and systematically drawing attention to the artifice of the novel, metafiction begs the question of the relationship between reality and construction as well as the inability of art to represent life. The Hour of the Star primarily puts the focus on the processes of writing and the authority of the author as the storyteller. Lispector uses explicit metafiction and has her narrator comment on how he will create the story itself in great detail. He says he will write a story with a beginning, middle, and grand finale followed by silence and falling rain (5). He explains his word choice to the reader saying that he must speak simply to capture her delicate and vague existence† (7). Then he lets the reader know that to start the story without more delay he must start all of a sudden just as I jump all of the sudden into the icy water of the sea, a way of facing with suicidal courage the intense cold (16). He â€Å"jumps in† and suddenly starts the narrative with â€Å"she was incompetent. Incompetent for life† (16). The author ironically reminds the reader that although he is the person sitting here typing, he does not want to be â€Å"all modern and invent trendy words to make [himself] look original† (11). This flip phrase is a humorous aside to the point that she, the author, is writing about a writer who is writing about the process of writing, and that by ironically referencing the creation of the narrative, and the narrator, she is using the â€Å"modern† style of postmodernism. She again uses layers of irony and artifice when the narrator states that he does not intend to be complex and that he determines with â€Å"false free will† to have â€Å"seven characters and [he] obviously [is] on e of the more important (4-5). The narrator referring to himself as an important character reminds the reader that the voice of the narrator is a piece of fiction under the pretense of being a fact. Lispector makes sure to drive home that this novel, and everyone in it, is a construction, by having her very unreliable narrator insist that â€Å"of course the story is true though invented† and again drawing awareness to the irony that something which is invented, or is a constructed representation, cannot also be true, or be reality (4). Something is either reality or it is a representation of reality. Rather than focusing on the process of writing, Aira uses the process of reading to demonstrate language as a constructed cultural code.He begins with his protagonist Cesar and the process of him learning how to read. He starts before Cesar has learned to break the code; when he â€Å"was present, but not a participant[because he] couldnt read† (49). Instead of being able to participate in the shared culture of constructed meaning, all he sees, when he looks at swear words written on the wall of the boy’s bathroom, is horizontal and vertical sticks in a senseless tangle. Until that moment [he] had thought that the graffiti in the bathroom were drawings, incomprehensible drawings, runes or hieroglyphs (54). The words are merely drawings and it is we who construct their meanings. The author by referring to the process of deciphering the written language is pointing to the fact that the reader is reading, in this case the novel, and by reading the reader is de-constructing the written language and re-constructing a cultural code of shared meaning. Interestingly Aria speaks directly to his audience calling them â€Å"my readers† which calls attention not only to the book itself, and the fact that it has been published, and is being read, but it also, casts doubt on the narrative as being a representation of reality (79).How can the author have published this story if he died at the age of six, or seven, in a vat of ice cream? The voice of the narrator in both of these novels is primarily to be the voice of the post-modern concept of being critical of authorities and hegemonic stories. The post-modern narrator, with his fallible memory and his biases, represents the reader himself and reflects back the readers own inability to truly know what is, and is not, fact, or fiction.By being critical of fiction which represents itself as fact, such as these two novels which were written with an autobiographical style, the reader is gently pushed in the direction of being able to deconstruct the artifice of the story. This ability to see beyond the surface of the construction the reader can start to view all stories as artifice regardless of how they represent themselves. Works Cited Aira, Cesar. How I Became a Nun Translated by Chris Andrews 2007, Originally published by Beatriz Viterbo Editora, Argentina, as Como me hice monja, in 1993, Published by New Directions Publishing Corporation, New York NY Lispector, Clarice. The Hour of the Star translated by Ben Moser, originally published as A hora da estrela by arrangement with the Heirs of Clarice Lispector and Agencia Literaria Carment Balcells, Barcelona. Translated from the Portuguese A Hora de Estrela. Published by New Directions Paperbook New York NY