circumstances cause responders to feel vulnerable and fearful. In Bram Stoker’s Dracula the overpowering force of the sublime‚ the prominence of religion‚ death and use of darkness accompanied by typical Gothic techniques evoke a fear of the unknown in responders. This common Gothic themes can also be observed in The Road by Cormac McCarthy‚ in which the fear of the unknown is enhanced by the sublime‚ the prominence of religion‚ death and the use of darkness. Furthermore‚ it is clear that context has played
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Bibliography: Aristotle‚ Poetics trans./ed. Malcolm Heath (Penguin Classics‚1996) Burke‚ Edmund A Philosophical Enquiry into the Origin or our Ideas of the Sublime and Beautiful (Oxford World’s Classics‚ 1998) Nietzsche‚ Friedrich The Birth of Tragedy trans. Douglas Smith (Oxford World’s Classics‚ 2008) Plato‚ The Republic trans [ 7 ]. Friederich Nietzsche‚ The Birth of Tragedy (Oxford World’s Classics‚ 2008)
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‘For me‚ the story is less a horror…than a larger than life gothic fairytale’ (Kenneth Brannagh) How far and in what ways do you agree with this description of the text? Mary Shelley’s Frankenstein is a novel which forces the reader to question whether it is a simple horror story or whether it is a gothic fairytale of many depths. Frankenstein is considered by many critics as the first modern horror story ever written‚ and it opened a whole new world of ideas for novels and has inspired many similar
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wisdom. He believes that to become wiser‚ one must experience life for themselves rather than being taught. Siddhartha and Govinda leave their life as ascetics to seek out the sublime one’s words‚ but even after this experience Siddhartha still believes that wisdom cannot be taught through words and books. He says to the sublime one that he continues in his wanderings “... not to seek another‚ better doctrine‚ because I know there is none‚ but to leave behind all teachings and teachers‚ and either to
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"The Dog and the Sparrow" by Tourgenieff analysis ENG 125: Introduction to Literature Prof: Melissa Eidson 5/28/14 The poem "The Dog and the Sparrow" by Ivan Sergeevich Tourgenieff is an example of the sublime. It has the ability to cause the reader to feel deeply for the sparrow and its bravery and sacrifice. The poem is told in first-person point of view and uses figurative language and metaphors to tell the story. The theme is reverence for the sparrow‚ which like
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around him‚ and so his connection to the earth must inevitably be part of his story. In literature‚ when nature is addressed‚ it is often in praise or awe‚ of its terror or of its beauty. Nature can represent the real and visceral as well as the sublime and the mystic. If one examines the work of the Transcendentalists‚ the Romantic Poets‚ and certain novelists‚ it is evident that the underlying feeling is that Nature provides inspiration and bliss‚ as well as a much-needed refuge from society.
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through scientific experimentation. In an attempt to warn her audience of the horrifying consequences of disrupting nature‚ Shelley utilises a Gothic-Romanticist style‚ and motifs such as the sublime and soothing nature versus monstrosity as shown in the lines‚ “the valley that is more wonderful than the sublime”‚ juxtaposed with the appearance of the monster as “yellow skinned‚ black eyed”. Whilst Victor warns Walton to‚ “avoid ambition...in science and discovery”‚ his character development‚ alluded
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I‚ no. 1 (June 1995) Sacred Ambivalence: Mimetology in Aristotle‚ Horace‚ and Longinus Matthew Schneider Department of English Chapman University Orange CA 92666 schneide@nexus.chapman.edu Almost from its very beginnings mimetology has looked to ancient Greece for its proof texts. For both René Girard’s hypotheses surrounding the ethical and ethnological implications of mimetic desire and Eric Gans’s identification of the part played by mimetic resentment in cultural evolution‚ the texts of
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Kirsten Cooper Lara Jacobs WRTG 3020 2/4/13 The Art of Darkness: Beauty’s Dependence on Darkness in The Art of Travel “There was only one way to possess beauty properly‚ and that was by understanding it‚ by making oneself conscious of the factors (psychological and visual) responsible for it” (de Botton 216). In The Art of Travel‚ Alain de Botton encourages the reader to view the world through an artistic eye‚ one which is attuned to detail. By doing so‚ one can comprehend beauty by becoming ardently
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movement‚ and The Broken Column is no exception. Frida Kahlo’s The Broken Column expresses her self-reflection on her own body and past experiences as well as challenging classically held ideas about the male gaze and the role of female artists in the sublime. The Broken Column‚ an oil on Masonite painting at 39.8 by 30.6 centimeters‚ provides a detailed self-reflection on the impact of her injuries she sustained many years earlier and how those injuries impacted her both physically and emotionally. The
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