underworld of fears and fantasies through which we wander in our ugliest dreams”. “From W.S.” comes from “The Complete Short Stories of L. P. Hartley” published posthumously in 1973 and tells the story of a writer‚ Walter Streeter‚ disturbed by the postcards of ambiguous contents sent by a poison-pen. The passage is written in the narrative key. The prevailing slant of the extract is highly emotional with a hysterical shade as basically the whole extract is devoted to the dwellings of the narrator
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will focus on his theoretical writings about contemporary myths in Mythologies and upon photographic images in Image/Music/Text to understand and interpret contemporary images of Northern Thailand‚ specifically those of Hill Tribes in the form of postcards and promotional material targeted to a tourist readership. It will analyse the system of signification present in that material and discuss differing interpretations depending upon various levels of reader knowledge. The Writer‚ the Text‚ and
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narrator and we can see that in his literary work "W.S.". The main character of the story - Walter Streeter - gets one after the other four postcards with messages from anonymous and starts thinking them over. At first he was glad that he didn’t have to answer them as a writer should grudge time and energy for that. He even tore the first two postcards away. But later it became so important for him that he pondered over this and nothing else. He avoided making new acquaintances and had many difficulties
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Calvino uses the imagery of the postcard to demonstrate the significance of the remembered city. The city and time that the postcards represent are no longer existing or ever did‚ because this postcard city is unreal and had never been real. Hence‚ what we see in the postcards is not representation of the real past but rather an out of context copy of a small portion of the past. And the fact that the inhabitants of this city prefer the city presented in the postcards is like the grass is always greener
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SEX! Many magazines‚ such as Cosmopolitan and Maxim‚ use sex and sex appeal in order to sell their magazines. These are two very different magazines that cater to different audiences. While flipping through each‚ an individual would notice that the articles are written differently‚ the styles of each are completely opposite‚ even the advertisements are dissimilar. In each magazine‚ there are several ads depicting the same product‚ but being sold in two totally different ways. An ad for Skyy Vodka
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In Mean Girls‚ Mark Waters films the journey of Cady Herring (Lindsay Lohan) searching to find her place in the social ranking of High School. Her desire to belong to the popular group puts the few friendships she has on edge. The film discusses the over desire and temptation of belonging and how it isn’t always a positive thing to achieve. One of the key scenes in the movie that relates to belonging is when Cady has made two friends who don’t rank high in social status‚ as Cady is going to sit
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and Hilda trilogy (1947) and The Go-Between (1953). In the very beginning of the given extract‚ Walter Streeter‚ the main character‚ gets the postcard from Forfar. The sender‚ W.S.‚ asks whether he really thinks that he is really gets to grips with people. Walter’s correspondent’s criticism lingered in his mind. About ten days later comes another postcard‚ this time from Berwick-on-Tweed. It says that the writer is on the border and that some people call his stories otherworldly. Walter Streeter
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PRESCRIBED TEXT: Skrzynecki‚ Peter – The Immigrant Chronicle Chosen Poems: -Migrant Hostel -Postcard “Belonging is essential for human fulfillment” When somebody belongs they usually feel accepted and comfortable‚ yet when somebody does not belong‚ feelings of detachment and disorientation can be seen‚ so surely belonging is essential for human fulfillment. Peter Skrzynecki’s poems Migrant Hostel and Postcard show the fulfillment of belonging but mainly of not belonging‚ being disoriented and detached
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human condition. These Notions of belonging manifest vividly in Steven Spielberg’s Schindler’s List‚ Skrzynecki’s Postcard and Ancestors‚ as well as Yann Martel’s novel Life of Pi. When these two elements fuse‚ it creates a complex and ambivalent balance in which one either suffers or is enlightened. Skrzynecki’s Postcard encapsulates physical dislocation. He cleverly uses the postcard as a symbol of this. When Skrzynecki personifies the town‚ “I never knew you except in the third person‚” he is
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It would hurt‚ right? Now‚ imagine how confused you would be if you received a postcard from your mother‚ the one who abandoned you. At first there is just the one postcard‚ but then there were two‚ then three‚ and they just kept coming. The postcards always seem to find you; you move‚ they move. Your mother has always known where you were living; yet you do not know if you can trust the address on her postcards. The short story Love‚ Your Only Mother by David Michael Kaplan tells of this belittling
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