Letter to an Unknown Woman Review Essay Example

Letter to an Unknown Woman Review Paper Essay on Letter to an Unknown Woman Mixed feelings arose in me after reading this story, letter: I felt like a target, and swept shivers, I turned into the invisible observer of human life, whose eyes now and then clouded with tears and my heart jumped out of my skin. Described events gave rise to exciting, do not let the picture, and the characters -. Vivid images In the summary correctly stated Zweig brilliant master of psychological prose As he brilliantly reveals the character of the hero.! Bonton makes him a knight, pleasant appearance attractive and literary craft mysterious. And for such a rich entourage step by step opens idle, even cynical personality We have Wilson accurate aphorism:. Indifference is the highest cruelty. I myself avoid flat in peoples lives. It seems that they live on a low note, and none of them can not worry. And figure out who they are there, inside, is not possible. I do not know about you, but I am horrible with these. We will write a custom essay sample on Letter to an Unknown Woman Review specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Letter to an Unknown Woman Review specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Letter to an Unknown Woman Review specifically for you FOR ONLY $16.38 $13.9/page Hire Writer And so, young, delicate, feminine creation meets on his his way. Oh, how easy creates a halo around it, and waking up with him in the adolescent female, rushing to their fate, as in the abyss. And she was nowhere to escape from his burning, wraparound sight Human life is burned and burned . » The little creature, doomed to loneliness among men. To tell someone to explain from whom wait for help ?! The sudden move to another city, it would seem, is to negate the childrens dreams, but the feeling just gets stronger and blooms body When he returned, the clock is standing under a native windows, not daring to go up the familiar stairs. once again, I remembered the aphorism: If a woman does not know what she wants, she does not want you » discharged obstanovkuï Å ))) Oh, he dolt. , a woman proshlyapil. She just wanted him. And it began to desire other men. He loved her several times. Illegitimate son could join them, but proud by nature, never learned how to like each time a part of his life again, could not bear it, You did not know me then, nor after; you never recognize me. How to tell you, darling, all the disappointment that moment? After all, if the first time I experienced something that I doomed fate, have not you learned all his life, until his death  »  « To you, never known me.  »

The beggar women and the seduction Essays

The beggar women and the seduction Essays The beggar women and the seduction Essay The beggar women and the seduction Essay Both the beggar woman and the seduction deal with attitudes towards women and love, and the relationship between the sexes. In this essay I am going to explore these ideas and look at the similarities of the two poems although they were written over 100 years apart. The beggar woman was written in the 17th century by William king, and Eileen McAuley wrote the seduction in the 1980s. The beggar woman is a poem about a man who goes hunting and comes across a beggar woman who he finds attractive, he then asks the beggar woman into the woods with him, she agrees but instead of having sex with him she leaves him with her baby to look after to teach him a lesson. The seduction is about a girl who goes to a party and falls in love with a boy, he takes her down to the docks where he gets her drunk to have sex with her, as a result of this she gets pregnant. The two poems are similar as they both portray women as the sex although, in the beggar woman, the woman turns the tables and becomes the stronger character. I did not expect the poems to be as similar as they are because of the time gap in between their creation; both the poems deal with the themes of attitudes towards women, love and the relationship of the sexes making them very similar. The mood of both the poems is uncomfortable from the start. Both the poems have an unpleasant atmosphere. The moods of the poems are different because the beggar woman is more light-hearted than the seduction. In the beggar woman the mood is jolly, this created with rhyming couplets, and this in turn makes the serious point have more impact, although in the last few lines the mood changes to more serious mood as the message of the poem becomes apparent. The mood in the seduction changes from a happy, jolly mood when the characters are at the party to a more sombre mood, when the boy and the girl go to the docks. Then the mood changes again at the pivotal point in the poem where the girl finds she is pregnant, its here that the mood becomes dark and angry, which causes the reader to sympathise with the girl because she is alone and pregnant. I dont think the moods of the poems relate although they deal with the same issues the beggar woman tries to bring across these ideas in a comical mood where as the seduction treats the issues with more stern seriousness. The characters in both the seduction and the beggar woman are very similar. In the beggar woman the female is portrayed as weak at the beginning of the poem just like the girl in the seduction although, the female character in the beggar woman becomes powerful towards the end of the poem unlike the female in the seduction as you can see from this quote And she ripped up all her My Guy and her Jackie photo-comics Until they were just bright paper, like confetti, This shows that the girl is still the weaker sex as she is hiding behind dreams of weddings and romance even when she finds she is pregnant its as if she is trying to forget shes pregnant and go back to being a little girl dreaming of romance. The female in the beggar woman seems similar to the girl in the seduction but as she becomes powerful near the end of the poem you see that she is different to the girl in the seduction because, she knows what she is doing and shows that she has knowledge of how the world works and doesnt hide dreams of a young girl. The men in both the poems appear powerful. The man in the beggar womans power is symbolised by him ridding the horse in front of the woman, instead of letting her ride or walk alongside him also at the time in history the poem was written men had the right to demand the services of women at any time, especially if the woman was of a lower class than the man, also the poem refers to the woman as game, this is shown in the quote: For he himself had other game in view: The word game is a hunting metaphor making the woman sound like prey for the man. The male in the seduction remains the powerful all the way through the poem he is similar to the man in the beggar woman as he shares the same views on women and how they should be treated this can be seen in the quote: She giggled drunk and nervous, and he muttered little slag' This shows he only wants the girl for sex and that he doesnt feel that women have equal rights as men. Both the beggar woman and the seduction are third person narrative, this means that the narrator should give an equally balanced view on all characters in the poem using he/she/they; although both the beggar woman and the seduction are biased they are both in favour of the woman. The beggar woman is biased towards the female out of pity because of the way she is treated by the man then at the end of the poem her actions are applauded, the poem its self would most likely have been ignored if it had been written by a woman because of the era in which it was written where women were the weaker sex. The seduction is also biased towards the female because all the feeling of the girl are shown in her actions where as after the pivotal point in the poem the boy isnt mentioned, also the boy is made to look bad by his comment on the girl where he calls her a little slag and how he gets her drunk to have sex with her. Both the beggar woman and the seduction are narrative poems. This means that they tell a story, this makes them more entertaining so people will read them. The beggar woman has rhyming couplets making a comic style, which adds impact when the moral of the story becomes apparent at the pivotal point in the poem. The seduction is written in four line verses with the second and fourth lines rhyming, the rhyme scheme for the seduction is ABCB this is a ballad rhyme scheme. The seduction is story like, making it easy to read also the fact that it follows a chronological sequence through the girls life making it easy to read.

A study of online shopping behaviour of Thai generation Y consumers in Essay

A study of online shopping behaviour of Thai generation Y consumers in Thailands retail fashion industry - Essay Example Accordingly, this study concentrates on how independent variables, such as advertisement and promotion influences online shopping behaviour of consumers. Studies, such as Lin (2007), Haig (2001), Moschis & Churchill (1978), Chawla (n.d.), also argued that these components are quite vital when determining the purchase intent of the consumers. While these studies and many others assessed during the literature review did not put much emphasis on indicating the influence of price on the consumer decision-making to purchase fashion products. It was in this context that the gap was mitigated with the help of primary research, wherein the findings from focus group interview revealed price to be a major factor in determining the customer purchase behaviour. On the basis of the conceptual framework, it is vital to develop a hypothesis in order to evaluate the relationship between dependent variables and independent variables. Henceforth, two hypotheses have been conducted for evaluating the relationship between dependent and independent variables by using the Statistical Test namely Pearson product-moment correlation coefficient as mentioned in Methodology part. In this first section, descriptive statistics are employed for analysing the primary data of the respondents demographic profiles. In descriptive analysis, the raw data are presented in terms of frequency and percentage. These data include demographic information, namely gender, income and age. The table above displays that there were 144 male participants which were the percentage of 45 of 100 and there were 176 female participants or 55% in this survey. Thus, the total number of respondents who was observed for this research was 320. From Table 4.1b, it can be seen that the largest monthly income earned was the group between 10,000 29,999.99 baht or equivalent to  £150 - 450 for 170 respondents or 53.1%, the

Please See Order Instructions Research Paper Example | Topics and Well Written Essays - 2500 words

Please See Order Instructions - Research Paper Example The purpose of this paper is to present a detailed analysis of the company. It is important to consider the changes that have occurred over the years so the paper also discusses the basic changes that have occurred throughout the previous years. Of course, it is equally pertinent to consider the situation in the market place because the market determines our progress. Therefore, the paper also deals with the significance of the market in relation to the company. The falling status of the company is a well known fact by now. To some extent the company’s inefficiency is itself responsible for this current state of the company. However, this paper also reiterates how the exogenous factors, not directly under the control of the company; have led the company to its present state. The latter part of the essay deals with a personal assessment of how critical the situation is for the company. Also, the measures that are deemed necessary at this point in time are highlighted so that the important propositions could be understood. Overall, the paper will help get an idea of the current situation and would inform about the steps that need to be taken to save the company from bankruptcy. Before moving onto the discussion of why the current situation has arisen, a brief overview of the history of the company in the last few years is necessary.

Entering in to a Credit Agreement Essay Example | Topics and Well Written Essays - 1000 words

Entering in to a Credit Agreement - Essay Example Rest of the amount is paid in small monthly installments. In his scheme of thing, the good sold belongs to the shop until and unless complete money i.e. last installment is not paid to the shop. This was used to be called Hire Purchase agreements but is now called an Installment Sales Agreement. Before entering an agreement for a credit, a person must be fully aware of terms and conditions of the credit. There are certain requirements that need to be complied with while entering an agreement to protect consumer's interest. The Consumer Credit Act 1974 and subsequent amendments lay down certain well defined requirements for a consumer's protection. If these requirements are not met the agreements will be considered as not enforceable without a court order. Various Consumer Credit Acts provide number of rights to the consumers to settle the agreement at any time by giving notice in writing and paying off the amounts owed under the Agreement. A person entering consumer credit or consumer hire agreement should carefully go through the agreement forms and content of document accompanying the agreement. Section 60(1) of CCA requires a credit agreement document to aware debtor or hirer clearly about following: Consumer credit or consumer hire agreement document in the prescribed form, containing all the prescribed terms of the agreement and conforming to regulations under section 60(1), is not signed in the prescribed manner by the debtor or hirer and by or on behalf of the creditor or owner The document does not include all the terms of the agreement, other than implied terms The document is, when presented or sent to the debtor or hirer for signature, in such a state that all its terms are readily legible. Contents of a Credit Agreement According to Credit Agreement Act, debtor or buyer and hirer or seller both arties must sign a written agreement including all terms and conditions. A credit agreement document must include following details: Names and addresses of both the buyer and seller A complete and clear description of the goods The cash price and the other charges (finance charges, insurance and so on) that make up the total price the buyer must pay The deposit that must be paid. No credit agreement is legal until the deposit is paid. The amount of each installment, including the last installment, and the day of the week or month by which it must be paid. All other terms and riders like who will the owner of goods until all the installments or full cost of the good is paid, at what conditions the purchaser can make prepayments or what will be the result if full installments are not paid. Terms and conditions if a seller has sold defective goods or it break down without any fault from purchaser side. Canceling an Agreement There are cases when a

Gojira 1954 And Godzilla 1998 Film Studies Essay

Gojira 1954 And Godzilla 1998 Film Studies Essay Humans have been around for thousands of years. Today, many movies have been created based on stories and legends of influential people and life-changing events that were recorded in history. Inspiration for the 1954 film Gojira came about as a result of World War Two during the twentieth century. The devastation brought on Japan by the two nuclear bombs had inevitably raised a wide spread awareness about nuclear weapons and its radioactive destruction (Ragone 2007). Both, Gojiras and Godzillas creation were linked to the nuclear bomb. With reference to the 1998 film Godzilla, it can be seen that the creation of the terrible lizard was linked to French nuclear weapons testing in the French Polynesia. Similarly in the Japanese context, Gojira was shown to be linked not only to the atomic bombs, but the hydrogen ones as well. With the devastation of the two atomic bombs still fresh in the Japanese minds, further H-bomb tests were carried out near Japan and eventually, the radiation fallout directly impacted on the Japanese fishing industry, causing a sharp decline. With all these tragic events occurring within a short span of time, Gojira was concocted out as an incarnation of the war itself (Ragone 2007 pg. 35) as the producers wanted a real-world scenario that reflected the Japanese concerns that time. In order to effectively protray the nature of destruction caused in the films Gojira and Godzilla, visual effects became increasingly important as it was necessary to provide an acceptable level of realism for audiences who will be watching the film. Therefore, this led to the development and creation of different visual effect techniques. Then with the advancements in technology, some older techniques were modified and re-developed accordingly. In this investigation, it will bring to light the common, yet contrasting comparisons of filmmaking between the analogue and digital eras. 2| Scene Selection | I will be comparing two parallel special effects sequences in both Gojira and Godzilla. A breakdown of this complex scene will be accompanied with a description of its technical aspects in laymans terms. The scenes involve the two animals going on a rampage through a major city at night causing massive damages. It also includes military forces trying to eliminate the creature. These two scenes were specifically chosen as I will like to highlight the core visual effects elements that can be found throughout the films. 3| The Character| It was called Gojira, but was later known as Godzilla for the American audiences. (Godzilla, King of the Monsters 1998) In the 1954 Gojira, visual effects director Eiji Tsuburaya pioneered a technique called Suit-mation. The main reason for the introduction of Suit-mation was because of the need to complete the job within a short timespan (Ragone 2007). If stop-motion technique was used, it would have taken them seven years to complete the film. The suit was constructed mainly from hand-stirred latex and then refined subsequently. Even after refinements, the suit could only be worn for several minutes due to the unbearable heat and almost non-existent ventilation within. Due to its flexibility limitations and tremendous weight, the first suit was scrapped as the actor inside could not even move. In certain scenes where only the legs of Gojira were filmed, the suit was cut into two and attached to suspenders, allowing the actor to be more comfortable while filming (Godzilla, Designing Godzilla featurette 2005). Figure |Man in halved Gojira suit Development on analogue visual effect techniques can be seen clearly in the 1998 Godzilla, when Tsuburayas technique of Suitmation was used. Trained professional puppeteers were hired for shots that needed more physical realism with the miniatures that they were interacting with. Eventually, the Godzilla suit would be replaced with a CG Godzilla. Animatronics, a technique similar to the Suitmation technique, was introduced. In this case, instead of Human actors in the creatures costumes, machines were used to replace them. This method allowed many close-up interaction shots which enabled a high level of realism (Aberly 1998). The suit was not entirely presented as a guy-in-a-suit. Primitive visual effects were added to give Gojira a scarier feel. In the shot where Gojira was tearing up Tokyo and boasting its bright flashing hind fins, hundreds of cells were hand drawn frame by frame (Ryfle 1998). In several shots where Gojira was using its atomic breath, the creature was actually a hand puppet (Godzilla 2005). With much use for puppetry and animatronics, computer generated graphics still triumphed as the best tool for visual effects in the digital era. In addition, with the developments of computer animation software and techniques, realism took to a new height. Puppeteers whom took the role of Gojira would soon be replaced with computer animators sitting behind the desk. While the actor in the Gojira suit was acting for the scene, he would be filmed using a high speed camera at around 240 frames-per-second. The film would then be projected at 24 frames-per-second giving the feel of weight and size (Faller 2010). Using modern day tools to make Godzilla (1998) move, instead of shooting a guy-in-a-suit at a high frame rate, Centropolis FX had Godzilla key-frame animated in the computer. Due to the difficulty of animating such a huge creature, the team of animators grew from twelve to sixty (Martin 1998). Subsequently, After many failed attempts of animating a proper walk cycle, the team managed to get the same feel of the high speed camera shots by animating Godzillas movement at a slower speed (Martin 1998). From using chicken wires and glued latex for the construction of the 1954 Gojira (Designing Godzilla featurette 2005), polygons and NURBS took over in the digital era. The Gojira suit was made by wrapping thin wires and bamboo with chicken wire. Cushions and fabric were also added for the actors comfort. Hand stirred latex was later applied onto the suit as skin (Designing Godzilla featurette 2005). Even though CGI was of an advanced technology, there were still setbacks. Modelers had to split up their work of digitizing the entire creature by manually using a stylus to draw out every single mesh into the computer. Furthermore, the software was not perfect and had its limitations. A Special Projects team was sent from Soft Image to trouble-shoot problems encountered by the CGI crew (Aberly 1998). Ideally, Gojira was thought to have suffered burns and scars from the H-bomb test. The textures and the suit of Gojira were hand crafted by two people. Tireless hours were spent modeling the skin bumps by using latex and then gluing it onto the skin (Godzilla, Designing Godzilla featurette 2005). However in the modern day Godzilla, there was the technology of displacement mapping whereby the 3D geometry of Godzilla would be displaced using a texture map that contained details of the skin. With the model rendered out in different passes (Martin 1998), the process was more effective and also gave compositors more freedom in manipulating the image to create a realistic Godzilla. 4| The Set | As the two Godzillas enter the city and begin their trail of destruction, the set they were on had to look real. Although both movies used miniatures for filming, this special effects technique was inevitably developed and refined extensively due to technological advancements. 4.1| Miniatures | Miniatures for Gojira (1954) were made for use as a city scape. Tsuburaya had the miniatures built mostly in the 1/25 scale, with the exception of the Diet building which was a 1/33 scale (Ragone 2007). With reference to the scale of the Gojira suit with the miniature set scale, it created an illusion of Gojiras large size. Buildings were made in a forced perspective method where buildings closer to the camera were built bigger and those at the horizon smaller. The sets were actually built on wooden platforms to allow cameramen to do low angle shots, making the buildings look even bigger (Ryfle 1998). Thin plaster and wood were used for the buildings framework. Elaborate planning of the citys construction included custom made streets that would create footprints when being stepped on. Plaster was poured over sawdust to create that effect (Ryfle 1998). Digital techniques such as CG effects animation helped the 1998 Godzilla in creating street cracks. With the help of Thomas Hollier, a senior technical director, street impact technology was created. This allowed a pipeline for a more effective way for animating pavements that would crack under Godzillas weight (Martin 1998). Miniatures were also widely used in the making of Godzilla (1998). Huge 1/24 size models were built to accommodate Godzillas path of destruction. Huge 1/10 models were also built for close-up shots. The buildings were much more detailed with some featuring plumbing and even desks. There were several miniature buildings that were reused from The Hudsucker Proxy and The Fifth Element. With this, a great amount of production time was saved as redesigning of the rest of the set was no longer required. Although both Godzilla movies incorporated miniatures, Godzilla (1998) added extensive digital compositing over its miniatures to give it more realism (Martin 1998). Techniques adopted for destroying the miniature buildings were much more sophisticated in the newer film. In the 1954 version, kerosene soaked rags were used to set the miniatures ablaze (Ragone 2007). For those that were to be destroyed by Gojiras fiery breath, explosives were set behind the buildings. Several buildings even had gasoline sprayed on them to make them burn more easily. For buildings that were supposed to be destroyed by physical contact, small cracks were made in those miniatures so that it would crumble in a more believable fashion when Gojira crushed it. It was a daunting task for the actor inside as he had to get it right on the first take as there was not enough budget and time for a rebuild (Ryfle 1998). In 1998, there were more types of pyrotechniques available and one such example would be the military type. Different methods were developed to be used on the different types of destruction. As Godzilla races through the city with its tail in free motion causing damages to buildings, cable pulls were attached to sandbags in the buildings interiors. When they were pulled, a trail of damage would occur as if Godzillas tail had swept through them. Mechanical rigs were also used to blast through a building with the CG Godzilla to be composited in later. The Chrysler Building in the scene which was destroyed by a misfire from the attack helicopters were very complex mechanical rigs. Right after the top floors exploded, it was orchestrated to shift and descend towards the camera (Aberly 1998). On the whole, miniature destruction could be choreographed with more control. Miniature vehicles were also used on the set for both films. The military elements used in the Gojira scene were tanks. Extensive pyrotechnical effects were used for the firing of the tank weapons. When the tank shells hit Gojira, blasts were created by wire rigged charges (Ryfle 1998). Comparing this to a similar scene in the 1998 movie, instead of tanks, CG Apache attack helicopters were used. Tracer fire, blasts including debris and smoke from the damage were all entirely computer generated. In addition of the rain and lighting effects which included the volumetric searchlights, RenderMan shaders were developed solely for the wet look of the helicopter. However, at the shot when Godzilla decides to lash out at the attacking military helicopters, a miniature was used. With creative ingenuity, a 1/8 scale model was made loaded with pyrotechnics and detonated (Martin 1998). 4.2| Atmosphere | To create the perfect terrorising atmosphere, Gojira (1954) was shot using a low-key lighting effect (Biodrowski 2007). This is because Low key lighting would create a darker toned picture with contrasting bright contours which is more suitable for dramatic shots. The grainy cinematography would also feed an extra punch to the eerie effect throughout the film (Ryfle et al. 2007). With the advancements in technology, analogue methods would be often replaced by colour grading and compositing. In Godzilla (1998), instead of using a low-key effect to give the dramatic shots, the environment was given a CG rain touch up. This was a complicated scene where many effects animations were applied. Not only was computer generated imagery used, acquisition footage was also being recorded for the environments. From rain to shattering windows, these footages would later be composited at different scales to tie up the scene together with the CG Godzilla (Martin 1998). Lighting was a key element in creating the perfect environment. Real lights from orange and bluish street lamps had to be reflected onto the CG Godzilla. Due to location shots where real lights were aimed at buildings when Godzilla was supposed to be in the foreground, artists had to rotoscope out the real lights and animate the CG ones. More complications had arisen when Godzilla rampaged and took out the real street lamps. Firstly, lights from the real lamps had to be rotoscoped out. A CG lamp would then be created and animated to flip or be destroyed (Martin 1998). Although this entire sequence would seem small compared to the main character, it made the scene look believable. Another small detail to add on is the stationary cars from the live action footage that underwent rotoscoping when Godzilla stomped past them. Compositing artists had to create rotoscope mattes for the vehicles and animate their bounce by hand. The add-on of the camera shake at post-production level also helped with the realism (Martin 1998). 5| The Conclusion| In my chosen scenes which depict the destructions from the streets of Tokyo to Manhattan, both Gojira and Godzilla held similar iconic symbolisms and metaphors. In the 1950s when Gojira was made, there were many underlying reasons for its creation. The focal point was the atomic bombs. Since Japan had directly experienced the impact of the bombs, it would have held a deep significance for them. To a certain extent, it was believed that without the two atomic bombs that were dropped on Hiroshima and Nagasaki, Gojira would not have surfaced. Gojiras rampage through Tokyo would serve as a reminder of the recent devastating nuclear attack on Japan to the survivors of the atomic bombs as well as to the rest of the Japanese. Gojira also created awareness on new nuclear weapon testing and how our interference with Mother Nature might one day prove apocalyptic and leave a trail of death and devastation. Today, in the modern world context where technological advances are ever improving and as well as relative peace, Godzilla (1998) still carries the same essence as it did 44 years ago. With the threat of existing nuclear weapons and even deforestation which leads to Global Warming, metaphorically, Godzilla still serves as a reminder and warning of an impending disaster if we do not change our ways. Iconically, Godzilla would be referred to as a present doomsday movie. From comparing the different special effects techniques that were used in 1954 to those used in 1998, one could see how the technology leap into the digital era made a big difference in improving film quality and the workflow efficiency of special effects artists. Even though gone were the days where analogue techniques such as filming in front of glass mattes were regarded as the modern methods of special effects, several analogue techniques are still considered relevant with the present world. The integration of both analogue and digital effects proved to be a success in creating a hyper-real Godzilla. With the age of computers and constant development on digital techniques and tools, no one knows what the future might hold for us as special effects artists. However, like all foundations of buildings, the journey of learning the history and methodology of analogue techniques should be deemed as equally important for future developments. 6| Bilbliography| BOOKS Aberly, R., 1998. The making of godzilla. London: Titan books. Kalat, D., 1997. A critical history and filmography of tohos godzilla series. 2nd ed. USA: Mcfarland and company, inc. Ragone, A., 2007. Eiji tsuburaya: masters of monsters. San Francisco: Chronicle books. Ryfle, S., 1998. Japans favourite mon-star: the unauthorised biography of the big g. Canada: ECW press. JOURNALS Martin, K., 1998. The sound and the fury. Cinefex, 74(3), 84-107. WEBSITES Faller, G., 2010. Tsuburaya, eiji. Available from: http://www.filmreference.com/Writers-and-Production-Artists-Ta-Vi/Tsuburaya-Eiji.html [Accessed 9 October 2010] Biodrowski, S., 2007. Gojira(1954)/Godzilla, king of the monsters(1954)-Film and DVD review. Available from: http://cinefantastiqueonline.com/2007/11/godzilla-1954-film-dvd-review/ [Accessed 25th October 2010] Ryfle, S. and Goldstein, B., 2007. Godzilla 50th Anniversary Pressbook. Available from: http://www.scifijapan.com/articles/2007/12/06/godzilla-50th-anniversary-pressbook/ [Accessed 1st October 2010] DVD Godziszewski, E., Ryfle, S. and Aiken, S., 2005. Godzilla. DVD. UK: British Film Institute. Godziszewski, E., 2005. Godzilla-Designing Godzilla featurette. DVD. UK: British Film Institute. VIDEO Godzilla, King of the Monsters, 1998. Video. UK: BBC Video.

The Tell-Tale Heart and the Labovian Theory :: Tell-Tale Heart Essays

The Tell Tale Heart and the Labovian Theory      Ã‚  Ã‚   The Labovian theory of a developed narrative contains six mandatory components.   These components help the reader, or listener to a broader understanding of the thoughts and motivation of the internal narrator and the external storyteller.   The abstract gives a representation about the story.   The orientation draws a picture to familiarize the reader/listener of the necessary w's; who, what, when, where.   The complicating action is the turn of events on which the story hinges. The resolution determines the outcome and usually leaves the reader/listener aware of a feeling of closure. The evaluation is the most essential component of the Labovian theory.   It permeates throughout the narrative in hopeful attempts to keep the interest of the reader/listener peaked.   The coda compliments the evaluation and brings the narrator and the reader/listener back together on common ground in order to bring the story to a close.   Edgar Allan Poe's short story of a passionless crime undone by the heart incorporates the Labovian components.   "The Tell-Tale Heart" is a   masterly written narrative, full of subtle nuances quick to deceive the senses.   Poe sends the reader spinning into a world of symbolism, questioning the art of madness, and fearing the depravity of reason.      Ã‚  Ã‚  Ã‚  Ã‚   The "The Tell-Tale Heart"   is, at a glance, seemingly about a man plotting to kill another man in cold blood.   Looking further into the words, the reader can find a story of a man obsessed with senses and the ability to have complete control over them. The narrator uses reason to overwhelm the morality of his actions.   His obsession takes over his whole being, thus bringing on the madness which over powers his   world.   The focus of the abstract is first   seen as the narrator describes his idea as, "haunting him day and night"(226).   Only an obsessed person could let something get to the point where they cannot think of anything else.   Poe uses strategic wording to pinpoint the abstract.   Poe blatantly announces the point, and the narrator confesses,   "Madmen know nothing.   But you should have seen me.   You should have seen how wisely I proceeded . . . "(226).   He was a coldly calculating man, obsessed that reason can conquer any sense, which in the end he finds is a never-ending battle.