Abstract This paper examines the intensely personal nature of Yann Martel's "Life of Pi" and how the complex subject of religion is presented in a fashion that is non-judgmental, charitable and insightful. The author points out that the book is compelling and powerful because the fictionalized author of the tale talks about his own life and struggles while, at the same time, shrouding so many things in suspenseful mystery. The paper suggests that the story uses the theme of religion to capture the human yearning for something better than everyday life with its frequent occurrences of human bestiality. The paper also stresses that Martel's lucid prose, crisp plot and strong dialogue support his central message about faith and why faith truly matters.
From the Paper "The other great struggle that unfolds in the second part of the book, as it turns out, is the struggle to maintain his humanity in the face of butchery. The cook (the Hyena) who kills the young soldier (the terribly wounded Zebra with the mangled leg) is a horrid being who torments the dying soldier in much the same way as the Hyena torments the wounded Zebra by eating it alive. Faced with such evil, the violent death of his mother, and overcome by desperation and hunger, Pi Patel turns on the cook (becoming Richard Parker, the Bengal Tiger), killing him brutally with a knife and then eating the corpulent fellow for his own satiation."
Abstract This paper examines how Bram Stoker portrays erotic elements and religious undertones in his novel "Dracula". The author provides a brief analysis of the novel and looks at the way the time in which it was written impacted its acceptance.
From the paper:
"Bram Stoker is known by the world primarily as the author of the powerfully unforgettable novel Dracula. The novel introduces us to the diabolical character?Count Dracula. Dracula was written during the late-Victorian age, when "sex was likely to seem bestial, polluting, depleting, deathly, satanic, a fever in the blood, the theme of dreams, the nature of madness, and the lurking menace in the shadow of every scene" (Stade VI). Obviously very much ahead of its time, the public nevertheless openly accepted Dracula."
Abstract This paper explains that the way Shakespeare constructed the themes of racism in "Othello" and "The Merchant of Venice" can be analyzed using social-psychological theory because the racism towards Othello and Shylock is based purely on racial and religious differences between Othello, Shylock, and the Venetians. The author points out that Othello, the Moor of Venice, is referred to by other Venetians as the Moor or another derogatory, bestial name, "the thick-lips", "an old black ram", "a Barbary horse", and "the lascivious Moor", much more often than by his name, which, while not necessarily indicating racism, separates Othello from those around him. The paper concludes that Shakespeare's ability to characterize human nature is perfectly illustrated in the characters of the Christian Venetians, Othello, and Shylock.
From the Paper "Shylock is telling us that Antonio hates him because he is Jewish, however when considering Shylock's place in society and psychological theory, there is more to his hatred than just religion. Antonio also thinks Shylock is despicable because of his un-holy and sinful profession, even though Antonio and the other Venetians take advantage of his business. Shylock's job poses a threat to Christian values, but it is also slightly more significant that just that. The Christian Venetians feel threatened because they themselves are not being very Christian and ruining their society themselves; they are taking advantage of a money lender, and try to deny Shylock of the Christian virtue of mercy (IV.i.182-203)."
Abstract This paper discusses the painting "Guernica" by Pablo Picasso. The paper describes the painting as a work with political meaning as the work represents a classic statement of the evils of modern totalitarianism and as a tragic vision of the horror, cruelty, and bestiality of war.
From the Paper "Table of Contents 1. Guernica 2 2. Composition 5 3. Iconography 9 4. Non-Verbal Communication 11 5. Works Cited 13 Guernica Chronologically, Guernica was out of step with both the development of Picasso's ever-changing style and the height of the reign of cubism, of which he was a founder. Picasso's career and his cubist techniques, however, show why he chose this particular art form as the best means of communication and expression in this instance. Picasso's personality had dominated the development of painting in the first half of the twentieth century, and he was noted for his versatility, technical brilliance, and imaginative depth. He provided the incentive for most of the revolutionary changes in the first half of this century."
