| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "SYMBOLISM HEART TROUBLE LITERATURE": |
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The Symbolism of Heart Trouble in Literature, 2002.
This paper discusses how Ford Madox Ford and Virgina Woolf used characters with heart trouble in their novels "The Good Soldier" and "Mrs. Dalloway."
1,370 words (approx. 5.5 pages), 1 source, MLA, $ 45.95
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Abstract
This paper compares and contrasts how the symbolic use of heart trouble by Ford Madox Ford in "The Good Soldier "and Virginia Woolf in "Mrs. Dalloway" impacted upon the characters' development in both novels. In "The Good Soldier" the main characters both fake heart trouble in order to gain independence and isolate themselves from their respective spouses, who ironically, suffer from heart disease. In "Mrs. Dalloway" the protagonist's heart trouble is only mentioned occasionally. Her sickness occurs against the backdrop of WWI England in order to illustrate how both her illness and the war have changed everything for her. Heart trouble is used to highlight the themes of detachment and isolation in both stories where the main characters are not in tune with the reality of their lives or surroundings.
From the Paper
"The irony is that the real 'heart trouble' belongs not to the characters who claim it in the novel, but to the people to whom they are wed. Leonora sees and knows all that Edward does and suffers from it incredibly: both physically on their impoverished estate and emotionally. John, however, is the real character with heart trouble and as the novel progresses we come to understand that he is entirely passionless. John is a man without a heart, unable to feel reproach for Edward, sympathy for Leonora, or even pity for himself. We come to see that he is fully aware of Florence's romantic liaisons and that, though he feels no jealousy or anger, he willfully uses her heart trouble to isolate her from any kind of joy. As it develops, it becomes clear that John uses their marriage as a means of getting back at Florence for trying to use him."
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Symbolism in ?Crouching Tiger, Hidden Dragon ?, 2002.
This paper states that the film ?Crouching Tiger, Hidden Dragon? is rich in symbolism especially Chinese symbols and the concept of Yin and Yang.
1,150 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
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Abstract
The paper states that symbolism can be a reason to criticize the film or a reason to recognize it as a masterpiece. The authors demonstrates that the major events of ?Crouching Tiger, Hidden Dragon? are symbolic and believes that this is effective in creating a film with beauty, depth and meaning. The author continues that, because of the extent of the symbolism in the film, the viewers do not have a clear meaning handed to them but instead are challenged to determine their own meaning.
From the Paper
"The symbolism as inherent to the film can be a reason to criticize the film or a reason to recognize it as a masterpiece. The film?s very nature is symbolic, with the meaning attached not to the events, but to a greater meaning the events represent. The events and the plot of the movie are a surface feature, below this surface the film operates on many levels. This can be a reason to criticize the film, with the audience sometimes being lost to the meaning and confused at what is happening. In some ways, this can make the film seem poorly plotted and the characters poorly defined. However, on another level, it is these same characteristics that make it so powerful. The film is an epic and everything is on a grand, yet unrealistic scale."
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The Structure of Symbolism in Poe and O'Connor, 2002.
A comparative analysis of religious and psychological symbolism in Poe's, "The Telltale Heart" and O'Connor's "A Good Man is Hard To Find".
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
This paper examines the symbolism in Poe's, "The Telltale Heart", and O'Connor's "A Good Man is Hard To Find". It looks at the religious and psychological symbolic structures in both works. The paper concludes that each story creates a much more complex symbolic story.
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Symbolism in "Crime and Punishment", 2004.
Describes the symbolism that was lost in the translation of Fyodor Dostoevsky's "Crime and Punishment" from Russian to English and also takes a look at the general symbolism of the book and some history.
1,189 words (approx. 4.8 pages), 6 sources, MLA, $ 40.95
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Abstract
Explains some history of Russian dialogue, Russian history, and Fyodor Dostoevsky's life experiences. It tells the symbolism of the names in "Crime and Punishment," how Fyodor Dostoevsky was imprisoned, and the history of Russian tsarist government.
From the Paper
"Authors write their novels using literary techniques such as symbolism. However, when entire novels are translated from the native language to another, there are some things that are lost in translation. Fyodor Dostoevsky wrote Crime and Punishment in Russian and when the novel was translated to English, symbolism was lost in translation. The symbolism requires knowledge of Russian history and language and some history of Fyodor Dostoevsky's life, to know and understand. Without prior knowledge of the use of some names and words, the symbolism is unknown to the reader."
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The Religious Symbolism of Spirit, 1993.
Describes religious symbolism and spirit in religion, analyzing various ways in which religious symbolism has characterized spirit.
2,250 words (approx. 9.0 pages), 7 sources, $ 79.95
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From the Paper
"The Religious Symbolism of Spirit
Introduction
In its widest sense, all religious symbolism is a representation of spirit, of that essence of the universe which people have variously characterized as gods, goddesses, energies, and voids. In the narrow sense, the religious symbolism of a religion, like Christianity, can distinguish between various aspects of the whole, designating one, like the Holy Ghost, or Holy Spirit, as the spirit aspect. In this analysis, the focus starts with a general look at religious symbolism, spirit in religion, followed by consideration of some ways in which spirit has been characterized in religious symbolism."
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American Ethnic Literature, 2008.
Looks at what is meant by the genre of American ethnic literature.
1,295 words (approx. 5.2 pages), 2 sources, APA, $ 43.95
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Abstract
This paper explains that ethnic authors use their personal experiences to illustrate the troubles and discrimination they have faced in an attempt to gain the understanding of readers and to perhaps change some long-held ideals and falsehoods. The paper then points out that American ethnic literature is a strong and vital part of American literature. The paper uses the writings of prize-wining African-American women to exemplify American ethnic literature: Poet Gwendolyn Brooks (Pulitzer Prize for Poetry), Alice Walker (Pulitzer Prize) and Toni Morrison (Nobel Prize and Pulitzer Prize).
From the Paper
"Another perspective all ethnic literatures seem to share are their views of traditional American values, such as equality and freedom, and that is not surprising. Ethnic writers, like anyone else, desire those values, but it is difficult to support them traditionally when they are not applied to your race or circumstances, and much of their writing reflects that. Alice Walker's "Everyday Use" is an excellent example of these values, and how they are missing in many ethnic lives. She writes, "I never had an education myself. After second grade the school was closed down.""
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Dylan Thomas and Symbolism, 2006.
Examines symbolism in the poems written by poet, Dylan Thomas.
1,588 words (approx. 6.4 pages), 4 sources, MLA, $ 51.95
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Abstract
When one examines the early poems of Dylan Thomas, the contents and techniques of his volumes, with a few exceptions, beckon symbolic gestures. Conversely, other works by Thomas, also rich with symbolism, contain contrasts in diction and leave one to wonder if his critics are correct. Though to classify Thomas in any way might seem a futile task, the aim of this paper is to provide an examination of the similarities and contrasts of symbolic representations found in his early poems and in the poem "There was a Saviour." The paper shows that while the early poems of Thomas are a cornucopia of symbolism paralleled in content and style, "There was a Saviour" contains an exposition and subtexts that rarely meet in any similar fashion.
From the Paper
"In the analysis of "There was a Saviour," the peculiarity of its language compels us to set about constructing a meaning for it, and allows us to wonder how it is that the diction contain many contrasts not only within its own reading, but among his other poems. The poem in its entirety presents considerable difficulty. Even the syntax is difficult. The striking thing about the syntax is the peculiarity of the tenses and pronouns. Unlike the linear fashion that his other works exhibit, in reading "Saviour" it is difficult to make out what point in time we are supposed to be made aware of."
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Symbolism in Literature, 2001.
An examination of symbolism in literature focusing on Nathan Hawthorne's "The House of Seven Gables".
1,400 words (approx. 5.6 pages), 4 sources, MLA, $ 46.95
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Abstract
This paper presents an investigative look at the use of symbolism in literature. Author Nathan Hawthorne used many symbolism opportunities in his works "The House of Seven Gables." The writer of this paper explores the symbolism and comments on its effectiveness.
From the Paper
"Throughout history the authors of literary works have used symbolism to develop a story or create an understanding. Many of the classics are filled with symbolism, and it is that very symbolism that causes the story to stick in the reader?s mind and heart and make the story a classic. In The House of Seven Gables the author, Nathaniel Hawthorne displayed a particularly subtle talent at lacing the story with symbolism for the reader to stumble upon in his journey. Through the use of symbols, we are given the opportunity to view many aspects of the story from a third vantage point, and one that makes it clear for us to understand. The symbolism in House of Seven Gables, works to unite the ideas and emotions that run through the book?s underpinnings and brings the reader to the same mindset the author had as he penned the words. The use of symbolism in this story creates the ability to develop the character of the story itself and bring it to its three dimensional existence."
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Symbolism in Literature, 2002.
An analysis of symbolism in John Cheever's "The Country Husband" and Eudora Welty's "A Worn Path".
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
This paper will discuss symbolism in the two short stories by John Cheever ("The Country Husband") and Eudora Welty ("A Worn Path"). By analyzing these different stories, we can learn how they crafted symbolism in their characters, events, places and other aspects of literary form that occur within the stories that were written. This will give a clearer perspective on how they wrote their stories and how symbolism plays a part in them.
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Symbolism in Shakespeare's "Hamlet", 2006.
An analysis of the symbolism of the ghost in the play "Hamlet" by William Shakespeare.
1,100 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
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Abstract
This paper discusses Shakespeare's use of symbolism in his play "Hamlet" and cites literary critics to support its thesis. While the play is rich with symbolism, the paper explains that the most important symbol is the ghost of Hamlet's father, who makes his appearance near the beginning of the play. The paper details the symbolic significance of the appearance of the ghost and analyzes how it serves as a call to action for the confused young prince, which fuels the action of the rest of the play.
From the Paper
"As T.S. Eliot once stated, "Hamlet the character has had an especial temptation for that most dangerous type of critic: the critic with a mind which is naturally of the creative order, but which through some weakness in creative power exercises itself in criticism instead" (Sacred Wood, p 83). As that observation implies, it is not so much that Hamlet cannot make up his mind about the symbolic significance of the ghost and what exactly he should do to avenge his father's death; it is just that he continually second-guesses himself. As Eric Levy suggests, "As a rational animal, a man is one who thinks. But the play problematizes [sic] the proper exercise of thought by which man sustains this identity. In one of the earliest scenes, Bernardo, Francisco, and Marcellus tell Horatio, who at first doubts their word, that they believe they have seen Hamlet's father's ghost. Horatio waits with them for the ghost to reappear. When it does, Horatio asks it "What art thou, that usurps't this time of night" (Act1.1.46). He also tells the ghost, who does look like King Hamlet, to identify himself: "b heaven, I charge thee, speak!" (Act1.1.49)."
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Carl Jung's Theories on Archetypes and Symbolism, 1999.
Jung's collaborative work, "Man and his Symbols" is used, along with other works, to discuss Jung's theories on archetypes and symbolism.
2,160 words (approx. 8.6 pages), 5 sources, $ 67.95
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From the Paper
"Jung's collaborative work, "Man and his Symbols", examines man's relationship to his own unconscious and the symbols found within. Jung believes that our unconscious communicates with us through dreams; dreams that are as individualized as we are. Thus the interpretation of dreams, is entirely personal and individual. Throughout this book, dreams are treated as direct, personal, and meaningful communications that while interpreted personally by the individual, they are also expressed through a symbolism that is common to all mankind. Jung concluded that the forms which the archetypal experience takes in each individual may be infinite in their variations, but like alchemical symbols, religious symbols, literature and art motifs, and mythical symbols, they are all variants of certain central types and they occur universally in basic motifs and themes that are only seen differently because each group, society, or culture has its own particular symbols of expression, as does each individual. "
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The Symbolism of Gothic Architecture, 2005.
An analysis of the development of Gothic architecture, considering symbolism, imagery and technical innovations.
1,970 words (approx. 7.9 pages), 5 sources, APA, $ 62.95
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Abstract
This paper begins with the symbolic spacial layout of Gothic architecture and relates it to medieval society in general. Also discussed is the cruciform shape of Gothic cathedrals and the symbolism of the cross. The paper also catalogues the main imagery found in Gothic churches and how it relates to the architecture, including windows and light symbolism. Finally, historical interpretations in churches are discussed such as the "New Jerusalem" and the "Garden of Paradise".
From the Paper
"Despite the romantic observations of Schlegel and Laugier, seeing a forest in the cathedral, Frankl again makes the sober comment that "as far as we know, the architect of Durham did not ask himself how he could give a vault the form of a tree-top, so that it should represent paradise: it was only after the Gothic style had logically developed within the terms of the 'law according to which it had been born' . . . that the house of God became vegetal in form." In an essay on the symbolism of Gothic architecture, it is important to point out, lest we get carried away, that technological innovations were the impetus for a good deal of what came to constitute the style as such. "
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Symbolism in "The Metamorphosis", 2008.
A discussion of symbolism in "The Metamorphosis" by Franz Kafka.
734 words (approx. 2.9 pages), 1 source, APA, $ 26.95
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Abstract
This paper analyzes how symbolism is used in Franz Kafka's short story "The Metamorphosis". The paper asserts that metaphors are used throughout the story to illustrate the lack of communication among the members of a middle class family. It points out that one overarching symbol, the protagonist's metamorphosis into a giant insect, symbolizes alienation from his parents and sister, who refuse to consider him a member of the family. The paper also maintains that the door is another important metaphor in the story. It concludes that Kafka uses these symbols as tools for expressing feelings of anxiety, isolation and depression.
From the Paper
"Nonetheless, the metaphor of the bug can also be interpreted from a different perspective. Gregor's transformation could in fact be strictly spiritual in the sense that his physical shape might not change. His deadening job and demanding family could be the factors leading to his inner metamorphosis as one can lead the life of a bug without actually being one. We see Gregor with his family's eyes. He does not need to actually transform as his family already sees him as a bug. Communication is scarce; so is emotional connection between Gregor and his parents and sister who regard him as a mere source of income, and not as a human being. Kafka's central metaphor is thus two-sided in the sense that on one hand, Gregor could actually turn into a bug; on the other hand, he might just be made to feel like one by his family and job. This ambiguity is launched in the very beginning of the story by the narrator's words: "As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect"."
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Symbolism in "Crime and Punishment", 2004.
Discusses how symbolism unites the characters of Fyodor Dostoevsky's novel and highlights the commonalities of their struggles.
1,743 words (approx. 7.0 pages), 3 sources, MLA, $ 56.95
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Abstract
The many objects used as symbols in "Crime and Punishment" lead readers to a greater understanding of both the growth of the characters and the themes presented throughout the work. This paper shows that Dostoevsky's use of symbolism unites various characters and links them with the themes of moral decay (the color yellow), suffering, entrapment in one's sins (the presence of insects), and redemption through confession (the presence of water). These symbols are most important in that they connect Raskolnikov with other characters who mirror parts of his personality and parts of his psychological struggles.
From the Paper
"Numerous references are made to the color yellow, a hue which symbolizes the moral, physical, and mental decay of those in its presence. It is introduced quite early in the work, where it is noted that "...the yellowish dusty wall-paper peeling off the walls gave it a wretchedly shabby appearance..." (Dostoevsky 23). This setting creates a tone which matches Raskolnikov's mood that morning-"...bilious, peevish, and irritable" (23). It also hints at the decay that Raskolnikov is already experiencing. His landlady's servant, Nastasya, notes this when she brings him some tea and then exclaims that he will waste away if he does not drink it (23). She is, of course, simply addressing a physical type of decay (at least consciously); however, Raskolnikov's deterioration is of a much broader scope. It begins even before he decides to commit the murder of Alyona Ivanovna, the disagreeable pawnbroker, and her sister Lizaveta."
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Writers and Symbolism, 2004.
A look at the use of symbolism in the works of Arthur Miller, Edith Wharton, and Langston Hughes.
1,025 words (approx. 4.1 pages), 5 sources, MLA, $ 36.95
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Abstract
This paper discusses and analyzes three writers and their works: Arthur Miller; Edith Wharton; and Langston Hughes. Specifically, it describes and analyzes the way these writers use symbolism in their works to create deeper levels of meaning. Symbolism is one of the most important elements in most fiction, and these three writers illustrate its importance by the many ways they utilize it in their writing.
From the Paper
"The symbols in fiction can give the reader more depth and understanding of the work and the writers' intention in creating it. Langston Hughes, one of the premier writers of the Harlem Renaissance, used symbolism in many of his works, from poetry to plays and fiction. Hughes continually wrote about the origins and desires of black Americans struggling in a white society. As one biographer said, "From an early age, Hughes too was quick to stand up to racial prejudice, and his writings are filled with evidence of a lifelong struggle against racial bigotry, not only in the South but in the North and in California, and not least at the hands of self-styled progressives" (Sundquist 56)."
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