Abstract There is something in the poetry of Robert Frost that does not love a stranger. And yet, strangers regularly appear, as in the poems: "Love and A Question", "The Fear", "The Smile" and "The Witch of Coos". Although the strangers, associated as they are with night and violence, are made to appear somewhat sinister, it is unclear as to whether Frost sees them as a threat in and of themselves; or rather, whether they simply embody a dissatisfaction which already exists in the lives of the couples.
Abstract This paper examines the universal and enduring appeal of Alfred Hitchcock's films. The author defines two films in particular -- "Strangers on a Train" and "Vertigo" as the quintessential Hitchcock films. The author contends that although Hitchcock's films may no longer have the capability to shock their audience, they feature several recurring plot devices that capture the imagination. These plot features include an ingenious criminal scheme, the use of doubles, a guilty person who manages to cast suspicion upon a non-guilty person, and an amoral person being punished. The films "Strangers on a Train" and "Vertigo" demonstrate Hitchcock's best use of those devices.
Outline:
Introduction
Discussion
Conclusion
From the Paper "Alfred Hitchcock's thrillers, though filmed half a century ago, have maintained their ability to keep an audience enthralled. Part of the initial impact of Hitchcock's thrillers is that they were groundbreaking, and they offered a vision of the ugly side of humanity that had not been explored in cinematic media. However, a modern audience does not experience the same shock at those revelations that the original audience experienced. Therefore, the permanency of the movies' appeal must be attributed to something besides the shock factor. Many attribute the lasting greatness of Hitchcock's thrillers to Hitchcock's use of several important cinematic themes."
Tags: Alfred, Hitchcock, Strangers on a Train, Vertigo, suspense, thrillers, film, cinema
Abstract This paper explains that, in Robert A. Heinlein's classic science fiction novel "Stranger in a Strange Land" (1961), the character Mike, the son of lost astronauts from Earth, is raised on Mars by Martians, and returns to Earth only as an adult, making him the "stranger in a strange land". The author points out that the title may refer to the 'Book of Exodus' from the "Old Testament" where Moses names his firstborn son "Gershom" meaning "a stranger there"; however, the usual interpretation is that Mike, the "stranger in the strange land", is a Christ-like figure. The paper concludes that, like Jesus, Mike seeks to make the earth a better place; however, a better analogy is to parallel Mike to the Old Testament's Moses rather than the New Testament's Jesus.
From the Paper "In other ways, though, Mike is nothing like Jesus. First, Mike is indisputably the orphaned son of two Earthlings; while Jesus either was or was not (depending on one's religious convictions and viewpoint) the son of God. Jesus, however, knew Mary and Joseph as his parents on earth, even if Joseph was perhaps not Jesus' real father; while Mike, on the other hand, never knew his parents."
Abstract This paper compares and contrasts Yasunari Kawabata's "Snow Country" with Albert Camus' "The Stranger". The paper points out that, while the styles of the two novels are different, the core of both Yasunari Kawabata's "Snow Country" and Albert Camus' "The Stranger" is based on the theme of estrangement or alienation. The paper then highlights that, even though the thematic similarity could form the basis for a comparison of the works, there are other, more specific resemblances that should be analyzed. Thus, the paper examines how both authors use the settings of their novels as meaningful contexts, which emphasize the two strangers' absolute loneliness.
From the Paper "The Stranger and Snow Country are the products of two opposed civilizations, the West and the East. As such, the two works have sprung from an entirely different background, but, nevertheless, they are also very similar. Through their thematic, the two novels are very similar, yet their style differs very much. Thus, the core of both works is formed by the theme of estrangement or alienation: both Shimamura and Mersault are equally incapable of love and passion or of any other bond with the people surrounding them. Moreover, the two seem entirely disconnected from their immediate reality. In terms of character and how they actually view the world, the two heroes are quite different. While the thematic similarity could form the basis for a comparison, there are other, more specific resemblances that should be analyzed. The most significant one thus is the fact that both authors use the settings of their novels as meaningful contexts, which emphasize the two strangers' absolute loneliness."
Abstract This paper analyses the differences in the original writing and the edited version of the book, "The Mysterious Stranger" by Mark Twain. It examines the effects his personal tragedies had on his mental health. The paper explores the influence of Twain's mental state on ?The Mysterious Stranger?.
From the Paper "Mark Twain wrote "The Mysterious Stranger" at the end of his life, and near the conclusion of a long and renowned career. Known for his biting sarcasm and supreme wit, Twain was an American legend by the time this story was published in 1916, six years after his death. Immediately, it seems to deviate from his other works, for the subject is certainly dark and evil compared to his other books, such as "Mark Twain," and "Roughing It," where his wit and humor were the primary reasons the books sold so well. People were used to reading books from Twain that made them think, but made them laugh, but "The Mysterious Stranger" simply made most people uncomfortable. Perhaps the discomfort came because it hit too close to home for many readers, and they saw the absolute and ultimate hopelessness Twain portrays at the end of the book."
Tags: editor, version, mental, health, evil, austria, moral, sense
Abstract This is a critical report of Lyn Lofland's "A World of Strangers: Order and Action in Urban Public Space,"an interesting study of urban neighborhoods, and what makes them the way they are today. The paper shows how Lofland contends that neighborhoods are far different today because of the growth of cities. We live in a neighborhood of strangers, and our interactions with them cause little or no discourse or meaning. It shows how the author of the book makes it clear from the beginning that her premise is about the people who inhabit the cities of her topic, and not so much the cities themselves.
From the Paper "Lofland also discusses the threat we feel from strangers, and how we react to this implied threat. In today's society, strangers are often a threat, and so we tend to avoid them at all costs, especially in public situations. The person standing across from us on the subway platform could be the man of our dreams, or an axe murderer looking for his next victim. We are afraid of strangers because of the autoimmunity of our society, and our cities. There are many different types of avoidance behaviors people exhibit when strangers surround them, such as in terminal waiting for a bus or a plane, or at a social engagement where they know none of the others in attendance. People go to fairly elaborate measures to ignore strangers in these situations, such as reading books, sitting in one spot and ignoring everyone around them, and moving from place to place investigating everything in the room so they are never in one place long enough to make contact with anyone else. These avoidance mechanisms say a lot about our society, and how we are all strangers to one another."
Abstract This paper explains that John Higham, in his ?Strangers in the Land?, states that, although the United States prides itself on being a country open to newcomers and strangers, this diversity has created a great deal of conflict between the peoples who have made up and continue to make up the American nation. The author points out that the very fragility of American identity, given that America is a constructed nation upon soil that once belonged to an alien, native people, has made the characterization of what is American all the more important and the voices that give rise to nativism all the more strident. The paper relates that anti-immigrant sentiment was directly linked to unemployment, ultimately resulting in the passage of anti-immigration acts directed against "others" such as, for example, Chinese immigrants in 1924.
From the Paper "The book "Strangers in the Land" looks at the ways distinct groups have tried to claim and prove that they belong, by comparing themselves to other groups and deeming themselves to be favorable based on other group's perceived differences and un-American status. Higham does not characterize such behavior as mere prejudice. Rather he calls it ?nativism,? a particular and particularly noxious and dangerous form of prejudice. Nativism, according to the author, is distinct in its economic and political effects from personal prejudice directed at ethnic and racial groups. Nativism is anti-stranger, it says, you are not like us, you are not like one of us, our nation."
Abstract This paper analyzes how the character of Meursault in Alfred Camus' novel "The Stranger," finds life meaningless and is a stranger to himself whether he follows conventional morality or transgresses it.
From the Paper "In Albert Camus' "The Stranger" we are presented with a novel that depicts the helplessness of the individual and the absurdity of human life. This existential dilemma is acted upon by Meursault from a unique moral perspective.."
Abstract This paper discusses that, in "Strangers on a Train", Alfred Hitchcock does not state openly the theme but rather gives the viewer clues in his frequent use of double images. The author points out that a double image in the film signals that the viewer is about to see an enactment of opposites in the characters of the story, which are not necessarily visible physically but often indicate the character's internal qualities. The paper explains that double images in "Strangers on a Train" signal conflict about to occur in the story (especially relating the characters), represent the protagonist's inner thoughts, fears and desires, and represent Bruno as part of the dark side of Guy's psyche.
From the Paper "When Bruno suggests that they each have someone to get rid of--he his father and Guy his wife--and that they should "exchange murders," Guy doesn't take him seriously. He thinks Bruno is eccentric. As Guy gets off the train, he laughingly says he agrees with everything Bruno suggests. Guy leaves his unique cigarette lighter behind on the train, possibly because he is so anxious to escape from the odd, obnoxious, and overbearing Bruno. The lighter has embossed "double" tennis rackets crossing each other and the inscription "A to G." The image suggests that doubles are a metaphor for double-crossing."
Tags: dream, protagonist, subconscious, opposites, signal
This paper uses the novel "The Stranger" by Albert Camus to examine the different ways that Camus portrays his beliefs concerning twentieth century mankind.
Abstract The paper discusses how Albert Camus develops his theory of the absurd throughout this existential novel, "The Stranger". The paper explains that the novel is based on Camus' belief that there is no meaning or absolute truth in life. The paper demonstrates how throughout "The Stranger," the main character, Meursault, is clearly an unapologetic individual, who is uncaring and moved only through sensory experiences. The paper shows how this is used to reinforce Camus' message that there are only relative truths in life. The paper highlights Camus' belief that what we do, say and believe are only important to us and to those that they affect, but they are otherwise insignificant.
From the Paper "Absolute truth, according to Albert Camus, does not exist, and it is this theme, along with the absurdity of human existence, that he is attempting to portray throughout "The Stranger." Through the alienated character of Meursault, who is shallow, almost inhuman, and an unrecognizable member of the human race, Camus shows us that our actions do not matter when viewed through the eyes of an eternal universe. What we do, say, and believe, are only important to us, and, perhaps, to those that they affect, but they are not significant, and neither are they Truth. Camus' basic point within this is that the only things that are real are physical experiences.
Abstract This paper examines Tayeb Salih's narrator in "Season of Migration to the North" and Albert Camus' Mersault in "The Stranger" and, in particular, their growth experiences by means of facing death. The paper relates that the narrator in Tayeb Salih's "Season of Migration to the North", voyages as far as England, never standing still, in an attempt to flee from facing himself. Only when he is standing toe-to-toe with death, does he begin to appreciate the gift of life and make a decision in its favor. The paper then compares the narrator's behavior to that of the character of Mersault in Camus' "The Stranger", in which he refuses to move in any direction to ensure his own safety. Yet, when he eventually accepts his terminal verdict he then chooses to live deliberately. The paper concludes that both the protagonists' confrontations with death serves as a window for both characters to transcend their fear and see themselves more positively.
From the Paper "Both Salih and Camus indicate that the irrational fear of missing out causes equally irrational responses in those who suffer from it. Salih illustrates this pattern through his mountain allegory. "My sole concern was to reach London, another mountain, larger than Cairo, where I knew not how many nights I would stay," (26) says Mustafa exhibiting his urge to climb yet a higher mountain. His undirected greed aims at the future, because there he sees the potential of surpassing what he has already won. Regardless of any losses, he wreaks havoc amongst the British women for just the same reason: to live it all. "
Abstract This paper discusses how Albert Camus develops his theory of the absurd throughout his existential novel, "The Stranger", which is based on his belief that there is no meaning or absolute truth in life. The paper relates that the protagonist Meursault in the story is clearly an unapologetic individual, who is unreflective, uncaring and moved only through sensory experiences and that Camus' uses this to reinforce his message that there are only relative truths in life. Specifically, this paper presents an artistic criticism of "The Stranger" in which the writer reflects on the different ways in which Camus' portrays his beliefs concerning twentieth century mankind, and the apparent hopelessness of human existence.
From the Paper "Absolute truth, according to Albert Camus, does not exist, and it is this theme, along with the absurdity of human existence, that he is attempting to portray throughout The Stranger. Through the alienated character of Meursault, who is shallow, almost inhuman, and an unrecognizable member of the human race, Camus attempts to shows us that our actions do not matter when viewed through the eyes of an eternal universe. What we do, say, and believe, therefore, are only important to us, and, perhaps, to those that they affect, but they are not significant, and neither are they Truth. Camus' basic point within this is that the only things that are real are physical experiences."
Abstract In this paper, the writer highlights how in both John Steinbeck's "The Chrysanthemums" and Ernest Hemingway's "Cat in the Rain," an unexpected stranger becomes the catalyst to make the two main characters aware of their own value. The writer describes how the main characters both suffer the constraints of an unhappy and contrived marriage until Elisa Allen in "The Chrysanthemums" encounters a peddler who briefly changes her entire self-perception and the American wife in "Cat in the Rain" finds self-assuredness through a generous and gracious hotel keeper. The writer points out that sometimes, an unbiased stranger can impact a new perspective, a new awareness, or a personal awakening.
From the Paper "It is human nature to want to be acknowledged. We all wish to be recognized, desired, and respected. Essentially, when one's existence is validated by another human being, one can live feeling that her contributions and presence are profoundly substantial and appreciated. The feeling of being an anonymous entity is replaced with serenity and contentment. In John Steinbeck's "The Chrysanthemums" and Ernest Hemingway's "Cat in the Rain," an unexpected stranger becomes the catalyst to make the two main characters aware of their value. In Steinbeck's "The Chrysanthemums," Elisa Allen is made aware by a traveling peddler of her abilities and inner strength, which have otherwise been ignored by her husband."
Abstract In ?The Stranger? by Albert Camus, sensual feelings are of an extremely high importance and dictate how Meursault lives his life and is seen to others. This paper discusses the novel from this point of view.
From the paper:
"He said he supposed that I must be very sad since Maman died, and I didn?t say anything.? (Camus 45) This line by Meursault underlines his ideals and feelings about important subjects around him. Camus uses this book and story to relay his points of view on the absurdist view and the existentialist viewpoints on life."
Abstract The following paper examines, Camus' 'The Stranger' focusing specifically on the development of Meursault's character, a 30-year-old shipping clerk in the city of Algiers, during the 1930s.
From the Paper ?Meursault is an interesting and controversial character. Some people see him as simply cold and unfeeling. Others see him as a symbol; he stands for truth, because he will not cover up his feelings in order to conform to what society wants or thinks. He is a 30-year-old shipping clerk in the city of Algiers, during the 1930s. His main interests are swimming, his work, and watching the people of Algiers from his balcony.?
