Seminar paper from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 1,3, , language: English, abstract: William Faulkner's short story A Rose for Emily is often regarded as a “story of horror”, with gothic elements due to its creepy and shocking final scene. Moreover, different themes such as the loss of beloved ones, isolation and the refusal to accept change are covered in this story. There is also a variety of popular readings of A Rose for Emily emphasizing “the conflict between the North and the South” or “the conflict between individual and the community, between the past and the present, between men and women”. The question is of how the author depicts such complexity of character, emotion and setting? Faulkner himself said that “in a short story [...] almost every word has got to be almost exactly right” (Petry 54). As a result almost every word in a short story has a greater meaning, which is achieved using imagery and symbolism. Imagery is the representation of experiences of the senses, which uses descriptive, but also figurative language, whereas symbolism is used by “writers to invest objects, actions or ideas with a symbolic meaning”. The symbols convey special meanings to the reader, standing for one single idea or many. This paper will analyze the function and use of imagery and symbolism in A Rose for Emily focusing on the functions of the house, how the picture of Emily is drawn, the function of the town, the characterization of the men in the protagonist ́s life, then the aspect of time and finally the attempt to analyze the symbol of the rose in the title trying to reveal a much imagery and symbolic meaning as possible. It will be shown, that a Rose for Emily is complex and rich in imagery, symbolism and ambiguity used by Faulkner to characterize people, describe relations and atmosphere.
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Studienarbeit aus dem Jahr 2013 im Fachbereich Anglistik - Linguistik, Note: 1,7, Ruhr-Universität Bochum, Veranstaltung: Introduction to Intercultural Communication in Post-colonial Contexts, Sprache: Deutsch, Abstract: The following paper deals with the phonological differences in Hong Kong English in comparison to Standard English. First I will present a general view of the language situation in Hong Kong. Then in the third chapter some of the main phonological variations existing in Hong Kong English will be presented. In a further step, I will analyze if these variations can be found in two interviews with Hong Kong-born actor Jackie Chan who has lived and worked several years in the United States and examine how they differ from Standard English, before summing up the results in the conclusion. Hong Kong came under British control as a result of the Opium Wars with China from 1839 to 1842 and from 1856 to 1860 and developed since then as a trading centre. Throughout the British colonial period from 1842 to 1997 a minority of British administrators and traders co-existed with a large majority of Chinese traders and laborers. Since most Chinese could speak Cantonese, there was no need for a lingua franca, but only for a language to use with influential foreigners (Melchers 163). Therefore the knowledge of English was spread almost entirely through the education system, which increasingly used English as a medium (ibid.). In 1997 Hong Kong was returned to Chinese sovereignty. Today, English is very widely used in the educational and legal system and for dealing with international business partners (ibid. 164). Moreover, English is becoming ‘localized’ and is used to some extend for everyday interaction among locals who all speak Cantonese (ibid.). Nevertheless, the English spoken in Hong Kong differs in regard to grammar, lexis and phonological aspects from Standard English as Received Pronunciation (RP) or General American (GA).
Seminar paper from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 1,3, , language: English, abstract: William Faulkner's short story A Rose for Emily is often regarded as a “story of horror”, with gothic elements due to its creepy and shocking final scene. Moreover, different themes such as the loss of beloved ones, isolation and the refusal to accept change are covered in this story. There is also a variety of popular readings of A Rose for Emily emphasizing “the conflict between the North and the South” or “the conflict between individual and the community, between the past and the present, between men and women”. The question is of how the author depicts such complexity of character, emotion and setting? Faulkner himself said that “in a short story [...] almost every word has got to be almost exactly right” (Petry 54). As a result almost every word in a short story has a greater meaning, which is achieved using imagery and symbolism. Imagery is the representation of experiences of the senses, which uses descriptive, but also figurative language, whereas symbolism is used by “writers to invest objects, actions or ideas with a symbolic meaning”. The symbols convey special meanings to the reader, standing for one single idea or many. This paper will analyze the function and use of imagery and symbolism in A Rose for Emily focusing on the functions of the house, how the picture of Emily is drawn, the function of the town, the characterization of the men in the protagonist ́s life, then the aspect of time and finally the attempt to analyze the symbol of the rose in the title trying to reveal a much imagery and symbolic meaning as possible. It will be shown, that a Rose for Emily is complex and rich in imagery, symbolism and ambiguity used by Faulkner to characterize people, describe relations and atmosphere.
Essay aus dem Jahr 2015 im Fachbereich Anglistik - Kultur und Landeskunde, Note: 1,3, Ruhr-Universität Bochum, Sprache: Deutsch, Abstract: In her essay “Fat Kids, Working Moms, and the “Epidemic of Obesity” – Race, Class, and Mother Blame” Natalie Boero discusses the blaming of mothers for the fatness of their children by referring to recent newspaper articles about childhood obesity and preventive programs. Besides the common and popular explanations for childhood fatness like the consumption of too much fast food, too much time in front of the television and too little exercise, the role of mothers is considered to be another important reason for the “epidemic of childhood obesity”. This trend, namely the trend of “mother blame” holds mothers and especially working mothers responsible for the weight of their children by bringing the child’s weight in connection to good mothering.
Studienarbeit aus dem Jahr 2011 im Fachbereich Anglistik - Literatur, Note: 2,0, Ruhr-Universität Bochum, Sprache: Deutsch, Abstract: In this essay I am going to argue that women in Medieval representations in film are always represented as archetypes and as victims. The audience is confronted with typical feminine archetypes like mothers and wives, virgins and harlots, but also with witches, exotic beauties in distress and holy fools who are all at one point or the other victims of society, violence or men. Being confronted with social injustice or their inferiority to men a great number of the presented women sell their bodies or act immorally and unfaithfully. In order to proof my thesis I will begin by analyzing the conflictive archetypes of the virgin and the harlot in Ingmar Bergman’s "The Virgin Spring" (1960) and the Pagan and the holy fool in Andrej Tarkovsky’s "Andrei Rublev" (1969). From there I will go on and show several other archetypes like the unfaithful women, women selling their bodies and (alleged) witches by referring to Bergman’s "Seventh Seal" (1957), Robert Bresson’s "Lancelot du Lac" (1974), Leslie Megahey’s "The Hour of the Pig" (1993) and Jean-Jacques Annaud’s "The Name of the Rose" (1986).
Studienarbeit aus dem Jahr 2016 im Fachbereich Anglistik - Literatur, Note: 1.7, Ruhr-Universität Bochum, Sprache: Deutsch, Abstract: Daniel Defoe’s novel "Robinson Crusoe" (1719) revolves around the Englishman Robinson Crusoe, who, after suffering shipwreck in a storm strands on a deserted island as the sole survivor of an expedition. After twenty-four of his total twenty-eight years on the island he discovers that native cannibals occasionally visit the island in order to kill and eat their captives. When Crusoe rescues one of them the captive is grateful and stays with Crusoe as his servant. Crusoe names him Friday after the day of their first encounter and teaches him the English language and eventually converts him to Christianity. "Robinson Crusoe" is considered a classic which has been issued in at least 700 editions and translated into several languages. The story has been made into several movies. I want to argue, that the motif of the cannibal is instrumentalized in the novel in order to justify the conquering and civilizing of savage natives by the dominant Western world. By depicting dreadful cannibalistic acts and evoking horror and revulsion the subjects of colonialism are intended to be dehumanized. I will begin the seminar paper with a contextual chapter on cannibalism by presenting the definition and origin of the term ‘cannibal’, as well as the existence of cannibalism in literature by giving various examples from classic epic to contemporary novels. Then, I will focus on Defoe’s Robinson Crusoe and illustrate the protagonist’s constant fear of being eaten. In a next step, I will focus on Crusoe’s encounters with the cannibals and in a further step on his meeting of Friday and his representation of the latter. Before drawing the conclusion, I will analyze the relationship between Crusoe and Friday.
Essay aus dem Jahr 2014 im Fachbereich Anglistik - Literatur, Note: 1,3, Ruhr-Universität Bochum, Sprache: Deutsch, Abstract: Edith Wharton’s novella" Madame de Treymes" (1907) is set in Paris and revolves around the three protagonists John Durham, Fanny de Malrive and her sister-in-law Madame de Treymes. On a visit to Paris the New Yorker John Durham meets his former college-friend Fanny again, who has married into the Parisian upper-class, but lives separated from her unfaithful aristocratic husband. John and Fanny want to marry, but divorce is impossible in Catholic France and especially in a titled family. Therefore John seeks Madame de Treymes’ help in getting the family to consent to a divorce and is confronted with the sinister strength of the French social order. Edith Wharton presents Paris as a corrupt place filed with intrigue and betrayal, a place hostile towards foreigners. Paris is represented through the representation of its aristocracy society, which is shown as a tight, arrogant, intriguer, narrow community feeling superior towards outsiders. Moreover the representation of the French society demonstrates the contrast between the moral Americans and the immoral French.
Studienarbeit aus dem Jahr 2015 im Fachbereich Anglistik - Kultur und Landeskunde, Note: 1,7, Ruhr-Universität Bochum, Sprache: Deutsch, Abstract: This paper will compare how families are represented in two horror movies, Tobe Hooper’s "The Texas Chainsaw Massacre" from 1974 and Steven Sheil’s "Mum & Dad" from 2008. According to the Longman New Universal Dictionary the term ‘family’ describes a group of people living under one roof, especially a set of two or more adults living together and rearing their children. Furthermore the term ‘nuclear family’ is “used to refer to a unit consisting of spouses and their dependent children.” The family is performing “tasks necessary to the survival of the species and to the social continuity: namely, the regulation of sexual relationship, reproduction, the socialization of children, the economic cooperation between sexes.” In both movies the family is the monster, which is according to Robin Wood among five recurrent motifs in horror movies “a single unifying master figure”. He has noticed that the psychotic and schizophrenic are “all shown as products of the [guilty] family”. This paper will analyze the family structure, the homes and appearance of the families, their contact to the outside world and their dealing with sexuality. In a final step I will explain the impact of those to horror movies on the audience.
Studienarbeit aus dem Jahr 2011 im Fachbereich Anglistik - Kultur und Landeskunde, Note: 1,3, Griffith University, Veranstaltung: Australian History, Sprache: Deutsch, Abstract: Never before had women been so emancipated from the expectations of home, family and society, than during the years of World War II (1939-45) when the role of women in main-stream Australian society changed dramatically. Before World War II middle-class women were mainly considered to be mothers and wives limited to their homes, who worked only until they got married. Then during World War II all women were encouraged by the government to work in previously male dominated fields as in factories or engaged as members of the defense services or Land Army. Women were needed as nurses at the front, to work military machines as well as keep homes ready for men to come home. By entering the ‘world of paid work’ women were able “to enter new domains and to exercise new economic, social and sexual power”. With husbands and possible suitors gone to serve a number of Australian women found therein “a new sense of independence, self-reliance and autonomy”. It was a challenging time for married women and mothers with husbands gone, but also a very exciting one especially for young girls and unmarried women with thousands of American servicemen coming through Australia bringing a sense of Hollywood and sexual adventure with them. Writing this essay and gathering literature about Australian women during World War II, I soon noticed that all those authors only wrote about the immigrant Australian women, the ‘new Australian woman’ as I called her in my essay topic. Indigenous women, the native Australian women, were mostly left out. For that reason I included a paragraph at the end of the essay comparing both women’s experiences.
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