"The Divided Self": Characterization, Identities, and the Supernatural
A cursory first reading of Horace Walpole's Otranto might yield an impression that its characters are thoroughly superficial, shallow, and flat, almost to the point of being laughably so. A single character mold seems to have been applied to each character: Manfred is the incestuous tyrant, Hippolita is the helplessly devoted wife, Matilda is the picture of “tenderness and duty” (38), and Theodore is the chivalrous protector of delicate young ladies. As some critics have pointed out, each character is described heavy-handedly, and the author provides no keys into the inner minds of the characters, relying instead of outward displays of excess emotion (Sedgwick 131). Consequently, Otranto becomes “theatrical” (Napier 33) because of its emphasis on dramatic action and visual display. To the reader, each character and his/her displays of emotion combine in Otranto to make what amounts to a thoroughly ludicrous cast.
There is some debate over the substitution of flat characters for even a single dynamic characters. Was this a deliberate choice on the part of the author? Some possibilities that may arise include the suggestion that Walpole was unskilled as an author and consequently, was unable to write “well.” Another suggestion is that Walpole's skill as an author is demonstrated in his intentional choice to write flat characters to achieve a higher purpose. Perhaps this purpose was to make his short novel a work of pure entertainment with mindless, fluffy characters? Or to maintain a quick-moving plot? Or perhaps Walpole decided to “systematically sacrific[e characters] to other, more highly valued aspects of narrative such as moral and plot” (Napier 34) wi...
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...f boundaries between characterizations, identities, the psychological, and the supernatural, is not only ambiguous and incongruous, but unstable, contingent, baseless, mysterious, and haunting.
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In what follows, my research paper will rely on an article by Kathy Prendergast entitled “Introduction to The Gothic Tradition”. The significance of this article resides in helping to recapitulate the various features of the Gothic tradition. In this article the authoress argues that in order to overturn the Enlightenment and realistic literary mores, many of the eighteenth century novelists had recourse to traditional Romantic conventions in their works of fiction, like the Arthurian legendary tales (Prendergast).
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...ence more reasoning to the jealousy of the characters and the actions they take. With the changed setting come many differences: drugs and alcohol, peer pressure, violence, and different sources for jealousy and hatred. These issues are the dilemmas we, as teenagers in this new millennium, are faced with day to day. "O" addresses these new era evils without abandoning the original themes and major issues of Shakespeare's Othello. The audience can relate to a story written down hundreds of years ago and benefit from it.
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Reading literature, at first, might seem like simple stories. However, in works like William Faulkner's “A Rose for Emily,” Katherine Mansfield's “Miss Brill,” and Kate Chopin's “The Storm,” the female protagonists are examples of how society has oppressive expectations of women simply because of their gender.
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Freud had developed his theory of hysteria and how its origin came from repressed sexual desire. He diagnosed Dora as someone who was suffering from hysteria as a result of this repressed desire. He used the fact that when Herr K. was not around, Dora was unable to talk, and that showed that her symptoms of hysteria were directly correlated with Herr K. He concluded from his invalid evidence, which consisted of Dora's dreams and her past childhood experiences, that she was indeed repressing her love for Herr K. and this cam...
William Shakespeare’s tragic drama Othello boasts quite a little list of abnormalities in both occurrences and personal behavior.