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Genre Analysis
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Throughout the play She Kills Monsters, different feelings and opinions arose. Primarily, it was not appealing to my taste of genres, and I couldn’t care less about what appeared to be a nerdy play, additionally it made me feel puzzled. Secondly, the play was entertaining and humorous. Lastly, the role-playing of the characters in this world of fantasy was amusing and enlightening. Although the play’s genre was fantasy and adventure, I speculated that it illustrated important values that we should incorporate in our lives. Initially, the narrator introduced Tilly Evans as if she was the protagonist of the play, following he announced Tilly’s older sister Agnes, clarifying to the audience that the story is indeed about Agnes and not Tilly. Agnes, an average girl, wants to leave behind her hometown after the tragic death of her parents and her younger sister Tilly. Preparing to move in with her boyfriend Miles, Agnes begins packing up her sister’s room and discovers Tally’s Dungeons & Dragons journal. Consequently, after reading the …show more content…
In view of the facts, I believe that acceptance of sexuality and bullying were major themes in She Kills Monsters, issues relevant to our society. The script was impressive, combining a fictional world with reality, balancing between realistic settings verses making up a new and adventurous world. For instance, this game represented not only Tilly’s real life, but the life of numerous teenagers that are facing the same issues. For example, the story of high school teenagers, bullied by schoolmates, struggling and suffering because they want to belong. Indeed, belong in a society that judges them for their sexual preferences, appearance, background, etc. Unfortunately, these problems exist in real life and the way the writer interpreted this issues in the play were so real. In addition, the performance of the characters was extraordinary, shifting from the game to the real
“Mystery creates wonder and wonder is the basis of man's desire to understand.” -(Neil Armstrong) Colin Watson is a teenage boy who has a tendency to get into mishap regularly, however as time goes on change occurs. The novel entitled “Marked” written by Norah Mcclintock, portrays a breathtaking situation many young adults are unaware of. This Canadian author surely knows how to grab the youth's attention. The protagonist of this story had some harsh history in his past, he has changed over time to become a better person. Due to this gradual change, he was recommended a job that required commitment. The issues Collin has to face due to this job brings advantages and disadvantages with multiple risk factors and difficult decisions. Mcclintock
Being essential to the characteristics of a few of the main characters, Evelyn Couch, Ruth Jamison, and Idgie Threadgoode. While during one of Evelyn’s usual nursing home visits, she happens to strike a conversation with an old kind card of a woman (Ninny Threadgoode) who happens to brighten her day with the telling of stories from the past. As she begins Ninny recounts tales of her sister-in-law Idgie a young free spirited girl who always seemed a cut above the rest, but however, differed from others in the sense that after her older brother Buddy’s untimely death she began to close herself off to others around her. While before then was always different as she was a girl who enjoyed rough, noisy activities traditionally associated with
Through fresh writing, the character of Witch is allowed to have the most contradictions, therefore blurring the rigid binary of good vs bad, an idea ingrained in popular culture for eons, in effect making her the play’s most human character. This is key to de mystifying the Grimm Brother’s fairy tale “Rapunzel”, as she is no longer placed in a 2 dimensional mold of evil figure. While her defining moments in the text are marked by unexplained rage, jealousy and retribution lensed with zero objective perspective within into the Woods she is given opportunity to be viewed in a more well rounded light as she is central in everyone else’s story allowing the audiences to experience more of her. Through this there is chance to
As Captain Jaggery’s ostensibly moral imperative from Avi’s The True Confessions of Charlotte Doyle implores, we the readers “protect the natural order of the world” through our disbelief in our heroine as reflected in our intuitive reflection upon and deconstructionalist critique of the book. In fact, it is likely that our disbelief of Charlotte’s story is as much a comment on our attitudes towards gender roles as it is an educated and thoughtful response to its clues. Even as we find ourselves believing along with the story, we, upon reflection, find valid ways to destroy that believability, in no small part because we define what she does as either “female” (believable) and “male” (not believable).
Both "Happy Endings" and Foe provide commentary on gender issues in modern fiction writing. In "Happy Endings", Margaret Atwood’s attack on gender stereotypes reveals itself in the form of character interactions. Her various story versions portray how women are victims of conformity in a patriarchal societ...
...h reality versus the appearance of reality and various types of madness that occur when the line between the two is crossed. The various adaptations of these plays play on these themes in new and creative ways. The many adaptations show the immortality of these stories. Dreams, reality, and art will never cease to be applicable questions to different societies and different eras. With adaptations, these stories will never cease to be created anew, they will always be fresh, and they will never die.
Society’s gender roles have been changing and evolving, though not necessarily a positive change. Women’s expected and defined role have changed and broken by women who refuses to follow their expected roles in society and decide to rebel against the norm. The pages of history have their own evidence of evolution of these female gender roles into the roles they are following now. Susan Glaspell’s “Trifles” and Henrik Ibsen’s “A Doll’s House” both contain a female protagonist and make us observe and understand how society in their period of time expects of them and their roles. Both these plays let us rethink and compare a female’s role in their period of time with our modern time through points and events that led them into realization of their roles and identity.
Angela Carter was a writer in the 1970s during the third wave of feminism that influenced and encouraged personal and social views in her writing. This is demonstrated through her own interpretation of fairy tales in The Bloody Chamber. She combines realism and fantasy to create ‘magic realism’ whilst also challenging conventions of stereotypical gender roles.
Concentrating on the dynamics of each character and his stance during the climax, feminists present an intelligent discussion on the inevitability of the rape and its effect on the characters. Unfortunately, many feminists have a tendency to become focused on the morals of rape, rather than exploring the symbolic nature of rape. Many feminists have also let their emotions and personal values sway their arguments, even to the point where they personally attack Tennessee Williams. However, a correct reading of the climax should focus on the symbolism of the event and the positioning of characters. From this stance, it becomes much clearer why this disturbing climax was essential, especially when considering the shocking conclusion to the play.
... comedies rather than tragedies in their source form the original characters from the source plays are revealed. Strong, ‘masculine’ women of the source are only revealed through the intertextuality of genre and the reassigned direct quotes from Shakespeare’s iconic plays. The feminist perspective of Shakespeare’s plays, which was there all along, could only be revealed by the strong use of intertextuality in MacDonald’s play. MacDonald relies on the iconic meta-theatre and intertextuality to magnify the feminist perspective within the Shakespearean plays. When turned in upon itself, Shakespeare’s plays reveal their distinct feminist perspective that could not be uncovered without the extensive and brilliant use of intertextuality such as that of Ann Marie MacDonald. Therefore the metatheatre’s intertextuality reinforces and supports the traits of the feminine.
As original ideas in literature and film are starting to become a dying breed, writers are now giving characters with traditional roles very untraditional characteristics. In the novel After the Woods, Kim Savage, the author of the story, incorporates a very contemporary type of character known as an antihero. Often either hated or loved by reader, the antihero is a protagonist in a story whose characteristics are seen by many as selfish and crude. These characteristics include a diminished sense of morality, cowardice, and very strong sense of self-interest. The antihero in the novel After the Woods is Liv, the more self-centered of the two female, teenage protagonists. In this response paper I will attempt to explain why readers such as myself take such liking to such a controversial and morally ugly character.
The negative consequences of mean girls’ harsh bullying (depression, suicidal thoughts, and eating disorders) are absent in the movie. Therefore, the viewer will associate bullying with ‘coolness’ as they showcase it when students were asked about Regina Georges, and one of them said “One time she punched me in the face and I loved it”.
During the 1970s a researcher named Carol Clover researched films and novels using various methods to help make them more enjoyable and easier to understand for the viewer. Carol Clover is very active in her views. One particular view she stands for is feminism and believes in equality for everyone. The first theory Clover provides is an interesting one about equality. Clover relates gender research into her own work and also relates the situation to her personal life. A main item Clover researches is “slasher” films and the role feminism has in them. “Slasher” films are an exceptional choice to research feminism. Often times in “slasher” or scarier films females have a limited role. Often times in those cinemas females are being tormented
Horror literature has been around since as long as man has been on earth. While usually in the form of ghost stories, many have often told stories orally, or on paper, to play on the horrors and darkest fears that we as humans face. While large populations of people do not like the horror genre, some get a satisfaction or enjoyment at looking at some of their worst fears being played out in front of them via a book or movie. As the stories have advanced through history and been examined and read through many different lenses both by history and literature experts, one aspects remains to be examined, and that is the changing role on of women in the story. While many of the early stories early stories portray them as simple, one-dimensional characters, weak and unable to help themselves, they evolve into more complex and eventually pushing through the damsel in distress mantra into the complex villain or hero.
Finally, throughout the play, gender inequality and the battle of sexes are explored to the degree that these were the responsible factors for Miss Julie’s naturalistic fate, even though the battle of classes is a recurring theme throughout the play. Leading up to Miss Julie’s downfall, Strindberg successfully manages to avoid the topic of suicide ‘it’s terrible, but there’s no other way. Go’ but instead subtly suggests it through Jeans subliminal messages. Miss Julie was first entitled ‘The First Naturalistic Tragedy’ providing evidence that Miss Julie’s fate was a direct result of the environment around her: a typical anti-feminist zone full of gender inequality. Miss Julie goes well beyond the naturalistic struggle between the sexes that Strindberg wanted to portray.