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Similarities and differences between a novel and movie
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The Hitchhiker’s Guide to the Galaxy
As the human race makes life-changing discoveries, it is made apparent that there is always more to learn as the universe, instead of becoming familiar, is becoming absurd. The Hitchhiker’s Guide to the Galaxy, written by Douglas Adams, as well as the 2005 film adaption, portrays absurdity to be an all-encompassing system in the universe. Through the introduction and attempt to understand lack of reason, the narration of important elements and the human perception of the universe, the novel is as a whole, more complete than the film. With these points it is irrefutable that The Hitchhiker’s Guide to the Galaxy develops the theme of absurdity with greater prowess than the film, resulting in a deeper understanding of absurdity, with an outlook the reader can connect to.
The Hitchhiker’s Guide to the Galaxy introduces absurdity in a more compelling way than the film. The Infinite Improbability Drive "passes through every point in the Universe," (Adams 80). After being thrown out of an airlock, Arthur and Ford are rescued by the Drive with the “chance of rescue being 22079460347 to one against,” (Adams 67). Being rescued despite an astronomical improbability allows the novel to empower the theme of absurdity in a noteworthy way. The prominent focus the novel has on absurdity vastly differs from the minimal effort made in the film to evidently develop a source of absurdity in the universe, damaging The Hitchhiker’s Guide to the Galaxy. Furthermore, the novel’s depiction of the search for reason among the predominant lack of reason adds a very important human element to the understanding of absurdity. While undergoing the effects of the Drive “A million-gallon vat of custard upended itself over ...
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... of this ideology in a way the reader can connect to. Through the foundation and attempt to understand the lack of reason, clear narration of important text and a human perception of absurdity, the novel prominently transcends the absurdity presented in the film. Absurdity is conveyed to be a school of thought, wherein humans attempt to answer and quantify the grandest questions of the universe, but ultimately come to a conclusion that the greatest answers are beyond us. As George Bernard Shaw said, “The more you learn, the more you know. The more you know, the more you forget. The more you forget, the less you know. So why bother to learn?”
Works Cited
Adams, Douglas. The Hitchhiker's Guide to the Galaxy. London: Pan Macmillan Adult, 2002.
The Hitchhiker’s Guide to the Galaxy. Dir. Garth Jennings. With Martin Freeman, Mos Def. Touchstone Pictures, 2005.
Transcendentalism is a religious, philosophical, literary, and social movement of the nineteenth century. Essentially, this movement was based upon the ideals of the “sixth sense,” nature, and non-conformity, as well as individualism, intuition, idealism, imagination, and inspiration. A few of the works and writings featured in the transcendental unit include Into the Wild by Jon Krakauer, The Beatification of Chris McCandless: From Thieving Poacher into Saint by Craig Medred, and Nature by Ralph Waldo Emerson. The primary focus of this essay is to provide an opinion on a strikingly debatable topic; Whether or not Christopher McCandless, hero of Krakauer’s Into the Wild, was a true transcendentalist. Despite the bold actions of Chris McCandless on his daring Alaskan odyssey, he turned out to be far from a true transcendentalist, failing to meet the definition of transcendentalism, being solely concerned with himself, and acting out of revenge rather than seeking self discovery - nothing more than a childish suicidal rebel.
Wood, Karen and Charles. “The Vonnegut Effect: Science Fiction and Beyond.” The Vonnegut Statement. Vol. 5. 1937. 133-57. The GaleGroup. Web. 10 March. 2014.
The use of suspense in “The Hitchhiker,” keeps the audience in a state of panic, wondering what the outcome will be. The protagonist looks back upon the torturous six days, remembering his protective mother, and the commonplace traveler. Fear mixed with suspicion, he identifies the hitchhiker on the most inappropriate hitchhiking roads, set on terminating the foreboding individual. Leaving the audience at the climax, Adams believes the hitchhiker must be mortal, and therefore able to hinder, yet the fact of Adams’ unknown identity and his total isolation, prevent his ability to take
...nce our perceptions on reality and the concept of a utopian society. The connection between our own society and elements of the novel enable readers to recognize that although a literal utopian society is not possible, the closest we can come to perfection is to find a balance between what is and what we can imagine.
At the conclusion the reader is left with a vision of destruction of human life both literal and figurative that is absurd rather than tragic because the victims are not heroic figures reduced to misfortune, They are ordinary characters who meet a grotesque fate.
...hese characters we better and more pure, bad things would might have not happened to them like they did. In this situation, cosmic irony is used to show how someone’s fate can be decided by the life decisions they make. It was only destiny that brought the Misfit and the family together.
The Best Science Fiction of the Twentieth Century. Ed. Orson Scott Card. New York: The Berkley Publishing Group, 2001. 212-217.
Kornbluth, C. M. "The Failure of the Science Fiction Novel As Social Criticism." The Science Fiction Novel: Imagination and Social Criticism. (1969): 64-101.
The plot of The Restaurant at the End of the Universe, by Douglas Adams, commences when the diverse, disheveled, and, at least in the case of the paranoid android, depressed crew of the spaceship, The Heart of Gold, find themselves incapable of utilizing the ship’s infinite improbability drive to warp through hyperspace to escape the Vogon flagship’s attempts to exterminate the last of the human race due to the ship’s computer faculties being temporarily consumed by the simple task of figuring out to synthesize a cup of tea. After a desperate séance and a quick visit from a deceased ancestor, the flamboyantly tacky, ex-president of the universe, and captain of The Heart of Gold, Zaphod Bebblebrox, is unwillingly flung on a journey by an old friend, after the improbability drive starts working of course, to find the true ruler of the universe with his friends in tow. After witnessing the end of the universe over dinner, searching for the ultimate meaning of life, almost flying into the sun, and getting separated 2 million years in the past, the story ends with Zaphod meeting the nihilist ruler of the universe while Arthur and Ford are stranded on prehistoric earth with an excess of imbeciles and no hope of ever finding the meaning of life, the universe, and everything. The novel’s theme is that no matter how contradictory life may seem, it will always become more contrary than we could ever imagine.
writings where people as humans struggle to find purpose and ask themselves what is the meaning of life to which the universe responses by simply showing a complete and utter disregard for such a question or any questions as a matter of fact. It is “This paradoxical situation, then, between our impulse to ask ultimate questions and the impossibility of achieving any adequate answer, is what Camus calls the absurd.” Existentialism essentially deals with the absurd which had been “cultural movement that flourished in Europe in the 1940s and 1950s.” and besides Albert Camus there was other Philosophers who adopted such ideas like “Karl Jaspers, Martin Heidegger, and Martin Buber in Germany, Jean Wahl and Gabriel Marcel in France, etc.….. [with]
With our world progressing so quickly in science and technology it is fascinating to look back at the literature that was the inspiration for these advances. It is strange that this genre, filled with such outlandish plot lines and characters, could influence the real world. In a way it’s beautiful. When these brilliant minds of mankind are able to grab an idea from the fictional world and work together to make it a reality. For hundreds of years, people have dreamed of what they thought to be impossible but to quote Star Trek, “Things are only impossible until their not.”
...r the reader to notice the parallels between them and the differences from everyone else. He also does this so that we can see the contribution it has on the characters. The madness of each individual is not itself realistic, but the idea that death, grievance, and revenge can drive someone to do things that seem to be mad or make them do things out of their nature.
In the early 1900’s technology began to boom. Many tales of science fantasy were created. The imagination of many was stirred violently as America and the U.S.S.R. were neck and neck in the “Space Race�. Magical tales of aliens and Martians were shaped by the twisted and horrifically minds of authors such as Isaac Asimov. Many remember the comical almost, ridiculous movies of the early nineteen fifties. At that time though, many believed them to be real and were frightened beyond normal convention. Many authors in this era began to evolve, much how the earlier ancient writers evolved themselves.
In 1962, writer Mark Esslin took pleasure in composing the novel Theatre of the Absurd and quickly became a major influence on the works of many inspired writers. Esslin subsequently made ensuing plays and stories which focused on nonspecific existentialist concepts and which did not remain consistent with his ideas, rejecting the “narrative continuity and the rigidity of logic.” As a result, the protagonist of these stories is often not capable of containing himself within his or her disorderly society (“Theatre”). Writer Albert Camus made such an interpretation of the “Absurd” by altering the idea into his view of believing it is the rudimentary absence of “reasonableness” and consistency in the human personality. Not only does Camus attempt to display the absurd through studied deformities and established arrangements; he also “undermines the ordinary expectations of continuity and rationality” (“The Theatre”). Camus envisions life in his works, The Stranger and “The Myth of Sisyphus,” as having no time frame or significance, and the toiling endeavor to find such significance where it does not exist is what Camus believes to be the absurd (“Albert”).
Throughout the eons, man, known as the most inquisitive of creatures, had always sought the meaning of life. The answer had varied; to an altruistic person, man was made to serve the common good wheras to a Douglas Adams fan, the answer was merely 42. Philosophers dedicated their lives for the meaning of life and the reason for our existence here on Earth. Unlike other philosophers such as John Locke and Ayn Rand, famed writer Albert Camus believed that life had no meaning. According to Camus, life was, simply stated, absurd. Camus asserted three main tenets of his philosophy, coined Absurdism. Camus believed that this is the only world humans would ever know and this world is indifferent and aloof to our existence. Furthermore, he believed that the reason for existence lied within each individual. Nevertheless, Camus thought than individual did not stay a cold and aloof being, as might be expected, but rather was always in a state of incomplete development towards becoming more free and autonomous. As a writer, Albert Camus exemplified the Absurdist notion of an independent,fluxatiing individual in an indifferent world in his acclaimed book The Stranger. In the novel The Stranger, Albert Camus exemplifies the three main tenets of Absurdism through the actions, deeds and thoughts of the main character Meursault as he changes from a rigidly aloof man to one who is in love with the very idea of life