How to Read Literature Like a Professor: Chapter 3 Outline Title: Nice to Eat You: Acts of Vampires Summary : Vamprism in literature isn’t just about literal vampirism but amoung other priciples. (16) Literal Vamprism is “a nasty old man, attractive but evil, violates young women, leaves his mark on them, steals their innocence-and coincidentally their usefulness”. (16) Vamprism can be a characteristic that can be portrayed in literature such as selfishness, exploitation, a refusal to respect the autonomy of other people. (16) “ghosts and doppelgangers” principles that also applies to vamprism. (16) Most literary ghosts that occur in stories of lasting interest have to do with things besides themselves. (17) Many Victorian writers included …show more content…
This relates to the biblical allusions that most use to draw connections between a biblical character of feeling to a literary character or feeling. T. S. Eliot’s Four Quartets (1942) Novel “looks very like a dove, offering salavation from the bomber’s fire through the redemption” connects to the Bible. Salavation brings out a type of redemption from a sin commited and the belief and faith in Christ to be saved. Eudora Welty’s Why I Live at the P. O. (1941) The naming of his characters is so important it is a serious piece of the novel “a name has to sound right for a character… but it also has to carry whatever message the writer want to convey about the character or the story”. The connection between a biblical character and a literary character. Toni Morrison’s Song of Solomon (1977)_ The family in her novel chooses their names “ by allowing the family Bible to fall open, then pointing without looking at the text; whatever proper noun the finger points to, there’s the name”. Shows the family’s belief in the Bible A-Ha Moments: On the signifance of the Bible “...In modern literature, many Christ figures are somewhat less than …show more content…
T. S. Eliot’s The Waste Land (1922) In this poem Eliot engages “off our cultural expectations of spring and rain” Elizabeth Bishop The Fish (1947) Ends her poem with “everything / was rainbow, rainbow, rainbow” there is the elements of “human, nature, and God” present within her closing. Creates the mood of peace and also interwines with the Bible. Henry Green’s Party Going (1939) In the story fog presents itself as “the fog is mental and ethical as well as physical”. Wallace Stevens’s The Snow Man (1923) In his poem he uses snow to “indicate inhuman, abstract thought, … thought concerned with nothingness”. Rain and snow can be very similar in Stevens indications. A-Ha Moments: On the significance of rain “... Rain is the principal element of spring” (73) On the significance of the use of rain “... Rain mixes with sun to create rainbows” (74) On the significance of fog “... Fog for instance. It almost always signals some sort of confusion” (75) On the significance of the use of fog “... authors use fog to suggest that people can’t see clearly, that matters under consideration are murky”
Clampitt seeks out what is hidden to the eye. She wants what the camera cannot record. Her subject allows her to show off poetry’s distinct function and strength. Fog obscures, shrouds, limits, dissolves; it defeats sight. "Fog" reveals, illuminates, widens, and intensifies; it gives sight. There is a pleasing poetic irony in Clampitt’s ability to render so present to the mind’s eye precisely what the eyes themselves cannot see at all. "A vagueness comes over everything, / as though proving color and contour / alike dispensable" (Clampitt 610). As things disappear, "the lighthou...
In the excerpt from Stevenson's Dr. Jekyll and Mr. Hyde, the image of fog offers a sinister atmosphere with the use of sensory image. Mr. Utterson and the police officer are investigating the donnybrook between Mr. Hyde and Sir Danvers Carew, causing the death of Carew, and are on their way to a taxi to go to the suspects house, “the wind was continually charging and routing these embattled vapors” (24). The fastidious use of verbs to describe the strength of the wind makes it almost plausible for the breeze to be felt upon the skin. The stream of air provides an eerie vibe because, along with the fog, it gives a cold troposphere that is often related with mysterious events. Along with touch, sight is used to describe the setting (complex sentence),
The breath of the wet season has washed their inscriptions As blue as drowned men’s lips,
Vampires are intriguing mythological figures that are endured in the literature since the eighteenth century but the bloodsucking creatures from then are different from the ones we watch in popular films today. In the past, they were portrayed, as bloodsucking monsters that fed off the lives of helpless humans but today, according to Karen Backstein the modern vampires are made too sexual. In her article “(Un)safe Sex: Romancing the Vampire” Karen Backstein explains how today’s vampires has been drastically altered and they are now too sexual. Because of her credible background of having a PH.D in cinematic studies she does a wonderful job in convincing her audience that movies like Twilight and popular TV shows like True Blood, Vampire Diaries, and Buffy the Vampire Slayer have
Pecos, H. (2014, May 5). The Federal Vampire and Zombie Agency. Retrieved from The Science of Vampirism: http://www.fvza.org/science2.html
In Ken Kesey’s One Flew Over the Cuckoo’s Nest, the narrator, Chief Bromden, sees the world through a mechanical lens. He recognizes that what he sees may not be truthful, but does not provide us with another viewpoint. One of the key elements of his perspective is the fog. At first, it seems the fog is a safe haven, somewhere to hide, but as the book carries on, we learn the fog might mean something else entirely. The arrival of the protagonist, Randle McMurphy, mysteriously causes the fog to fade. Thus, we wonder: Is the fog real and why does it disappear?
Vampires today, particularly after Anne Rice's five-book series, the Vampire Chronicles, are portrayed in quite a different light than the vampires of ages past. Gone is the garlic and cross that offers protection, gone is the vampire's fear of all light and gone is their distant, in-human nature. (Whyte 2) In fact, most vampires are portrayed as both beast and man, struggling to retain their humanity as the lust for blood seems to never diminish and eternal as they are, their inner conflict spans to infinity. This duplicity is highly reminiscent of the paradoxical nature of the trickster archetype. Tricksters embrace creation just as easily as they revel in destruction, both beautiful and ugly, sometimes heroes and sometimes villains--still, tricksters are never merely good or evil. Although the various incarnations of the trickster archetype in world mythology differ more than they are alike, some elements exist that are common to all. The modern literary vampire may be understood as the embodiment of the trickster archetype. I will base this examination primarily on Anne Rice's Interview with the Vampire.
1. Chapter 3, page 5, #3: “A little fog hung over the river so that as I neared it I felt myself becoming isolated from everything except the river and the few trees beside it. The wind was blowing more steadily here, and I was beginning to feel cold.”
There is just something about vampires that have been attracting attention since 1897. Recently, there has been in influx of these soulless creatures in the entertainment industry, from books, films, television, and even fanfiction. There are collectives of people who very much wish to be real vampires, that they will drink one another’s blood. We often think of vampires as being incredible dangerous, but also mystifying and sexy. There is no exception in Bram Stoker’s Dracula.
Today, the vampire is a staple in literature and movies because the image is more attractive than terrifying. Older vampire novels published during a time when sex was taboo and unsafe presented the vampire as a sexual tempter and a monster. However, with the development of safe and affordable
raw to and a yellow fog, a filthy fog, evil smelling fog, a fog that
- A cold, dark world. I.e.) "Down in the street little eddies of wind were whirling dust and torn paper into spirals, and though the sun was shining and the sun a harsh blue, there seemed to be no colour in anything, except the posters that were plastered everywhere." (p4)
Count Dracula lives in an isolated, old castle with “great doorway[s]” and “massive stone”. The castle is filled with “frowning walls”, “dark window openings” (21), and confusing hallways containing large rooms behind many locked doors. The castle is constantly dark and gloomy. The eeriness surrounding Dracula’s castle as well as the castle itself reflect and represent Dracula’s personality and his intentions. The obscurity around the castle symbolizes Dracula’s darkness and lack of a soul. He has the ability to summon fog and mist, which constantly encompasses his castle. The presence of fog at any point in the novel signifies Dracula’s presence and foreshadows that something bad is about to happen. The castle has no mirr...
A vampire is a fascinating and terrifying creature. It was largely believed to be dead people leaving their graves at night to drink blood from the necks of the living. It was also portrayed as a bat like creature feeding on mammal or bird’s blood. This was a perception of the old vampires. Contrary to this, the new generation of vampires has been shown to live among the people acting as guardian angels to them. There has been a substantial evolution of these creatures since their initial appearance in literature to the current vampire movies. Therefore, it is important to explicate on the history of these fiction creatures focusing on the drastic changes that have occurred. It is profound to note that literature clearly
The way that the city is encountered at night can be compared with to how it is encountered at day in the poems ‘Prelude’ and ‘Morning at the Window’. The city is described similarly to each other. In ‘Preludes’ the streets in the morning as are described as “sawdust-trampled” (II, line 16) which is reminiscent of the description of the “sawdust restaurants” (line 7) in ‘The Love Song of J. Alfred Prufrock’. The “waves of brown fog” (line 5) in ‘Morning at the Window’ parallels the “yellow fog” (line 15) in ‘Prufrock’. An eerie tone of ‘Morning at the Window’ is created through the repetition of ethereal language throughout the poem. The fog tossing up faces from the street gives an impression of ghosts or spirits. The use of the word “twisted”