“Where am I?” I exclaimed, yawning and rubbing my sore eyes. For a moment I feel utterly dislocated, I do not know where I am. I look around, I see nothing, it is too dark. There are no other sounds; I am probably by myself in this place.
“Tap tap tap….”, I hear some noise coming form my right, it sounds like someone is walking lightly towards me. It is vague and so faint, I wonder if I am imagining it. I walk closer to the sound, put out a hand to the place where the voice come from, maybe I have got a company after all, I think. Soon my eyes begin to get used to the darkness, and the sound becomes clearer and clearer. Then, I see a doll. The doll stand still; tilts her gargantuan head, staring at my direction. She is as tall as skyscrapers, with her head almost crushed to the ceiling, her face was very pale, the color of snow, her hair is a chaos, disheveled and tangled. She has everything a doll has, hands, legs, hair and so on. The only thing she is lacking of, is the five sense organs.
The doll chases me with no reason, and I have no idea how to get rid of it, no idea at ...
Times change and people come and go, but fear is a constant, and in “The Great Fear” by J. Ronald Oakley, he describes the wave of fear that occurred in the 1950s. In 1692, the townspeople of Salem were scared into believing that they were among witches, and in 1950’s the “Red” Scare destroyed thousands of peoples lives that were accused of being Communists. Those accused in both witch hunts were put on trial, and while many were killed in Salem, the Red Scare had blacklisted those persecuted.
Tod Clifton's dancing Sambo dolls are the most striking example of doll imagery. This small tissue paper doll has the capability to completely change the Invisible Man. When he sees that the powerful and enigmatic Clifton is the one hawking the abominable dolls, the narrator is so filled with humiliation and rage that he spits upon the dancing figure. But what is it that has caused this surging of fury? It is Tod Clifton and not the narrator who has degraded himself to such a base level. However, it is our narrator's sudden comprehension of his own situation that causes his wrath. The line "For a second our eyes met and he gave me a contemptuous smile" (433) illustrates this moment of realization for our narrator. It shows the reader that Tod Clifton was aware of his position as a puppet all along and chooses to enlighten the narrator at this particular point in the novel.
Nathaniel’s love for Olympia was alive until he found out that she was a doll, representing his companion with Clara that has throughout their relationship. At first glance of this short story in the lens of the uncanny, the uncanny to many readers is the childhood memory and fear of The Sandman and his association with eyes. Through a second and more analyzed glance, the reader may find many other source of the uncanny, whereas my analysis indicates the connection between Clara and Olympia. This story is opened to many interpretations not just limited to the uncanny
The Great Terror, an outbreak of organised bloodshed that infected the Communist Party and Soviet society in the Union of Soviet Socialist Republics (USSR), took place in the years 1934 to 1940. The Terror was created by the hegemonic figure, Joseph Stalin, one of the most powerful and lethal dictators in history. His paranoia and yearning to be a complete autocrat was enforced by the People’s Commissariat for Internal Affairs (NKVD), the communist police. Stalin’s ambition saw his determination to eliminate rivals such as followers of Leon Trotsky, a political enemy. The overall concept and practices of the Terror impacted on the communist party, government officials and the peasants. The NKVD, Stalin’s instrument for carrying out the Terror, the show trials and the purges, particularly affected the intelligentsia.
In Katherine Mansfield’s “The Doll’s House” the physical existence of the doll house is a representation of conflict within the two different worlds of adults and children. There are three main physical attributes belonging to the doll house used to exemplify the existing conflict within the two worlds. First the description of the doll house has opposites tones when described by the voice of an adult narrator, in contrast to the child narrator, portraying the existing conflict in both worlds. Furthermore the lamp inside the doll house is a symbol comparing the genuine and artificial societies in which cause the two worlds to conflict (Beveridge 5). Lastly a key aspect of the doll house that is used to represent the conflict between the two worlds is the ability it has to swing open. The openness of the doll house connects the views of children, the closed position illustrating the world of adults. Through these three features of the doll house, we are able to analyze the conflicting differences within the world of a child versus an adult.
Ibsen, Henrik. The Project Gutenberg EBook of a Doll's House. [EBook #2542]. The Project Gutenberg, 13 Dec. 2008. Web. 14 Mar. 2011. .
Furthermore, her house is in a city but she considers that she does not live in this city, it is "someone's city." She sees a plastic doll as her double, and a doll can not live in a city of living beings.
The above quote by Elie Wiesel is During this time and soon after, Jews were seen as subhuman and later dehumanized completely. As World War II, progressed, Hitler and his advisors had seen the only way to fully answer the Jewish Question was to implement the Final Solution, which was to exterminate all of the Jews in Europe. Some of these horrors of the Final Solution can be seen in the novel Night by Elie Wiesel. In Night, Wiesel takes the reader into the eyes of young Eliezer during the Holocaust. In the novel Night, Elie Wiesel successfully executes his attempt to not let people born after the Holocaust and those who did not witness the atrocities during this time ever forget or try to claim the falseness of the cruelty towards Jews and other ethnic groups during this time through his use of various symbols, his precise word choice throughout the novel, and his tone of not only one victim, but 11 million.
I saw her walk over to the dressing table. I watched her appear in the circular glass of the mirror looking at me now at the end of a back and forth of mathematical light. I watched her keep on looking at me with her great hot-coal eyes: looking at me while she opened the little box covered with pink mother of pearl. I saw her powder her nose. When she finished, she closed the box, stood up again, and walked over to the lamp once more, saying: "I'm afraid that someone is dreaming about this room and revealing my secrets." And over the flame she held the same long and tremulous hand that she had been warming before sitting down at the mirror. And she said: "You don't feel the cold." And I said to her: "Sometimes." And she said to me: "You must feel it now." And then I understood why I couldn't have been alone in the seat. It was the cold that had been giving me the certainty of my solitude. "Now I feel it," I said. "And it's strange because the night is quiet. Maybe the sheet fell off." She didn't answer. Again she began to move toward the mirror and I turned again in the chair, keeping my back to her.
Goldman, Emma. A Doll's House. A Doll's House. N.p., n.d. Web. 20 May 2014. .
"... I then sat with my doll on my knee till the fire got low, glancing round occasionally to make sure that nothing worse than myself haunted the shadowy room; and when the ember sank to a dull red, I undressed hastily, tugging at knots and strings as I might best, and sought for shelter from cold and darkness in my crib. To this crib I always took my doll; human beings must love something, and in the dearth of worthier objects of affection, I contrived to find a pleasure in loving and cherishing a faded graven image, shabby as a miniature scarecrow. It puzzles me now to remember with what absurd sincerity I doated on this little toy, half fancying it alive and capable of sensation. I could not sleep unless it was folded in my night-gown; and when it lay there safe and warm, I was comparatively happy, believing it to be happy likewise...."
It was a beautiful night. It was perfect for a walk. As I strolled further into the park a figure approached me. It was as dark as pitch so I couldn’t make out who it was. It was late; you wouldn’t usually see anyone at this time. My heart was beating faster and faster. The strange thing was I wasn’t frightened; it was just my heart beating rapidly. As the masculine figure approached, I began to walk slower. That was when I heard the voice.
"Realism and the Significance of A Doll's House." Wikispaces.com. Ed. Tangient LLC. Wikispaces, 2011. Web. 8 Apr. 2011. .
The play “ A Doll’s House” has a very symbolic title. The title relates right in with the the...
SparkNotes Editors. “SparkNote on A Doll’s House.” SparkNotes.com. SparkNotes LLC. 2002. Web. 6 May 2010.