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    Comparing Bharati Mukherjee's The Tenant and Susan Minot's Lust The protagonists in both Bharati Mukherjee's "The Tenant" and Susan Minot's "Lust" are extremely promiscuous; both have many sexual relationships with little emotional involvement and no commitment. While the two protagonists display many of the same behaviors and often have similar motivations, their reasoning and reactions sometimes differ. "The Tenant" and "Lust" offer two different perspectives into the social expectations that

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    The setting in Riggs’s Hollow City changes frequently, both in aspects of time and place, thus enriching the conflict by providing new obstacles for the protagonist to overcome. Jacob Portman’s journey begins when his grandfather is killed by a mysterious monster which only he can see. This leads him on an incredible adventure that takes him to a cold, and dreary island

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    destiny and her influences on the world. The events that took place over the course of the story helped in many ways to shape her future. From these events one can map the Protagonist’s future. The events that were drawn within the story provided the Protagonist with a foundation to become an admirable woman. Throughout the story there are several aspects of the Protagonist’s character that play a major role in the shaping of her future. During her childhood she often demonstrates a sense of fear when she

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    Morning Dew

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    role in the development of suspense and an overall claustrophobic feel within the film. As the film goes on; the viewer is introduced to the idea of a murderer who supposedly is in the elevator. This idea is presented through foreshadowing by the protagonist (business man). The director uses a plethora of verbal and visual aspects in order to develop the idea as well as adding emphasis to the importance of that idea. This film employs a variety of quick and repetitive cut shots that grow in speed and

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    Modernism in “Big Two-Hearted River” The two-part story, Big Two-Hearted River, typifies the style and techniques of modernism with regard to the treatment of its subject and the element of characterization. The focus of the story is on the single protagonist, Nick Adams who carries on with his life with little concern about the chaos that reign in the background (Hemingway 14). Elements of modernism in this story manifest in the sense in which the author fosters the sense of regeneration in the story

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    Coming of Age Coming-of-age stories commonly record the transitions—sometimes abrupt, or even violent—from youth to maturity, from innocence to experience of its protagonist, whether male or female. Greasy Lake by T.Coraghessan Boyle and Where Are You Going, Where Have You Been? by Joyce Carol Oates are great examples of traditional coming-of-age stories. The roots of the coming-of-age narrative theme are tracked in the male protagonist’s perspective for Boyle’s short story, while the Oates’ story

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    Kafka and Mishima

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    Kafka’s ‘The Metamorphosis’ and Mishima’s ‘Sailor who fell from grace with the sea’ use introspection to communicate and to develop their protagonists. However, where Mishima’s Ryuji shows negative growth, Kafka’s Gregor shows positive growth. As ‘The Metamorphosis’ progresses, Gregor is raised to higher levels of heroism, opposed to ‘Sailor’, where Ryuji is reduced to lesser forms of heroism. Introspection is the interaction of one’s thoughts, it could be said it is a basis of human nature. This

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    their respective protagonists, Jim and Marian; to develop prevailing themes in each novel; and to illustrate the escape of the protagonist from the trappings of a system. Amis and Atwood both use the love interests of the protagonist as foils to facilitate the development and maturation of Jim and Marian respectively. In fact, both protagonists have opposing outward and inward attributes which finally merge towards the end of the novel to signify the maturation of the protagonist. In Lucky Jim

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    A Boat Crossing Analysis

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    This has to do with the thirst or yearning for change. One of the first eye-catching ones is the central idea of the story, which is the absence of personal over the protagonist 's destiny. The narrator’s decision to go to Wan Country is arbitral , as well as his spontaneous decision to tell the fat man his real name and to accompany him at the end of the story. He says to himself that “maybe getting back on the boat would

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    bob

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    the film more meaningful. The realism of the film brings the pain and suffering that a man’s corruption causes to the audiences even when they did not personally experience the effects.... ... middle of paper ... ...with everything, while the protagonist lost everything. Polanski’s film shows the corruption in this world thrives while crushing anyone that opposes its authority. 4. I personally very much enjoyed the film. The film would continuously make me wonder what kind of events were to be

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