Write a paragraph on EACH of the following concepts/characters/passages. If it is a character, make sure to describe the who, what, when, where, and also the why important ESPECIALLY in regards to the theme of the course and the content of the work.
Madame de Meurteuil
The Marquise de Merteuil is a self-defined, self-made female. She composes that she is her specific inventor. As a young lady, Merteuil refused to let destiny or culture define her and write herself. After her spouse died, she set about enlightening herself and making a reputation. Since then, she has stayed at the top of the mountain via vigilant management, at no time letting her guard dejected.
Controlling Love (Marie de France)
As is the instance with Marie de France, very little is well-known regarding her pool of lays, comprising for whom or why they were inscribed, and whether they were even projected to be offered as a combined assortment. The era of composition has been positioned between 1160 and 1199. However, it was alleged that they were transcribed as late as the 13th century for a long time. This was an era of traditional reawakening amid the Early Middle Ages, and Marie is one of the numerous writers from that century whose work remains to reverberate. What was exceptional at the time was the practice of lingua franca (French or English, the articulated dialects of the two ethos that flourished in this reawakening period) instead of the conventional Latin. The use of everyday speech was not directly deliberated inferior to Latin. Her use of French submits that the tenacity of the work fit in a more fabulous entertainment setting than had occurred before.
"I've always known I was born to dominate your sex and avenge my own."
When I came out into civilization, I was fifteen. I by now distinguished that the role I was destined to, specifically to keep silent and do what I was stated, provided me with the seamless prospect to pay attention and perceive. Not to what individuals told me, which was of no concern, but to whatsoever they were attempting to conceal. I experienced objectivity. I learned how to appear happy while, under the table, I held a fork into the back of my hand. I became an expert on treachery. It was not desired I was searching for. It was understanding. I referred the firmest moralists to learn how to give the impression, logicians to know what to contemplate, and authors to perceive what I could get off scot-free. And in the finale, I refined everything to one delightfully unpretentious norm: win or die.
This insurgence of agony, from 1978, maybe Rainer Werner Fassbinder's most absolute determination in prehistoric satire. He directs his entire balance of dramatic luxury and filmic elegance to communicate the story of a former butcher who, after a sex-change operation (Elvira) née Erwin, lives as a married woman and doubts it all. From her infancy in a post-war children's home to her unpremeditated abuse by the knacker's yard manager to her home manipulation, the prayers of Elvira's anguishes are refined into a widespread suffering—the hunt for affection. Fassbinder has Elvira re-examine the phases of her life—the knacker's yard, the children's home, the outrageous man who ruined her. The household she left behind—with boisterous comicality and panic-stricken tragedy, and Volker Spengler tosses himself into the character with tear-jerking abandon. The personality struggle at the movie's center is also Germany's own: in Fassbinder's representation of the gleamingly reconstructed Frankfurt as a passionately overwhelmed wilderness, Fascism—the necessity of some to control and of others to suffer—comes off as an unhappy endless of the heart.
The Strange Traveler (Death in Venice)
A traveler with a peculiar appearance whom von Aschenbach perceives and deliberates following in Munich. The alien's strange presence "transferred a dimple of domineering scrutiny, strength, even barrenness" and his bizarre appearance, which Gronicka associates to the menace of that "authoritative, callous deliverer from life's toil, Death," drives Aschenbach into "a desire and even to a misunderstanding." For the first time, an indication of the shockingly mysterious complexities of Aschenbach's awareness is discovered to readers in the eye-catching descriptions of Aschenbach's imaginary.
Regardless of the enchanted pride of the werewolf, "Bisclavret" is an additional instructive story of human mischief being reprimanded. Bisclavret's wife demonstrates planned brutality, comprising disloyalty and lack of fidelity—two of the utmost misconducts a mistress can commit in the realm of polite affection.
The Slaughter House
All over the novel, Vonnegut describes that warfare is bloody dreadful that brings about the victory of death and might. Many characters breathe their last breath during the conflict, and the expression "so it goes" mirrors that it is something ordinary. Vonnegut attempts to offer this message that society cannot control people's fate, particularly death.
Having to Learn to Love Men
Buck's gradually evolving uniqueness as a wild animal is suppressed by his new piety to John Thornton and, via him, to the man-dog connection. If the dreadful triad of Hal, Charles, and Mercedes includes the nastiest master conceivable for an animal, then Thornton may be the greatest. His association with Buck is established on shared fortification and friendliness—he protects Buck's life. Then Buck does the same for him and confirms Thornton's confidence in him by charming and unbearable gamble. London highlights that Buck has essentially felt affection for a human being—possibly since it is the first time that he is neither an indulged pet nor a maid, laboring afar to pull a sled. Whatever the reason, this affection is obtainable as being intensely physical.
The Painted Man on the Boat (Death in Venice)
The man declines to turn the boat around or to advise his customer of how much the journey will cost, saying merely, "You will pay." Aschenbach once more feels himself dropping into inertia. They reach the coastline, and Aschenbach goes to get a change to repay the gondolier. However, upon returning, he finds the man has disappeared.
The Uncanny in Death in Venice
In Death in Venice, the dominant engagement for the main character, Gustav von Aschenbach, is a skirmish between rationalism and self-satisfaction, which creates the foundation for the other key themes of the short novel. Intensely impacted by classicism, Aschenbach has struggled through his literature to sustain the classical notion of exquisiteness.