Pulp Fiction is a controversial film‚ written and directed by Quentin Tarantino‚ in 1994. It has almost everything you could wish for in a movie; drama‚ hilarity‚ intensity‚ action‚ thrills‚ fun‚ intelligence‚ romance‚ intimacy‚ over-the-top bravado‚ vulgarity‚ sweetness‚ humor‚ and soul-searching. The film is very raw and brutal‚ but has a unique sense of style that keeps the viewers entertained. It will build its way up gradually to an incredibly intense scene‚ before dropping down to a relatively
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the case. Could it be a built up envy of the young? A dissatisfaction of days spent sorting 5 dollar notes and 10 cent pieces? Peter‚ in his wit and charm‚ offered other suggestions: perhaps it was something personal with her husband. That was better than his other alternative‚ in which the woman was cultivating illicit drugs. I don’t think he was serious. I hope he wasn’t. These discussions continued for hours upon hours until we collectively decided to solve the mystery. We couldn’t quite pinpoint
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fantasies’.1 They are stereotyped into vacuous roles such as the romantic interest‚ damsel in distress and femme fetale. Female characters are given little to no agency by white male writers and this is overt in 20th century hard-boiled American crime fiction. In the works of Dashiell Hammett and Raymond Chandler‚ female characters exist only to serve as foils to re-emphasize the hyper-masculinity of the Continental Op and Phillip Marlowe‚ their respective detective protagonists. I put emphasise on the
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crime-writing genre consists of a wide array of subgenres and hybrids‚ these texts all focus on a criminal investigation using this as a platform/vehicle to explore and comment on the values and the social context in which it was composed. In doing so‚ crime fiction texts do not just tell a crime story; they make insightful social comments to inform responders. This is evident in P.D. James’ “The Skull Beneath The Skin” (Skull) which not only follows an investigation but also comments on the justice and the emerging
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historical context. Thomas quotes Miller‚ to synthesise “Conrad’s fiction in the context of the history of ideas” (Thomas 242)‚ and later on takes up Miller’s suggestion in the evaluation of The Nigger of the “Narcissus” by Conrad to demonstrate that there can be “decisive unveiling” (Miller 220). Although Thomas does not mention Miller’s essay Heart of Darkness Revisited he quotes Miller’s The Disappearance of God and Poets of Reality. In addition to Thomas quoting Miller‚ both critiques adopt similar
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once changed them. First I will show how the person can be evil while his actions are not. On page twenty-nine of ‚”The Stranger‚” Raymond states‚” I am not a bad guy‚ but I have a short fuse.” As he explains to Meursault how he had been on the train and he had the chance to ignore the stranger who had approached him ready to fight.
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Beowulf Essay The poem of Beowulf proves to be a controversial topic as to whether it is fact or fiction. Although Beowulf consists of ferocious monsters‚ glorious heroes and other fictional assets‚ there is much evidence that points toward a much more factual interpretation. Proof of fact comes from many archaeological findings which are thought to be dated to the same time and location of when and where this old poem was thought to originate. This evidence of fact has come from findings of grave
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In the article‚ This Week in Fiction: Kamel Daoud‚ the interviewer‚ Deborah Treisman‚ asks the author (Kamel Daoud) a few questions about his novel—The Meursault Investigation. In the opening of this article‚ Treisman asks Daoud if his novel was written to give the exact accounts of what really happened to his brother Musa and Meursault. Daoud explains that he wanted to find his‚ “own path through Camas‚” that he merely wanted to examine Albert Camus’ work a bit more‚ which could help him figure
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Themes of The Stranger Several themes in The Stranger serve as the foundation to the novel. Detachment‚ the first theme‚ is evident through Meursault’s overall attitude‚ Salamano’s situation‚ and Meursault’s desire to bury his mother without seeing her body. Meursault detached himself from the rest of “normal” society‚ doing what he pleases and not expressing any empathy toward his mother’s death. Salamano felt detached after his dog ran away‚ even though he treated him poorly. The second
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Death and Absurdism in Camus ’s The Stranger Alan Gullette In his novel The Stranger1‚ Albert Camus gives expression to his philosophy of the absurd. The novel is a first-person account of the life of M. Meursault from the time of his mother ’s death up to a time evidently just before his execution for the murder of an Arab. The central theme is that the significance of human life is understood only in light of mortality‚ or the fact of death; and in showing Meursault ’s consciousness
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