Atonement Paradigms are often times brought about when it comes to answering the question of how sin gets dealt with in a variety of situations. The word itself can be defined as the process of being made one with the Lord. Restitution can be linked to this category‚ as bringing up the element of justice‚ doing something wrong and the idea of punishment that follows. In layman’s terms‚ it is doing something wrong‚ then working through a process of making it right once again. There are six major Atonement
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Sin and Atonement Sin: to violate a divine law by transgression or neglect. Atone: to make up for deficiencies. Hawthorne uses these two themes to compare and contrast two different characters‚ Hester Prynne and Mr. Dimmesdale. Although both Hester and Mr. Dimmesdale drank from the same cup of sin‚ only one sinner has properly atoned for themselves. Hesters atonement is carried out daily in public‚ before God and the people‚ while Dimmesdales “ Atonement” is carried
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In his paper "Cultural Identity & Cinematic Representation‚" Stuart Hall addresses the issue of cultural identity and the cinematic representation. Stuart remarks that there are several definitions of cultural identity. However‚ he uses it in terms of the idea of "oneness" of people. The definition reflects the common historical experiences ignoring the divisions of the actual sub culture. According to Hall media or Caribbean Cinema has to discover this particular cultural identity. This conception
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Identity is a central theme in both Mary Shelley’s Frankenstein and Ian McEwan’s Atonement. Identity is the state of being oneself‚ and the qualities‚ beliefs and ideas that form a person. The struggle for identity and through that‚ the loss of innocence and therefore wanting to lose one’s identity makes these novels interestingly comparable‚ as both have protagonists go through huge mental trauma in their lives that shapes them and their identity in a unique way. In Atonement‚ as it is a Bildungsroman
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requires an element of deception so that reality can be legitimized and accepted by the audience. Cinema‚ at best complements and at worst obfuscates human memory. Jia Zhangke‚ Lou Ye‚ and Jiang Wen offer a subtle and fascinating account of the cinematic representation of the problem of memory. Since the inception of the camera‚ filmmakers have evolved motion pictures into not simply a reflection but a crucial indicator of human experience‚ especially our experience of fleeting time and of the current
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GLOSSARY OF TECHNIQUES USED TO CREATE MEANING Active voice/passive voice Writing that uses the forms of verbs which create a direct relationship between the subject and the object. Active voice is lively and more direct. Eg. ‘We had fun’ is written in the active voice; ‘Fun was had’ is written in the passive voice. Alliteration The repetition of the consonant sounds at the beginnings of words. It is used to produce sound that adds to the atmosphere or mood of the words‚ or perhaps
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“Even in this most serious of the arts‚ humour has a vital part to play”. Explore this view of poetry. recalling with glee how hard she made her first three husbands work to "holde the statut" (their marital obligations). She recalls that she and her husbands‚ though they tried to appease her with knick-knacks from the fair‚ would certainly never have qualified for the Dunmow Flitch (a side of bacon‚ awarded annually to the most harmoniously married couple). Wife offers to other "wise wives"
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Briony Tallis‚ at the young age of seven lived in a fantasy world of her own. With her father gone most of the time‚ her mother unavailable most days due to her manic migraines‚ her brother living away and her sister of studying‚ Briony is virtually an only child‚ left only with the company of her imagination. She was described as compulsively orderly. “One of those children possessed by the idea to have the world ‘just so’. Briony’s craving to manipulate and control‚ and also her perception of
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How are we made aware of the filmmaker’s attitude towards change? Refer to three specific episodes from the film. (excl. concl. stages)In Pleasantville‚ the filmmaker‚ Gary Ross‚ conveys his attitude towards change through the characters of David and Jennifer who are transported into the 1950s sitcom "Pleasantville". He doesn’t necessarily demonstrate change to bear a positive result; rather‚ he addresses that change is essential to the development of society and self and that it is important to
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It is a common phenomenon that the richer refuses his daughter or son to marry with a poor one. The social status is the first obstacle to deal with. In the atonement‚ Cecelia is always enjoying life rich when she was born‚ and her father is in prominent position. It was obviously clear that Cecelia live in a dominant upper class and she shares a patronizing and condescending attitude towards Robbie with her families. Robbie is just a son of the housekeeper in the Cecelia’s home. Robbie is from the
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