"How little a thing is needed for us to be lost or to be saved?" Both stories‚ Maupassant’s "The Necklace" and "A Story of an Hour" by Chopin portray two different yet alike women‚ who refuse to accept their destiny and deny the life of women of their class. They are both lost‚ and are looking to be saved‚ however‚ they find themselves in a big trouble just when they think they succeeded in their search. Nature plays a major role in both of these women’s lives. Both struggle to find their independence
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In Isabel Allende’s The House of the Spirits‚ barbarous diction characterizes the Catholic Church as barbaric and antiquated. The head of the parish‚ Father Restrepo‚ relies on traditional Catholic teachings that use flagellation as a form of punishment. Father Restrepo is “a firm believer in the value of a good thrashing to vanquish the weaknesses of the soul and was famous for his unrestrained oratory” (Allende 3). The “thrashing” refers to flagellation‚ a process that tears at the person’s skin
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book‚ Night‚ Elie Wiesel uses vivid imagery and dramatic diction to bring to life his horrid and painful memories of the Holocaust and his time in Auschwitz. At the end of chapter 4 Wiesel describes the events that occurred leading up to the death of a young pipel. This scene is brought to life by Wiesel’s incredible use of diction to reinforce the imagery used to create a sense of emotion felt by the reader. Throughout this book diction is used to create a deeper connection to the events and people
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Like many of Maupassant’s short stories‚ "The Necklace" is told by a third-person narrator‚ who avoids judging the characters or their actions. The narrator does have access to the characters’ thoughts‚ and mentions that Madame Loisel is unhappy because she feels that she married beneath her. But for the most part‚ the author simply describes the events of the story‚ leaving it up to the reader to determine the nature of the characters through their actions. Most of all‚ the narrator is concerned
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* Tonga Islands Necklace‚ ca. 1810-30 Whale teeth‚ Fiber 86.50.2 IUAM 31 in. cord; 5.25 in. longest tooth Madison Turner FINA-A351 December 3‚ 2012 * The object of art in which this paper analyzes is a necklace from the Tonga Islands‚ approximately from the period of 1810-1830. It is made of tabua- polished ivory whale’s teeth- that has been decorated with dark motifs and strung on a fiber cord. The approximate length of the necklace’s cord is 31 inches‚ with the longest tooth measuring
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ghosts. The author uses diction in order to create a creepy and mysterious atmosphere‚ and imagery to depict the supernatural events that occur in the country house‚ Bly. In The Turn of the Screw‚ the author uses diction to help prove the existence of ghosts in the novella. To begin‚ James describes Bly to be big and old to set up a mysterious atmosphere‚ “No; it was a big‚ ugly‚ antique . . . embodying a few features of a building still older” (James‚ 17). The author uses diction to create a mysterious
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Mathilde borrows a diamond necklace from her. She goes to the party with feeling special. When she gets home from the party‚ however‚ she finds that the necklace is no longer on her neck. She and her husband search desperately for it‚ but cannot find it. She becomes terrified‚ and quickly writes Madame Forestier that the necklace has broken‚ buying her more time to find or replace the necklace. She and her husband search through many jewelers‚ looking for a similar necklace‚ and finally they find
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thing many of us enjoy‚ it’s tretorus‚ terrifying and most of all‚ degrading. In “Dulce et Decorum Est” Wilfred Owen uses graphic diction and irregular‚ slow moving lines to explain to the public how dreadful war really is. His graphic diction gave Owens opinion on how he felt about the propaganda the public was getting about the war. In the poem‚ Owen’s graphic diction and irregular‚ slow lines gave the the poem the sense of how slow the war moved‚ and how no man should ever experience it. The
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In her poem “Circe‚ After his Departure‚” Sewell’s diction characterizes Circe’s desire as a feeling that occurs internally rather than directly relating to Odysseus. Several of Sewell’s specific word choices repudiate the concept that Circe is passionately yearning for Odysseus. Sewell describes that Circe “still thinks of him‚/ still gazes idly out at a horizon on which no vague blur/or bright spot [...] appears” (2-4). Sewell’s choice of the word “idly” (3) contradicts the intense emotional attachment
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stories derives from the fact that Maupassant presents his characters‚ poor people or rich bourgeois‚ as the victims of ironic necessity‚ crushed by a fate that they have dared to defy yet still struggling against it hopelessly. ABOUT THE NECKLACE · It was first published in the Paris newspaper Le Gaulois on February 17‚ 1884‚ and was subsequently included in his 1885 collection of short stories Tales of Day and Night (Contes dejour et de la nuit). · It was an
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