Sample Citations The following examples illustrate the notes and bibliography style.
Traditional folktales never were. There are some good guys. There are some bad guys. The good guys win. The good guys are usually scrappy amateurs; the bad guys usually Pride and prejudice narrative style essay professionals with typical fascist precision.
The good guys usually demonstrate a respect for human life and the bonds of friendship; the bad guys betray their citizens and their underlings with equal abandon. They gain their good guy or bad guy status by either following the universal law, or breaking it. Neither the Greeks nor Trojans are especially good nor villainous.
The Trojans lose some points for kidnapping a woman, but the Greeks lose some points for killing and enslaving an entire city. Neither side is scrappier or more professional than the other.
Neither seems to treat civilians better or demonstrate more loyalty. Nor was it on the mind of the authors of Mahabharata, the Norse sagas, Jack and the Beanstalk, et cetera. The article concludes this is because of nationalism. Nation-states wanted their soldiers to imagine themselves as fighting on the side of good, against innately-evil cartoon-villain enemies.
This was so compelling a vision that it shaped culture from then on: A Global History of Concentration Campsabout the rise of the idea that people on opposite sides of conflicts have different moral qualities, she told me: In short, we are rehearsing the idea that moral qualities belong to categories of people rather than individuals.
What are we to think of this? Robin Hood started stealing from the rich to give to the poor as early as the edition of his tale. The Mayan Hero Twins? Are there any differences between the way ancients and moderns looked at this? Maybe modern stories seem more likely to have two clear sides eg made up of multiple different people separated by moral character.
Villains as opposed to monsters, or beings that are evil by their very nature seem more modern. So does the idea of heroes as necessarily scrappy, and villains as necessarily well-organized. And just eyeballing it, modern stories seem to use this plot a lot more, and to have less deviation from the formula.
The past stories seem much more conducive to blind nationalism than our own. The amorality of the warriors in the Iliad manifested as total loyalty: Hector fought for Troy not because Troy was in the right, but because he was a Trojan.
Achilles fought for Greece not because he believed in the Greek cause, but because that was his side and he was sticking to it. What more could a nationalist want?
In contrast, the whole point of modern good-vs-evil is that you should choose sides based on principle rather than loyalty. The article gets this exactly right in pointing out the literary motif of virtuous betrayal. We are expected to celebrate Darth Vader or Severus Snape virtuously betraying their dark overlords to help the good guys.
In Avatar, the main character decides his entire species is wrong and joins weird aliens to try to kill them, and this is good.
Compare to ancient myths, where Hector defecting to Greece because the abduction of Helen was morally wrong is just totally unthinkable. This is a super-anti-nationalist way of thinking.
I suppose nationalists could make the very dangerous bargain of telling their soldiers to always fight for the good guys, then get really good propaganda to make sure they look like the good guys. And maybe this would make them fight harder than if they were just doing the old fight-for-your-own-side thing?
But honestly, Achilles seems to have been fighting really hard.
Is this whole convoluted process really easier than just telling people from the start to fight for their own side and not betray it? Also do we really want to claim that concentration camps worked because the Nazis believed you should take principled positions based on moral values, instead of unquestioningly supporting your in-group?
Old stories celebrated warrior virtues — strength, loyalty, bravery.Question: Read the passage from pride and prejudice (Volume 2 Chapter 9) carefully several times. In a continuous essay of not more that words, analyse this passage, discussing ways in which the narrative voice and dialogue are used.
The goal of Sudoku is to fill in a 9×9 grid with digits so that each column, row, and 3×3 section contain the numbers between 1 to 9. At the beginning of the game, . Pride and Prejudice follows the traditional Cinderella plot while "Persuasion rewrites the Cinderella narrative, as it shifts the fairy tale's emphasis from the heroine's transformation into a beauty to the prince's second look at her face.".
Introduction. Pride and Prejudice is widely regarded as a masterpiece of world literature. It is one of the best-loved books in English literature, continually ranking as the most loved and one of the most favored novels of all time.
Pride and Prejudice Discussion Questions “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” This first line has become one of the most famous in English literature.
Different types of irony Narrator Pride and Prejudice, like most of Jane Austen's works, employs the narrative technique of free indirect speech.
It’s a style of third person narration. So we adopt in the story the tone and the vocabulary of a particular character: Elisabeth Bennet.