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The literary purpose of conflict is to create tension in the story, making readers more interested by leaving them uncertain which of the characters or forces will prevail. [2] There may be multiple points of conflict in a single story, as characters may have more than one desire or may struggle against more than one opposing force. [3]
Gothic literary themes appear all throughout the story, such as how the past physically creeps into the ambiguously modern setting, recurrent imagery of doubles (notably regarding Dante and his twin brother), and the persisting melodramas associated with Dante's father's fame, absence, and demonic heritage.
Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
The plot portrays a conflict between two aristocratic brothers, Franz and Karl Moor. Franz is cast as a villain attempting to cheat Karl out of his inheritance, though the motives for his action are complex and initiate a thorough investigation of good and evil. Both of these works are seminal examples of Sturm und Drang in German literature.
Literary movements are a way to divide literature into categories of similar philosophical, topical, or aesthetic features, as opposed to divisions by genre or period. Like other categorizations, literary movements provide language for comparing and discussing literary works. These terms are helpful for curricula or anthologies. [1]
Absurdism is the philosophical thesis that life, or the world in general, is absurd. There is wide agreement that the term "absurd" implies a lack of meaning or purpose but there is also significant dispute concerning its exact definition and various versions have been suggested.
Amy Kaplan, in contrast, debates race relations, empire, and literary regionalism in the nineteenth century, noting that "regions painted with 'local color' are traversed by the forgotten history of racial conflict with prior regional inhabitants, and are ultimately produced and engulfed by the centralized capitalist economy that generates the ...
The crisis is fundamentally a moral one," he said. "The nations must re-arm morally. Moral recovery is essentially the forerunner of economic recovery. Moral recovery creates not crisis but confidence and unity in every phase of life." [2] The phrase caught the mood of the time, and many public figures in Britain spoke and wrote in support.