The Transformation Graph Essay introduction. Reacting in horror and disgust to her confessions, her husband Torvald Helmer, displays concern only for his own reputation, despite the love for him that prompts her to do it.
Franz has a nervous breakdown. Reinhold, Konrad, the Reaper Death. Whore of Babylon; the Reaper Death; Ecclesiastes. Mitten unter den Leuten. In ihm schrie es entsetzt: Achtung, Achtung, es geht los.
Er stieg unbeachtet wieder aus dem Wagen, war unter Menschen. Wie sich das bewegte. Was war das alles.
Man mischt sich unter die andern, da vergeht alles, dann merkst du nichts, Kerl. Es — lebte — nicht! So stand das da wie die Laternen — und — wurde immer starrer. He shook himself and gulped. He stepped on his own foot.
Then, with a run, took a seat on the car. He turned his head back towards the red wall, but the car raced on with him along the tracks, and only his head was left in the direction of the prison The car took a bend; trees and houses intervened.
Busy streets emerged, Seestrasse, people got on and off. Something inside him screamed in terror: The tip of his nose turned to ice; something was whirring over his cheek. He got off the car, without being noticed, and was back among people again.
Crowds, what a swarm of people! How they hustle and bustle! What was all this? Shoe stores, hat stores, incandescent lamps, saloons.
The pavement on Rosenthaler Platz was being torn up; he walked on the wooden planks along with the others. Wax figures stood in the show-windows, in suits, overcoats, with skirts, with shoes and stockings.
Outside everything was moving, but — back of it — there was nothing! It — did not — live!
It had happy faces, it laughed, waited in twos and threes on the newspapers. Thus it stood there like the street-lamps — and — became more and more rigid. They belonged with the houses, everything white, everything wooden.
Even in the brief representative example above, note how the driving pace of the prose plays off of the static, yet terrifying, world that Franz perceives. The language is certainly shaped by such things — mostly the noises of the big city, the specific rhythms, the constant madness of an unceasing back-and-forth.
Although the narrative settles down, at least relatively, for dramatic scenes, it constantly returns to its vertiginous depiction of "the Alex" as a place where life is frantic, transitory, and not infrequently sinister.
Alexanderplatz, like Franz entering his new life, is very much a work in progress.
Unknown at the time, this would soon come crashing to a halt, with the imminent Great Depression and rise of Hitler. The style, as much as the action, is a critique of the hair-raising pace and impersonality and fragmented nature of modern life.
The novel is both a depiction, a celebration, and a warning about too much too fast. But the technique reveals deeper insights than some merely flash literary reproduction of daily life. In that regard, the novel embodies the overwhelming collective forces of a modern technological society.
It came from over x miles away, it shot past the star y, the sun has been shining for millions of years, since long before Nebuchadnezzar, before Adam and Eve, before the icthyosaurus, and now it shines into the little beer-shop through the window-pane, divided into two masses by a tin sign: It spreads over them, and they know it.
It is winged, light, over-light, light-light, from heaven high I come to you.The Transformation of a Woman In Henrik Ibsen’s play, A Doll’s House, the character of Nora Helmer is a woman who undergoes a profound life revelation that results in her becoming a woman with a belief structure and understanding of self that is far ahead of her time.
„Werke XIV: Willkürlich und anlassfrei zusammengestellt“ [Kolumne mit Musikrezensionen; über Trophies, Pas Musique, Mika Vainio, Joachim Nordwall, Carl. The author achieves this by creating in Nora the “archetype of transformation,” which allows her to change from a child-like object belonging to her husband Torvald Helmer, into an independently thinking, self-realized woman.
Going from Child to Woman: The Transformation of Nora Helmer In Henrik Ibsen’s, A Dolls House, the character of Nora Helmer goes through the dramatic transformation of a kind and loving house wife, to a desperate and bewildered woman, whom will ultimately leave her .
Balls of Fury/Walk Hard/Talladega Nights A Syllabus of a Course in Elementary Physics (), Frederick E Sears Packaging in France - Strategic Forecasts to Darkling, Yasmine Galenorn, Cassandra Campbell . Nora goes through a complete transformation, changing from a child like and dependant woman to a self strong woman pushing to become independent.
Ibsen portrays the roles of society in the Victorian times in this play.