Happy Ending Research Articles

Synesthetic Realism Motif in the Film, The Man with the Golden Arm

필름 누아르의 전형은 부유한 현실에 안주하는 미국의 배후에 밤의 어두운 세계가 숨어 있음을 포착하여, 표현주의 이미지와 사운드로서 전후 성공의 이면에 담긴 부패와 비인간성을 폭로하는 것이었다. 영화 <황금 팔을 가진사나이>(1955)는 해피엔드의 가능성이 없는 비관적 분위기의 필름 누아르와 달리, 헤로인 중독자를 선한 희생자로삼아서 악한 유혹자와 맞서고 존재 이유를 자각적으로 물으며 주체적인 상태에 머무는 인물로 그렸다. 프레밍거가창조한 히어로와 멜로드라마의 캐릭터는 불확실성을 지닌 인물이더라도, 윤리적 실존에 따라 스스로 무력과 절망을 느끼므로 관객의 공감을 이끈다. 프레밍거는 마약 복용자를 하층 계급의 범죄자로 국한하지 않으려고, 프랭키 머신을 중산층 관객이 식별할 수있는 캐릭터로 계층을 높였다. 프랭키를 특정 사회나 정치 세력의 희생자가 아닌 사악하고 타락한 유혹자들과 맞서면서 자기 운명을 책임지는 영웅으로 만든다. 이런 변형하기의 각색으로, 영웅 서사의 중심 플롯과 멜로드라마의서브플롯을 지닌 중층적 서사 구조를 형성한다. 그리고 스토리텔링의 구성 중 가장 중요한 행동인 트리트먼트, 즉헤로인 중독과 마약 끊기(cold turkey) 사이의 갈등을 위하여 프로타고니스트(프랭키, 몰리)와 안타고니스트(루이,슈비프카, 조쉬), 코믹 릴리프(스페로우, 바이, 존) 등 기능적 배역을 설정한다. <황금 팔을 가진 사나이>는 공감각적 실존 모티프가 뚜렷하다. 디아스포라 의식을 바탕으로 국가나 인종, 계층, 관습, 이데올로기 등의 한계를 극복하기 때문이다. <황금 팔을 가진 사나이>는 독일·동유럽 표현주의의 이산영화(diaspora film)가 아닌 미국 할리우드의 융합 영화(fusion film)로서 탈脫영토화된 디아스포라 의식에 충실하다. 음악, 영화, 시각 예술 등이 디아스포라 경험의 구성 요소로 간주하는 상호 문화주의에서 이득을 취하듯이, 이영화도 융합과 혼종을 회피하지 않았다. 필름 누아르의 통념에 머물지 않고 새 영화의 길을 동시대 예술가들과 함께 개척했다. 영화 내용의 실체가 히어로와 멜로드라마의 캐릭터 연기가 중심이라면, 영화 표현의 실체는 솔 바스에 의한 그래픽 이미지와 엘머 번스타인에 의한 쿨 재즈 사운드의 아이덴티티가 핵심이다. 이런 스토리텔링의 표현을 위한 상호텍스트성 미학은 혁신적이고 유의미한 시도였다.A typical film noir storyline aims to capture the darker world hiding behind the rich facade ofthe United States, revealing the corruption and inhumanity behind postwar success throughexpressionistic images and sounds. However, unlike the typical film noir, which has a pessimisticatmosphere with no possibility of a happy ending, the film, The Man with the Golden Arm (1955)depicts a heroin addict as a noble victim, an independent figure who stands up to an evil tempterand asks why he should live at all. Though the character created by Preminger by fusing a herocharacter and a melodrama character may be an ambiguous figure, he earns the sympathy ofthe audience because of the helplessness and frustration he experiences in the pursuit of anethical path through life. To avoid stereotyping drug users to lower-class criminals, Preminger raised the status of FrankieMachine to a character that could be identified by middle-class audiences. He made Frankie ahero who takes responsibility for his destiny; not a victim of certain social and political forces,but someone contending with evil and corrupt tempters. With these variations, the film has amulti-layered narrative structure with a central plot of a hero narrative and a subplot of melodrama. The most important of the storytelling components is treatment; that is, the conflict betweenheroin addiction and going “cold turkey.” For the conflict, functional roles are set up: protagonists(Frankie and Molly), antagonists (Louie, Schwiefka and Zosh), and comic relief characters (Sparrow,Vi and John). The film, The Man with the Golden Arm clearly shows a synesthetic expression of the motifof existence. This is because, based on a diasporic consciousness, it overcomes limitations suchas nationality, race, class, customs, and ideology. It is not a diaspora film of German and EasternEuropean Expressionism, but a fusion film of Hollywood, and is faithful to the de-territorializeddiaspora consciousness. Just as music, movies, and visual arts benefit from interculturalism,considered a component of the Diaspora experience, The Man with the Golden Arm did notavoid convergence and hybridization. Instead of staying in the conventional genre of film noir, itpioneered the path of a new film with contemporary artists. If the core of the movie’s contentwas centered on the acting of the hero and melodramatic character, the core of the movie’saesthetics can be found in the graphic images created by Saul Bass, and in the distinctive cooljazz sounds created by Elmer Bernstein. The intertextual aesthetics used for this type of storytelling was innovative and meaningful.

Christina Lupton. Reading and the Making of Time in the Eighteenth Century.

Christina Lupton. <i>Reading and the Making of Time in the Eighteenth Century</i>.

The Transgender Imagination in Folk Narratives: The Case of ATU 514, “The Shift of Sex”

Abstract “The Shift of Sex” is a folktale type that begins with a young woman dressing in men’s clothes to have an adventure, and ends when the protagonist is magically transformed into a man, marries a woman, and lives happily ever after. My goal in this project is to analyze the 26 variants as a group in order to illuminate what they communicate about gender and transgender. ATU 514 has been treated as an aberration or anomaly, a tale that defies categorization. Several feminist scholars have argued that the climactic change of gender reinforces heteronormativity and sexist, patriarchal gender roles. More recent scholarship notes the tale’s transgender possibility, scholarship I build on in this project. My analysis identified two significant patterns in the tales: first, every variant has a happy ending for the protagonist, representing a narrative reward for a character who could variously be read as transgender or gender transgressive. Second, the tales are encoded with details, characters, and events that tell a “secondary narrative” that describes the threat of the patriarchy. I argue that the protagonist of ATU 514 is a transgressive character with transgender capacity and that the tale approves and rewards these transgressions through the concluding happily-ever-after.

How Not to Become Tolerant: Habitus and Affects in Lessing’sNathan the Wise

AbstractThe coincidences and phantasms that open Lessing’s playNathan the Wisereappear throughout the entire drama and even bring about its happy ending. While the usual interpretation of the plot maintains that the illusions held by the protagonists of the play – such as their superstitions, unrestrained affects, and prejudices – are overcome via a learning process and transformed into tolerance, I propose a different view. In this article I argue, firstly, that these previous illusions are already slightly enlightened, rather than completely dim and dull, and, secondly, that this process only ostensibly leads to tolerance. As a consequence, my analysis focuses on the negotiation between tolerance and intolerance. Finally, I arrive at the conclusion that the maid Daja actually represents tolerance in a better way than the protagonists because she is the only one from whom tolerant endurance is demanded. The analysis of the affective patterns of the play demonstrate thatNathan the Wisecan not only be read as a parable of tolerance, but also as a parable of the formation of a privileged habitus within the realm of the family.

História Trágica com Final Feliz: Criação de uma Experiência Feminista na Animação

Animation is a space of wonder and magic, but it can also be a place of political resistance and social awareness. Animation can be all these places simultaneously and by doing so it opens doors to different understandings of reality and an alternative consciousness of the world. This paper aims to analyze the animated short film Tragic Story with Happy Ending (2007), directed by Regina Pessoa, as a figurative path to reflect about the intersection between Animation and Feminism. The construction of a feminist experience in contemporary Animation, specifically in Portuguese Animation, is analyzed while considering a compendium of essays on women animators edited by Jane Pilling, Women &amp; Animation (1992), and Chimamanda Ngozi Adichie’s thoughts on Feminism. The animated space in which the woman’s voice is acknowledged is also reflected upon based on the concept of “Speaking Nearby” by Trinh T. Minh-ha (1992). Tragic Story with Happy Ending does not have an explicit approach to Feminism but by revealing a wide consciousness of human nature and subtly reflecting about what it means to be a woman, a socio-political dimension and feminist experience emerge from its core.

POP! Goes My Heart: The Sound of Specific and General Love in Romantic Comedies and Dramas

Abstract This article argues the original compositions in the romantic comedy Music and Lyrics (2007) and the romantic drama A Star is Born (2018) illustrate the differing depictions of love in the two films—one rooted in the specificity of the on-screen relationship and the other more general and rooted in the emotion of the relationship—which reflect a distinctive positioning within their respective genres. If you want a happy ending, that depends, of course, on where you stop your story.1 —Orson Welles

ВИКТОРИАНСКИЙ РОМАН КАК ЖАНР: К ПОСТАНОВКЕ ПРОБЛЕМЫ

The article deals with the issue of the Victorian novel in the historical, cultural and genre aspects. There is no single point of view on that phenomenon in the academic literature: some scholars use the term in a chronological sense (Victorian literature referring to the era of the reign of Queen Victoria [1837–1901]); others synonymously use the concepts of “Victorian” and “realistic”; some try to identify the specifics of the phenomenon through non-literary factors (attitude to social issues, philosophical context, etc.). Such approaches, for all their validity, do not clarify the nature of the Victorian novel as a whole. The author of the article hypothesizes that the Victorian novel is a sub-genre of the classic 19th centurynovel, and the following can be distinguished as its distinctive features: attention is focused on the action (plot), and not on the character; social issues are subordinate to the action; the presence of a marriage plot and a happy ending. The above characteristics being not comprehensive, allow outlining further prospects for the study of the Victorian novel as a genre. It is also important to identify and formulate the genre originality of the Victorian novel in the aspect of studying its Russian reception, because otherwise such a comparative study will not have specifics.

Finding the best haematopoietic stem cell transplant regimen for GATA2 haploinsufficiency: how close are we?

Finding the best haematopoietic stem cell transplant regimen for GATA2 haploinsufficiency: how close are we?

E’ lecito ai poeti alterar le favole: The story of Dido according to Giovan Battista Busenello

The aim of this paper is to analyze the rewriting of Dido’s myth by Giovan Battista Busenello, the librettist of the first opera named after the queen of Carthage. The imposing regality of Dido and the highly dramatic tension of the Aeneid are absent in Busenello’s libretto. Interestingly, if in the fourth book of the Virgilian poem Dido kills herself with Aeneas’ sword, in the final act of the opera she marries Iarbas, king of Gaetulians. Poignantly, in her only aria Dido sings her rejection of Iarbas’ advances, instead of her death wish or her sorrow for Aeneas’ departure. The tragic éthos we expect of Dido surfaces in two other characters in the opera, Hecuba and Cassandra, specifically through their laments. The basso lines of their laments call to mind the formal archetype at the heart of the famous Dido’s lament, Dido’s aria in Dido and Eneas, composed by Henry Purcell forty-eight years after the Didone. In that way, Hecuba and Cassandra constitute the actual tragic characters in the Didone, while, conversely, Dido is granted a happy ending, a deviation from the source just as peculiar as its author.

Claiming chaos narrative, emerging from silence

In The Wounded Storyteller, Arthur Frank proposed three types of narrative told by people attempting to reclaim their voice and the body made alien by illness. In restitution narrative the medical community is presented as having agency. In quest narrative, the person experiencing the disease or illness has agency, and they are saddled with the imperative to inspire others. The third type, the chaos narrative, is rarely encountered by audiences because the chaos narrative is usually erased. The individual living with chronic physical or mental illness or a disability, who cannot be stoic and turn their story into a quest narrative, is rendered mute. Their stories have largely been controlled by external agents. Failure to meet normate expectations has meant rejection. How prescriptive norms arose that delegitimatized the authority of chaos narrative must be understood if authentic chaos narrative is to be spoken and written. Points of interest People living with chronic illnesses and disabilities are often prevented from telling their stories as they don’t have happy endings or end with triumph. Their stories often don’t fit the traditional Western storytelling format that has a clear resolution, but rather speaks to ongoing challenges continually lived in the present. Society, publishing and media outlets create forces that often both shape the narratives people tell and determine what kind of stories reach audiences. There is a need to allow more venues for allowing stories about ongoing struggles that do not resolve rather than to silence these narratives because they don’t fit our learned, preferred tastes.

“Liberty Is Dangerous, Especially Amongst the Effeminat Sex”: Strategies for Single Women’s Travel Safety in “Assaulted and Pursued Chastity” (1656)

ABSTRACT This article discusses the narrative strategies and characterisation of the heroine in Margaret Cavendish’s “Assaulted and Pursued Chastity,” with a focus on women’s travel safety. Although Cavendish warns her female readers about the danger of independent travel, her heroine appears extraordinarily lucky to first survive her dangerous journey, to then win the Queen of Amity’s favour, and to finally marry an ideal husband. The text demonstrates Cavendish’s ingenious deployment of romance conventions and court culture to empower her heroine to escape from crises by intervening in the narrative. This strategy propels the narrative forward, protects the heroine’s chastity, and ensures her perilous voyage culminates in a happy ending. The female traveller’s victory also demonstrates Cavendish’s authorial power and self-fashioning throughout the text.

Time in Spenser’s Amoretti and Epithalamion, and Shakespeare’s Sonnets

The sonnet which is originated in Italy is a highly structured poetic form. It flourishes in the Elizabethan period in order to write love sonnets about a beloved and idealized lady. This study focuses on the theme of time in both Edmund Spenser’s Amoretti and Epithalamion, and William Shakespeare’s Sonnets. Spenser’s Amoretti, which covers New Year’s Day celebrations, reflects on Spenser’s past forty-one years of life. In Epithalamion, Spenser records the hours of the day from pre-dawn to wedding night, including the passage of a year in 365 long lines which also correspond to days in a year. Its content moves from the excitement of youth to the anxieties of the middle age, beginning with high hopes for a happy day and ending with record of the speaker’s legacy for future generations. Spenser tries to prevent the passage of time by freezing it in his verses. Shakespeare’s Sonnets begins with the narrator’s begging the fair lord to find a woman who will bear his child so that his beauty can be assured for posterity. The poet complains about the ravages of time and its harmful effects on the beauty of the fair lord, and tries to fight the inevitable by forcing the fair lord to convey his perfection to a child. The poet defines time as a dimension of suffering, and asks the fair lord to leave him. In conclusion, time is described as unmanageable power of unforeseen changes and chances as well as a non-personal ominous determinant.

Transforming Gender and Emotion: The Butterfly Lovers Story in China and Korea

Transforming Gender and Emotion: The Butterfly Lovers Story in China and Korea

АРХЕТИПІЧНІ АСПЕКТИ ОБРАЗУ ГЕРОЯ В СУЧАСНОМУ УКРАЇНСЬКОМУ НЕІНСТИТУЦІЙНОМУ ВІЙСЬКОВОМУ ДИСКУРСІ

The aim of the article is to study the specifics of the archetypal aspects of the Hero image in modern Ukrainian non-institutional military discourse. Materials &amp; methods. Discourse analysis was used to identify the characteristics of archetypal images and motifs. The application of psychoanalytic interpretation, the most characteristic feature of which is the accentuation of senses and the assumption of the self-sufficiency of experience, has directed attention to the symbolism of the unconscious, universal meanings and psychological mechanisms inherent in the text. The material for the article was text fragments, photos and comments to them with a total volume of 912 units, which were posted during 2020 on the pages of the social network groups Facebook "Military service - Military Service", "Armed Forces of Ukraine". Results &amp; discussions. Hero-rescuer mythological archetype is at the heart of the Ukrainian non-institutional military discourse. Permanent mythological plot can be traced in the military discourse. Thus, the typical stages of the mythological Hero odyssey were observed: the beginning of the mythological Hero’s adventures is provoked by a catastrophe, which is caused by criminal actions of his enemies; the Hero sets off for a journey to restore the broken harmony; the villains prevent but the Hero passes the trials and wins his reward. His triumph can be represented as the liberation of his country from tyrant. Addressing the mythological plot carries a pragmatic purpose to overcome stress: the military needs unshakable faith in happy end of the problem situation (military conflict in eastern Ukraine) and the idea of mythological Hero helps soldiers to increase self-confidence. Thus, the Ukrainian non-institutional military discourse shows a relationship between the call to the mythological consciousness and coping strategies. Then, there is tendency observed in the military discourse that Hero archetypal image deviates from the archaic archetype framework and the Hero model with an emphasis on the Christian eschatological paradigm dominates. The motif of sacrifice accompanying the Hero image forms the archetypal image of the Hero-holy man. Conclusion. Two Hero models dominate in the Ukrainian non-institutional military discourse. The first model is distinguished by exaggeration. It is a Hero-superman image defined by similarity to mythological heroes, gods, titans. However, this Hero model is not only always accepted by the Ukrainian military but can sometimes arise rejection and protest against Hero-superman image. The second model is a collective image of Ukrainian culture. The People’s Hero model actualizes the features of a toiler who is not a professional soldier, he is a peaceful man. This archetypal image is distinguished by realism and contrast to the Hero-superman image. Key words: Hero archetype, archetypal image, non-institutional military discourse.

Опыт прочтения повести А. С. Пушкина «Метель»: два да едино будет …

ABSTRACT The technique of close reading invites us to focus on particular points in the text that helps understand it as a work of art. In Puškin’s “Snowstorm” such points include the image of a snowstorm, literary clichés, paroemia like you cannot get around your intended on a horse (что суженого конем не объедешь), as well as several specific items, such as a Tula signet ring with a symbolic image of two burning hearts. And, strange as it may seem, the story’s happy ending is anticipated by “a suitable motto” casually mentioned in connection with the Tula signet ring – as a figure of silence without explanation in the text, but easily guessed by Puškin’s contemporaries as a motto accompanying the image of two burning hearts in the Dictionary of symbols and emblems (number 120), re-issued in St Petersburg in 1811. In this article, I offer a reading of the story as a rhetorical amplification of the “suitable motto” engraved on the Tula signet ring: Ut duo unum componant (‘That two may make but one’). I suggest to interpret this poetic design as a narrative program, incorporated into the text and structuring the narrative flow of the story.

1001 Nights with Animus

This paper provides a Jungian interpretation of the frame story of 1001 Nights. Using a psychodynamic approach, the key characters in the frame story are considered as different pieces of the female psyche during the journey of individuation. This reveals the story's hidden content about inner enemies of the female psyche, such as a tyrannical animus that feeds from an oppressive environment. With a happy ending that represents the union of the ego and the animus, 1001 Nights highlights a path to women's empowerment and social harmony that involves facing inner and outer demons. The essay also argues that with its emphasis on freedoms as a source of individual and social peace, 1001 Nights captures the Zeitgeist of the period from which it emerged, namely 9th-century Abbasid rule, particularly under the reign of Caliph al-Mamun.

Analisis Intertekstual Timun Mas dan Buto Ijo pada Iklan Marjan dan Cerita Rakyat Indonesia

Abstract&#x0D; This study aims to analyze the intertextuality of Timun Mas and Buto Ijo in the Marjan advertisement with Indonesian folklore. The advertisement is considered as a text derived from the previous text because it uses the characters of Buto Ijo and Timun Mas, namely the legendary figures of folklore entitled Timun Mas and Buto Ijo. The data sources are the Timun Mas and Buto Ijo versions of Marjan advertisements and the Timun Mas and Buto Ijo folk tales. Descriptive analysis was carried out using an intertextuality approach to see the relationship between the two texts. The results showed that the character of Buto Ijo in the Marjan advertisement and Indonesian folklore had some similarities and differences. The similarity is Buto Ijo is tall, big, and green. Buto Ijo, as his name implies, is told as a giant green figure who has great strength. The difference lies at the end of the story. In the advertisement, Buto Ijo has a happy ending by joining the Timun Mas family to celebrate Eid. While in folklore, Buto Ijo has a tragic ending. Buto Ijo died from drowning in a sea of ​​shrimp paste that turned into embers in the ocean.

Childhood and nature in the Iranian post-war film Willow and Wind (Talebi 1999)

Mohammad-Ali Talebi’s forgotten masterpiece Beed-o Baad (Willow and Wind) () is an Iranian children film written by Abbas Kiarostami, that pays tribute to the children of the post-war generation. As in other children’s films of the period, the young hero has a mission, which he stubbornly pursues. Set in a village in Northern Iran, the story follows the boy’s efforts to repair a broken glass during very stormy weather. This article will examine the visual motives of Willow and Wind (a boy climbing a hill, single trees, wind, rain) paying particular attention to the interaction with nature. The tree and the wind alluded to in the title underline the struggle and determination of Iranian children. In line with the children’s films produced by the Center for the Intellectual Development of Children and Young Adults (CIDCYA, aka Kanoon), it applauds the willpower of a generation with enormous responsibilities, while placing his protagonist as a role model for audiences of all ages. However, by rejecting the happy ending, the film opposes the predominant narrative model of Iranian educational films of the 1980s and 1990s while criticizing adults’ treatment of boys in post-revolutionary Iran. In this moral tale, Talebi stresses the dignity and resourcefulness of rural Iran but condemns the solitude of children, and the distance between the worlds of adults and children setting a precedent for future Iranian children’s films.

In Defense of Horace Vandergelder: A Historicist Reading of The Matchmaker

Abstract This article argues that Horace Vandergelder is more than a typical one-dimensional character that inhabits a farce. It is likely that in constructing the character of Vandergelder, Wilder drew from personal and family experience. He sets The Matchmaker in the town neighboring his mother’s birthplace. Wilder experienced yeoman farming as a young man and saw its destruction as monoculture farming grew to dominate American agriculture. His father’s and grandfather’s views on alcohol and the social place of women impacted the way that Wilder viewed the world. His maternal and paternal family both included members who served in the Civil War and others who became involved in military fraternal organizations. Viewing Vandergelder’s characterization as deeply rooted in American history and culture explains both his actions and motives. Despite the immense hardship of his life, Vandergelder, a widower, is able to create a surrogate family that he does his best to protect despite their negative views of him. He changes at the end of The Matchmaker for the good of his family rather than to provide a happy ending for a comedy.

The Suffering Hero in Leonid Andreyev’s Novel The Yoke of War: From the Personal to the Universal

This article analyses Leonid Andreyev´s novel The Yoke of War. The authors of the study point out the gradual transition from “objective” diary records to highly subjective records that show an ambivalent attitude towards the war as a cause for damaging changes on the home front. The main character, whose thoughts are rational at the beginning, experiences a lot of personal and social catastrophes generated directly or indirectly by the war. Gradually, he comes to the conclusion that neither he as an individual (as a “cell”) nor other people of his type have any impact on the course of history; he sees that the war is killing both enemies and “our people”. Contradictory changes in the character’s inner world show his doubts about patriotism and the righteousness of the “people”, while his belief that war only benefits a small group of greedy entrepreneurs grows. Feeling that the war cannot have a happy ending, the main character is no longer able to act rationally. He accepts all losses – personal and social – and comes to a purely emotional feeling about the universal unfairness of war. The only remaining possibility is to help wounded soldiers. Andreyev depicts a broad range of issues that thematically concern the experience and destiny of an individual, his inner transformation, the fate of his family members, and the destiny of both real and abstract society. The novel touches upon certain philosophical issues concerning such notions as patriotism, Russia’s fate, the sense of belonging to the masses, and being an individual. In this way, the novel can be regarded as a philosophical and panhuman view of World War I. Following the traditions of classical Russian literature to a considerable extent, Andreyev is concerned with questions based not on narrow class or national foundations but on panhuman ones.