¶ … Spade and Philip Marlowe comparison
Sam Spade and Philip Marlowe
Although Sam Spade and Philip Marlowe have been portrayed by Humphrey Bogart in the cinematic versions of The Maltese Falcon and The Big Sleep, respectively, each portrayal is a polar opposite of the other. Raymond Chandler has described Philip Marlowe as "a white knight in a trench coat," whereas Dashiell Hammett described Sam Spade as "a blond Satan" in The Maltese Falcon. In each respective novel and film, Spade and Marlowe embody the character traits that were given to them by Chandler and Hammett.
In The Big Sleep by Raymond Chandler, Philip Marlowe is embodies character traits that allow him to act like a "white knight in a trench coat." From the beginning of the novel, Marlowe has qualities that are very similar to that of a knight. For example, Marlowe states, "I was neat, clean, shaved and sober, and I didn't care who knew it. I was everything the well-dressed private detective ought to be" (Chandler). Through this statement, Marlowe contends that the way that he presents himself to others is reflective of the person that he is. Furthermore, Marlowe makes a comment on the stained glass panel that he sees at the Sternwood residence, which further emphasizes his chivalrous nature. In fact, Marlowe appears to relate to the stained glass design that showed "knight in dark armor rescuing a lady who was tied to a tree and didn't have any clothes on but some very long and convenient hair. The knight had pushed the vizor of his helmet back to be sociable, and he was fiddling with the knots on the...
Female Agency in Short Stories There are numerous points of similarity between Eileen Chang's "Shame, Amah!" and Wang Anyi's "Granny". Both stories depict the lives of Chinese domestic workers. Moreover, each tale is set during the same time period -- the years surrounding the Second World War. Furthermore, both of the authors are Chinese and display a marked affinity for the intimate details surrounding Chinese culture, which factors prominently in each
culture of humankind and its history, for as the saying goes, "the more we are different, the more we are the same." The Tang Dynasty in China occurred hundreds of years ago, yet some of the issues from that time remain as pertinent today as they did in the past. The poets of this period truly exemplify this continuation through time. When reading the works of the most well-known
Poetry and Politics in 1079: The Crow Terrace Poetry Case of SU Shih Charles Hartman in his article on the political fallout of the poetry of SU Shih acknowledges that all societies practice censorship in some degree and in some form. Western society has a history of confiscating, banning, destroying, controlling the distribution and punishing authors and individuals for the creation and possession of written texts that are deemed morally or
In the course of the Cultural Revolution, the communist leader Mao Zedong proclaimed particular cultural requirements for both art and writings in China. This was a period that was filled with violence and harsh realisms for the people within the society. Authors such as Bei Dao, Gu Cheng and Yu Hua can be considered to be misty poets, whose works endeavored to shift from an inactive response to active formation.
Chinese Cultural Revolution in Literature There are a number of stark images found in the works of literature reviewed by Dao, Cheng, and Hua in this assignment. Specifically, this paper details the imagery evinced in Bei Dao's "Resume," Gu Cheng's "Curriculum Vitae," and Yu Hua's "On the Road at Eighteen." That imagery and those works in general are thinly veiled allusions to the Chinese Cultural Revolution, which took places in the
Indeed, the trajectory of the narrative involves exacting revenge on those who prevented her marriage from taking place. Although the Bride's marital aspirations might suggest that she holds a conservative sensibility, this is far from the case and she is ultimately more aggressive than Jen. While Jen also exhibits physical prowess, her sacrificial gesture at the film's conclusion signifies how she maintains a strong reverence for the Confucian moral code,
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