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I think the strongest part is the atmosphere. The isolated seaside setting, dark lighting, and close-up shots make everything feel tense and uncomfortable throughout the film.

Ben Kingsley as Roberto is also very interesting because you’re never fully sure if he’s guilty or innocent.

The film includes more locations than the play, which makes it feel more realistic, but I think it slightly reduces the claustrophobic feeling of the original.

The ending creates a lot of tension and leaves the moral question unresolved. However, the pacing might feel a bit slow for some people since it focuses more on dialogue than action.

Overall it’s a powerful and thought-provoking film about trauma, justice, and truth.

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Death and the Maiden (1994) movie worksheet

Director Roman Polanski; screenplay by Ariel Dorfman himself.

Task 1: Although this movie version is quite faithful to the play, what are the main differences you can find (plot, set/lighting, character, general message, etc.)?

Although the film stays very close to the original play, there are still some noticeable differences. The movie feels more visually tense because of the use of lighting, camera angles, and close-ups, which make the atmosphere more oppressive and personal. The ending also feels more twisted and determined in the film, making the conflict seem less open-ended than in the play. Another small but important difference is the mistaken detail in the final identification scene: the film uses a different word/detail than the play, which changes the effect slightly. Overall, the movie makes the story feel more immediate and psychologically intense.

Task 2: Are the characters portrayed how you imagined?

Yes, mostly. The actors match the characters well, especially Paulina, whose fear, anger, and strength are very convincing. Roberto also feels believable, though in the film both Paulina and Roberto seem a bit more rational and controlled toward the end than I imagined from the play.

Task 3: Does the final scene do the play justice?

Not really. The final scene creates a strong dramatic effect, but it changes the tone a little. In the movie, the torturer is handled in a way that feels more direct and cinematic, while the play leaves more room for ambiguity and reflection.

Task 4: Write a review of this movie (approx. 200 words), including a rating of max 5/5 stars, any highlights/ weaknesses, and whether you would recommend it to others.

Death and the Maiden is a powerful and disturbing film that successfully turns a tense stage play into an intense psychological drama. Roman Polanski’s direction creates a claustrophobic atmosphere, and the use of close-ups and dim lighting makes the audience feel trapped inside the characters’ fear and suspicion. The performances are a major highlight, especially Paulina, who is portrayed with great emotional force and complexity. Her pain and determination make the story compelling from beginning to end.

One strength of the film is how it keeps the tension high without relying on action. Instead, the suspense comes from dialogue, memory, and the uncertainty of the truth. However, the film’s ending feels slightly more forceful and less ambiguous than the play, which may reduce some of the emotional complexity. Some viewers may also find the atmosphere too heavy and uncomfortable.

Overall, I would give it 4/5 stars. I would recommend it to people who enjoy serious dramas, psychological thrillers, and films about justice, memory, and trauma.

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Act III:

“After a few instants, she turns slowly and looks at ROBERTO. Their eyes interlock for a moment. Then she turns her head and faces the stage and the mirror. ”

–uncertainty about why their eyes interlock. Uncertainty about what Paulina is thinking and what Roberto really presents. Uncertainty about why she faces the stage and the mirror. Want to tell something about the audience?

“Meanwhile, PAULINA has bought some candy – and as she pays, ROBERTO enters, under a light which has a faint phantasmagoric moonlight quality. He

could be real or he could be an illusion in PAULINA’s head. PAULINA does not see him yet.”

–Ariel Dorfman masterfully blurs ontological boundaries through deliberate ambiguity in lighting and staging. The "phantasmagoric moonlight" acts as a visual correlative to epistemological doubt, transforming the stage into a liminal space between reality and hallucination. The subjunctive phrasing—"he could be"—refuses to grant either version of events primacy, forcing the audience to share Paulina's destabilizing uncertainty about what is true.

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Act I:

“Even if we can’t put these people on trial, even if they’re covered by this amnesty they gave themselves – at least their names can be published.”

The repetition of "even if" establishes a concessionary tone, revealing a pragmatic acceptance of legal failure. The juxtaposition of the legal term "amnesty" with the stark finality of "at least" underscores a shift from judicial to public justice. The passive verb "be published" becomes a powerful act of exposure, transforming the archive into a weapon of moral reckoning.

“We’re limited, but not that limited. At the very least we can expect some sort of moral sanction, that’s the least . . . As we can’t expect justice from the courts . . .”

The fragmented, hesitant syntax—marked by ellipses and self-interruption—mirrors a mind wrestling with the limitations of formal justice. The word "limited" is deliberately repeated to emphasize the boundaries of their power. Ultimately, "moral sanction" is offered as a fragile counterpoint to "justice from the courts," suggesting that when the law is silent, public condemnation must speak.

Act II:

“This is not vengeance. I’m giving him all the guarantees he never gave me.”

Paulina claims she seeks justice rather than revenge, emphasizing fairness and due process. However, her control over the situation and use of violence suggests her actions blur the boundary between justice and personal revenge.

“An eye for an eye, a tooth for a tooth.”

Gerardo invokes the biblical principle of equal retaliation, revealing how easily justice becomes revenge. The line shows how violence encourages further violence, blurring the moral boundary between lawful justice and personal vengeance.

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Act I:

“Even if we can’t put these people on trial, even if they’re covered by this amnesty they gave themselves – at least

their names can be published.”

“We’re limited, but not that limited. At the very least we can expect some sort of moral sanction, that’s the least . . . As we can’t expect justice

from the courts . . .”

Act II:

“This is not vengeance. I’m giving him all the guarantees he never gave me.”

Paulina claims she seeks justice rather than revenge, emphasizing fairness and due process. However, her control over the situation and use of violence suggests her actions blur the boundary between justice and personal revenge.

“An eye for an eye, a tooth for a tooth.”

Gerardo invokes the biblical principle of equal retaliation, revealing how easily justice becomes revenge. The line shows how violence encourages further violence, blurring the moral boundary between lawful justice and personal vengeance.

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Discuss how characters’ resistance is presented in the two works you have studied.

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Norse Mythology (Gaiman) + Frankenstein (Shelly)

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Norse Mythology (Gaiman) + Frankenstein (Shelly)

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Referring to two of the works you have studied, compare how each work presents boundary-breaking as a source of catastrophe, and discuss the effects.

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Explore how two works you have studied present truth or knowledge as a disruptive force.

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Referring to two works you have studied, compare and contrast how the writers explore the conflict between the individual and the prevailing social or external order.

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Referring to two works you have studied, compare and contrast how the writers explore the conflict between the individual and the prevailing social or external order.

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Ibsen+Fry

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Question: Referring to two works you have studied, compare and contrast the ways in which psychological trauma and suffering are presented, and discuss the effects.

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Referring to two works you have studied, compare and contrast how rebellion against societal expectations is presented and to what effect.

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"Discuss the ways in which two authors you have studied use literary conventions to convey a significant message to their audience."

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Compare how mortality is presented in two works you have studied

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Writers often portray isolation and loneliness as forces that shape a character’s identity and actions. Discuss how this is presented in two works you have studied.

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Not really what I intended but here's mine

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Not really what I intended but here's mine

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my gpt sucks and he mistakenly switches me with my armadillo

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my gpt sucks and he mistakenly switches me with my armadillo

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Monstrosity Connection: AQotWF & Frankenstein

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Monstrosity Connection: AQotWF & Frankenstein

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Question:

With reference to two works you have studied, discuss how monstrosity is portrayed and their effects.

Response outline:

Thesis: Many similar points including their way of portrayal and their link to society. However, differ in their emphasis slightly.

1. Both focus on physical and mental depiction. However, all quiet emphasize on mental more while Frankenstein emphasize on physical aspect more.

--All quiet: soldiers slaughtering; morally collapse: dehumanized

--Frankenstein: monster’s physical monstrosity; Victor’s obsession, guilt, and moral blindness depict how the mind itself can become monstrous.

--Comparison: according to different purposes, different emphasis

2. Both portray the relation between monstrosity and society.

--Frankenstein: monstrosity case fear of the unfamiliar and empathy in the society. Refuse to take his social responsibility.

--All quiet: warfare in society is monstrous

--Comparison: Victor’s monstrosity is mainly self-developed from internal ambition; All Quiet’s monstrosity is developed from external force: the true monster is not the soldier, but the society that normalizes violence and sacrifices its young for ideology.

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Oct. 20, 2025 Frankenstein literary devices Jerry&Delphine IC

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"I heard of the division of property, of immense wealth and squalid poverty; of rank, descent, and noble blood. The words induced me to turn towards myself... I was, besides, endowed with a figure hideously deformed and loathsome... Was I then a monster, a blot upon the earth, from which all men fled, and whom all men disowned?" V2C5

"I cannot describe to you the agony that these reflections inflicted upon me; I tried to dispel them, but sorrow only increased with knowledge. Oh, that I had for ever remained in my native wood, nor known or felt beyond the sensations of hunger, thirst, and heat!" V2C5

"I can hardly describe to you the effect of these books. They produced in me an infinity of new images and feelings, that sometimes raised me to ecstacy, but more frequently sunk me into the lowest dejection." V2C7

"I sickened as I read. ‘Hateful day when I received life!’ I exclaimed in agony. ‘Cursed creator! Why did you form a monster so hideous that even you turned from me in disgust? God in pity made man beautiful and alluring, after his own image; but my form is a filthy type of your’s, more horrid from its very resemblance.'" V2C7

"I was principally occupied with the means of obtaining the information necessary for the completion of my promise... Company was irksome to me; when alone, I could fill my mind with the sights of heaven and earth... But busy uninteresting joyous faces brought back despair to my heart. I saw an insurmountable barrier placed between me and my fellow-men; this barrier was sealed with the blood of William and Justine..." V3C2

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Here goes

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Jerry-Volume II Chapter 1-4

I listened to this discourse with the extremest agony. I, not in deed, but in effect, was the true murderer. Elizabeth read my anguish in my countenance, and kindly taking my hand said, “My dearest cousin, you must calm yourself. These events have affected me, God knows how deeply; but I am not so wretched as you are. There is an expression of despair, and sometimes of revenge, in your countenance, that makes me tremble. Be calm, my dear Victor; I would sacrifice my life to your peace. We surely shall be happy: quiet in our native country, and not mingling in the world, what can disturb our tranquillity?”

Analysis: Protrays secrecy through indirect depiction. Shows how, no matter how we hide our emotions, others may still sense it and feel vicarious pain. Shows tension between pain of the unknowning and greater pain of the knowing.

On examining my dwelling, I found that one of the windows of the cottage had formerly occupied a part of it, but the panes had been filled up with wood. In one of these was a small and almost imperceptible chink, through which the eye could just penetrate. Through this crevice, a small room was visible, white-washed and clean, but very bare of furniture.

Analysis: Shelley made the size of the chink very small, which enhances the furtiveness with which the Creature observes the De Lacey family. Highlights that observation without participation is the only means by which a rejected being can join a society. Secrecy is portrayed as a necessary means of obtaining psychological wellbeing.

Yangyang-Volume II Chapter 5-7

“Accordingly I hid myself in some thick underwood, determining to devote the ensuing hours to reflection on my situation. The pleasant sunshine and the pure air of day restored me.”

Analysis: the Creature’s immediate instinct to hide not out of choice but out of necessity. This concealment mirrors Victor’s own secrecy during the act of creation: both creator and creation live in hiding—one from moral judgment, the other from societal rejection.

Lucia-Volume II Chapter 8-9; Volume III Chapter 1-2

“When night came, I quitted my retreat, and wandered in the wood; and now, no longer restrained by the fear of discovery, I gave vent to my anguish in fearful howlings. ”-Volume II Chapter 8

Analysis: This quote underscores the dual nature of secrecy for the Creature. On one hand, secrecy serves as a protective shield: by hiding during the day and only venturing out at night, he safeguards himself from potential harm or rejection by human society. However, this very act of concealment also has a psychological setback for monster. The phrase "no longer restrained by the fear of discovery" suggests that, while secrecy frees him from immediate threats, it also unleashes his inner torment. Though secrecy protects him physically, it deepens his sense of alienation and despair, reinforcing the idea that solitude and concealment are double-edged swords: they guard him from the world but also intensify his emotional suffering and bitterness.

“Alas! to me the idea of an immediate union with my cousin was one of horror and dismay. I was bound by a solemn promise, which I had not yet fulfilled, and dared not break; or, if I did, what manifold miseries might not impend over me and my devoted family! Could I enter into a festival with this deadly weight yet hanging round my neck, and bowing me to the ground. I must perform my engagement, and let the monster depart with his mate, before I allowed myself to enjoy the delight of an union from which I expected peace.”-Volume III Chapter 1

Analysis: In this passage, Victor's secrecy regarding his "solemn promise" to the monster of creating a femal companion for him prevents him from fully enjoying the prospect of marrying Elizabeth. Despite his father’s suggestion to marry immediately as a remedy for their sorrow, Victor feels bound by his unfulfilled vow to the creature. This secrecy weighs heavily on him, creating a moral conflict that hinders his ability to embrace the joy of marriage until he has resolved the bargain he made with the monster, which will eventually leads to disatrous consequences

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"The form of the monster on whom I had bestowed existence was for ever before my eyes, and I raved incessantly concerning him."

Psychological aspect monstrosity. The creature becomes a haunting "form" that torments Victor's mind. Traumatic memory.

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1. Victor’s horror at the Creature’s existence

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1. Victor’s horror at the Creature’s existence

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“Its gigantic stature, and the deformity of its aspect, more hideous than belongs to humanity, instantly informed me that it was the wretch, the filthy daemon to whom I had given life.”

“Nothing in human shape could have destroyed that fair child. He was the murderer!”

“I considered the being whom I had cast among mankind, and endowed with the will and power to effect purposes of horror, … nearly in the light of my own vampire, my own spirit let loose from the grave, and forced to destroy all that was dear to me.”

2. The moral monstrosity of humanity and false justice

“During the whole of this wretched mockery of justice, I suffered living torture.”

“It was to be decided, whether the result of my curiosity and lawless devices would cause the death of two of my fellow-beings…”

“Excellent Elizabeth! … her generous interference … not in favour of poor Justine, on whom the public indignation was turned with renewed violence, charging her with the blackest ingratitude.”

“They call this retribution. Hateful name! … When that word is pronounced, I know greater and more horrid punishments are going to be inflicted…”

3. Victor’s psychological and internal monstrosity

“I bore a hell within me, which nothing could extinguish.”

“I was the true murderer, felt the never-dying worm alive in my bosom, which allowed of no hope or consolation.”

“The tortures of the accused did not equal mine; she was sustained by innocence, but the fangs of remorse tore my bosom…”

• “I wandered like an evil spirit, for I had committed deeds of mischief beyond description horrible, and more, much more, (I persuaded myself) was yet behind.”

• “should I by my base desertion leave them exposed and unprotected to the malice of the fiend whom I had let loose among them?”

• “I had been the author of unalterable evils; and I lived in daily fear, lest the monster whom I had created should perpetrate some new wickedness.”

• “My abhorrence of this fiend cannot be conceived.”

• “When I reflected on his crimes and malice, my hatred and revenge burst all bounds of moderation.”

• “men appear to me as monsters thirsting for each other’s blood.”

• “William and Justine were assassinated, and the murderer escapes; he walks about the world free, and perhaps respected.”

• “she smiled, that she might chase away the fiend that lurked in my heart.”

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"...when, by the dim and yellow light of the moon, as it forced its way through the window-shutters, I beheld the wretch—the miserable monster whom I had created. He held up the curtain of the bed; and his eyes, if eyes they may be called, were fixed on me."

Victor's first perception of his creation as a living being outside the laboratory.

"wretch" "miserable monster"

physical monstrosity

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Chapter 8

“A thousand times rather would I have confessed myself guilty of the crime ascribed to Justine; but I was absent when it was committed, and such a declaration would have been considered as the ravings of a madman, and would not have exculpated her who suffered through me.”

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Chapter 8

“I loved him with a mixture of affection and reverence that knew no bounds, yet I could never persuade myself to confide to him that event which was so often present to my recollection, but which I feared the detail to another would only impress more deeply.”

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Chapter 4

“One secret which I alone possessed was the hope to which I had dedicated myself; and the moon gazed on my midnight labours, while, with unrelaxed and breathless eagerness, I pursued nature to her hiding-places. Who shall conceive the horrors of my secret toil …”

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Light & Fire in Frankenstein 1818_Thomicé

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Letter I-IV+Chapter 1-2: Lucia

“If, instead of this remark, my father had taken the pains to explain to me, that the principles of Agrippa had been entirely exploded, and that a modern system of science had been introduced, which possessed much greater powers than the ancient, because the powers of the latter were chimerical, while those of the former were real and practical; under such circumstances, I should certainly have thrown Agrippa aside, and, with my imagination warmed as it was, should probably have applied myself to the more rational theory of chemistry which has resulted from modern discoveries. It is even possible, that the train of my ideas would never have received the fatal impulse that led to my ruin.” (Chapter 1)

-Analysis: This quote directly shows how blindly pursuing forbidden or mistaken knowledge (like alchemist, in this case) without proper guidance can lead to dangerous, even disastrous consequences.

“The professor stared: “Have you,” he said, “really spent your time in studying such nonsense?” I replied in the affirmative. “Every minute,” continued M. Krempe with warmth, “every instant that you have wasted on those books is utterly and entirely lost. You have burdened your memory with exploded systems, and useless names. Good God! in what desert land have you lived, where no one was kind enough to inform you that these fancies, which you have so greedily imbibed, are a thousand years old, and as musty as they are ancient? I little expected in this enlightened and scientific age to find a disciple of Albertus Magnus and Paracelsus. My dear Sir, you must begin your studies entirely anew.” (Chapter 2)

-Analysis: The professor’s criticisms of Victor’s studies as “exploded systems” and “musty as they are ancient” symbolizes the risks of pursuing outdated or forbidden knowledge without critical judgment. However, Victor's tireless pursuit made him blinded by ambition of creating something unprecedented without considering consequences.

You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been. (Letter IV)

-Analysis: Victor’s direct warning to Walton about the pursuit of knowledge highlights how this quest can lead to severe consequences. The metaphor of the "serpent" alludes to the biblical story of Adam and Eve, where the pursuit of forbidden knowledge leads to suffering and downfall.

Chapter 3-5: Jerry

I saw how the fine form of man was degraded and wasted; I beheld the corruption of death succeed to the blooming cheek of life; I saw how the worm inherited the wonders of the eye and brain. I paused, examining and analysing all the minutiæ of causation, as exemplified in the change from life to death, and death to life, until from the midst of this darkness a sudden light broke in upon me—a light so brilliant and wondrous, yet so simple, that while I became dizzy with the immensity of the prospect which it illustrated, I was surprised that among so many men of genius, who had directed their inquiries towards the same science, that I alone should be reserved to discover so astonishing a secret. (Volume I, Chapter III)

—Analysis: repetition of "I saw" "I beheld" "I saw" emphasized observation. Contrast between "degrade" "waste" "corruption" "worm" and "a sudden light" places an emphasis on the discovery of the cause of life. "Dizzy with the immensity" foreshadows the dangerous side of this knowledge.

I see by your eagerness, and the wonder and hope which your eyes express, my friend, that you expect to be informed of the secret with which I am acquainted; that cannot be: listen patiently until the end of my story, and you will easily perceive why I am reserved upon that subject. I will not lead you on, unguarded and ardent as I then was, to your destruction and infallible misery. Learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow. (Volume I, Chapter III)

—Analysis: Here Victor explicitly warns Walton about the perils of overreaching. This serves a double purpose. First, this exempts the author from imagining this "blasphemous" technique of infusing life into inanimate bodies. Second, this repeats the theme that ignorance may be safer than having too much knowledge.

A human being in perfection ought always to preserve a calm and peaceful mind, and never to allow passion or a transitory desire to disturb his tranquillity. I do not think that the pursuit of knowledge is an exception to this rule. If the study to which you apply yourself has a tendency to weaken your affections, and to destroy your taste for those simple pleasures in which no alloy can possibly mix, then that study is certainly unlawful, that is to say, not befitting the human mind. If this rule were always observed; if no man allowed any pursuit whatsoever to interfere with the tranquillity of his domestic affections, Greece had not been enslaved; Cæsar would have spared his country; America would have been discovered more gradually; and the empires of Mexico and Peru had not been destroyed. (Volume I, Chapter IV)

—Analysis: Victor reflects on the emotional and moral costs of pursuing knowledge with too much fervor. Victor compares the mad pursuit of knowledge to enslaving Greece, Caesar ruling Rome, Europeans invading America, and Europeans destroying the Aztecs and Incas, linking disastrous historical events to the danger of knowledge.

In doing this, I underwent a kind of rough usage, ill befitting the wounds that my mind had sustained. Ever since the fatal night, the end of my labours, and the beginning of my misfortunes, I had conceived a violent antipathy even to the name of natural philosophy. When I was otherwise quite restored to health, the sight of a chemical instrument would renew all the agony of my nervous symptoms. (Volume I, Chapter V)

—Analysis: A vivid destruction of PTSD. Mary uses chemical instruments to symbolize natural philosophy – a fitting symbol, since these instruments are the basis of experiments and discoveries at that time. Victor's reaction to PTSD reflects his trauma with science.

I thanked my friend from my heart, but I did not speak. I saw plainly that he was surprised, but he never attempted to draw my secret from me; and although I loved him with a mixture of affection and reverence that knew no bounds, yet I could never persuade myself to confide to him that event which was so often present to my recollection, but which I feared the detail to another would only impress more deeply. (Volume I, Chapter V)

—Analysis: Victor's inner struggle reflects even more how much he suffers from the creation – to the point where he would not even confide in his best friend.

Chapter 6-8: Yangyang

“How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and the rest of mankind. Remember, thou hast made me more powerful than thyself;”

-Analysis: The creature’s demand highlights the peril of creating / pursuing forbidden knowledge: the creator’s experiments yield an intelligence that can challenge and punish him.

“Cursed be the day, abhorred devil, in which you first saw light! Cursed (although I curse myself) be the hands that formed you! You have made me wretched beyond expression.”

-Analysis: Frankenstein’s immediate regret shows the moral cost of overreaching knowledge: discovery produces irreversible harm and bitter remorse.

“By degrees I made a discovery of still greater moment. I found that these people possessed a method of communicating their experience and feelings to one another by articulate sounds.”

-Analysis: Acquiring language (knowledge) opens the creature to human feeling and the pain of exclusion; knowledge enlarges awareness but also exposes one to anguish.

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That summer of Geneva, what was it in our conversations, or in Percy’s or Polidori’s tales, that most stirred you toward Frankenstein?

I once wrote “Sorrow is knowledge: they who know the most must mourn the deepest.” and Percy wrote “Our sweetest songs are those that tell of saddest thought.” To what extent do you agree with us?

Do you write for yourself, for the thrill of creation, or for the world, hoping to shape its thoughts and morals? Can a work belong to both the individual and society, or must you choose?

What is the truer sublime: nature or the abyss of the human soul?

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Lake Horror Not Actually That Horrid Story