Commedia dell'Arte Characters

Your link no work sir. How disappointing, I had to navigate the world wide web all alone.

• Arlecchino was the most famous. He was an acrobat and a wit, childlike and amorous. He wore a cat–like mask and motley colored clothes and carried a bat or wooden sword.
• Brighella, Arlecchino's crony, was more roguish and sophisticated, a cowardly villain who would do anything for money.
• Il Capitano (the captain) was a caricature of the professional soldier—bold, swaggering, and cowardly.
• Il Dottore (the doctor) was a caricature of learning—pompous and fraudulent.
• Pantalone was a caricature of the Venetian merchant, rich and retired, mean and miserly, with a young wife or an adventurous daughter.
• Pedrolino was a white–faced, moon–struck dreamer and the forerunner of today's clown.
• Pulcinella, as seen in the English Punch and Judy shows, was a dwarfish humpback with a crooked nose, the cruel bachelor who chased pretty girls.
• Scarramuccia, dressed in black and carrying a pointed sword, was the Robin Hood of his day.
• The handsome Inamorato (the lover) went by many names. He wore no mask and had to be eloquent in order to speak the love declamations.
• The Inamorata was his female counterpart; Isabella Andreini was the most famous. Her servant, usually called Columbina, was the beloved of Harlequin. Witty, bright, and given to intrigue, she developed into such characters as Harlequine and Pierrette.
• La Ruffiana was an old woman, either the mother or a village gossip, who thwarted the lovers.
• Cantarina and Ballerina often took part in the comedy, but for the most part their job was to sing, dance, or play music.

There were many other minor characters, some of which were associated with a particular region of Italy such as Peppe Nappa (Sicily), Gianduia (Turin), Stenterello(Tuscany), Rugantino (Rome), and Meneghino (Milan).

'Male Gaze' Laura Mulvey

In her essay entitled 'Visual Pleasure and Narrative Cinema' Laura Mulvey put forward the concept of 'Male Gaze' to illustrate how the way Hollywood films were made oppressed women and thus promoted patriarchy. She argued that the way Hollywood films were made meant the audience identified with the male protagonist, with the female character simply there to be looked at, and the camera angles and viewpoint of the male characters perpetuated this. Mulvey identified three "looks" in film which serve to sexually objectify women;

• The first is the perspective of the male character on screen and how he perceives the female character.
• The second is the perspective of the spectator as they see the female character on screen. 
• The third is the male audience member's perspective of the male character in the film. This allows the male audience to view the female character as his own personal sex object because he can relate himself, through looking, to the male character in the film.

I think Mulvey's 'Male gaze' concept is evident in the Hollywood films of the 50's, 60's and 70's but has perhaps lessened as the Feminist movement has moved on. However I do think it's still relevant to film as protagonists are still mostly male and all big Hollywood films have beautiful women in them and the camera does tend to do a cheeky head to foot shot of them. Therefore the sexual objectification of women is still apparent in many films, but I think in a different way to the 'Golden Age' Hollywood movies with Marilyn Monroe etc. For example, the beautiful women in Hollywood movies these days tend not to be passive and to have an important role as well as "to be looked at". 

Bluebeard Plot Summary

Bluebeard is a French folktale written by Charles Perrault and first published in 1697. Bluebeard is a rich ugly aristocrat with a blue beard (no way) who has been married several times, however no one knows what has become of his previous wives and he is widely avoided by local girls. He visits a neighbour and wants one of his two daughters to marry him. They both initially refuse, but he eventually persuades the younger sister to marry him and she comes to live with him in his castle. He announces he has to go abroad and gives his new wife a bunch of keys to all the rooms in the castle, which contain his treasures, however he tells her not to use one key which unlocks a small room under the castle. She promises, so naturally she goes straight to this room as soon as he leaves and shock horror finds her husbands former wives hanging from hooks on the walls, she panics, drops the key in blood and then gets the hell out of there. She tells her sister, Anne, what's going on (as she's visiting) and plans to flee but Bluebeard comes home early. He sees the blood and knows his wife has broken her vow. He wants to behead her on the spot but lets her have a half hour to say her prayers with her sister. Mistake. Just as he's about to kill them, their two brothers arrive and kill Bluebeard. As he had no heirs, his new wife inherits his wealth and they all live happily ever after. The character of Bluebeard may have been based on a real aristocrat called Gilles de Retz, who was a self-confessed serial killer of children. Lovely.

On a completely unrelated note, I would like to thank Wikipedia for all their support over the years, how ever unreliable it may sometimes be. 

Vague Settings in Fairy Tales

I think there a few important reasons why vague settings are generally used in fairy tales.

• For one, the setting of "Once upon a time" or "far far away" helps the reader suspend their disbelief, they believe this is a tale which doesn't refer to any specific time or place and therefore may take place somewhere where talking animals, magic and princesses are the norm. Whereas if a fairy tale were to begin "Somewhere in Europe in the 1600's" then it would make it difficult for the reader to detach themselves from reality.
• Another reason why I believe fairy tales have vague settings is that this makes them universal to all cultures, time periods and morals. Fairy tales present us with a common ground of "a forest" or "a castle" and therefore whatever they aim to tell their audience cannot be narrowed down by cultural, historical or geographical boundaries, but can be applied to, and understood by, all. 
• However in the same way, vague settings may be used to highlight that fairy tales are not real and that the belief systems and morals expressed within them aren't supposed to be mimicked by the 'real world' as they are unique to that land "far far away". 

There you have it, why I think vague settings are used in fairy tales. 

Impressions of Frankenstein's Pursuit of the Monster...

Long time no blog.

Right so I have read from pages 160 to around 180, paying particular attention to Frankenstein's pursuit of the monster following it murdering Elizabeth on hers and Frankenstein's wedding night. An element of chase is apparently a common theme in Gothic texts, and typical of the Gothic protagonist's journey. Thus Frankenstein can be seen as a Gothic protagonist in this way, although prior to this in the novel, the reader finds themselves pitying the creature more. Indeed, Shelley appears to have presented the creature with the traits of a Gothic protagonist to a greater extent than Frankenstein, however these rapidly decline when the monster's rage takes over and he vows revenge on Frankenstein for destroying the female companion he promised to create for him.

Right so impressions of Frankenstein's pursuit of the monster/creature;

• Frankenstein becomes as obsessed with pursuing and destroying the monster as he was with creating it to begin with. In fact it's the only thing that he clings to life for, which seems ironic as this is exactly what the monster wants, to keep Frankenstein suffering for as long as possible, as this means he is in control. Whereas if Frankenstein were to give up and die then the monster would be powerless.
• The main thing I noticed about Frankenstein's pursuit of the monster is that he uses a lot of religious language to explain and describe it, referring to "Spirits" guiding him on his journey and keeping him alive so he can complete his purpose. He says the spirits give him "strength to fulfil my pilgrimage". The use of pilgrimage suggests that Frankenstein's pursuit of the monster could be seen as the pursuit of redemption for his blasphemous act of giving life to the creature in the first place. However this seems to contradict Frankenstein's own views and stray from the Gothic theme of corruption of religion. He also says "I pursued my path towards the destruction of the daemon, more as a task enjoyed by heaven, as the mechanical impulse of some power of which I was unconscious, than as the ardent desire of my soul"-again the use of heavily religious language, yet no mention of God directly is strange and could show Frankenstein's arrogance in that he sees himself as having a higher purpose. Whether that be creator or pilgrim whose mission it is to destroy the monster, who can be seen to represent the devil and sin, although he was made as a result of Frankenstein's own sinful actions. So there are definite religious connotations to the way in which Shelley has Frankenstein describe his pursuit of the monster, including his suffering but ongoing determination, helped by so-called "guiding spirits".
• To some extent the monster appears to have nature on his side in the pursuit, allowing him to constantly evade Frankenstein. This would be important, especially in light of the Romantic ideals so influential on Shelley at the time. For example nature seems to pose a threat to Frankenstein and is in a way the main component he has to face when pursuing the monster across the world, e.g. he has to battle the extreme cold of the north pole etc. "Rugged mountains of ice often barred my passage, and I often heard the thunder of the ground sea, which threatened my destruction" whereas the monster hides on a ship bound for the Black Sea for example, and Frankenstein sees this and climbs aboard, yet the creature escapes with Frankenstein admitting "I know not how".