in the novel "Of Mice and Men" by John Steinbeck, what were some of the themes?
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Friends will be friends until death or something like that>\n\nThis is a theme because George and Lennie are friend through everything like the problem in weed.  They stay through everything, but when Lennie kills some one (curly's wife) so George kills Lennie.  So they where friends until death (both curly's wife and Lennie's)\n\nHope this helps. :)
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John Galt is the main character in Ayn Rand's epic novel "Atlas Shrugged."  In the book, he represents individual achievement and the power of man's rational mind.\n(P.S. "Don't just shrug and look it up in an atlas"...nice pun!)
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I've posted a couple of URLs for your reference, and while I was looking found that it is the subject fiction for several Honors English classes and college level thesis themes.  You might try searching on the author,  Susan Carol McCarthy, for additional analysis. \n  To discuss chapter themes it looks like you are really going to have to use your imagination and deductive reasoning, which is a great way to exercise your brain!
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Satire - (from dictionary.com)\n1. the use of irony, sarcasm, ridicule, or the like, in exposing, denouncing, or deriding vice, folly, etc.  \n2. a literary composition, in verse or prose, in which human folly and vice are held up to scorn, derision, or ridicule.  \n\ngood word...I probably would have just asked for "symbolism" in Animal Farm.\n\nI think the main theme of the satire part of it is in exposing the follies of placing one group in charge of politics that is no better than the last group was. (In the end the pigs were walking on 2 legs and the other animals couldn't tell the difference between them and when the humans were in charge...they were getting the same bad deal. \n\nOne particular folly that I think it points out is with the horse. The horse could represent the masses of people (or the proletariat)(or working class Americans or whatever nation) they do hold a lot of power and could actually make changes - if they could just figure it out...but their motto is "I will work harder" not "I will figure out what is broken and fix that" So they just go to work at the same old drudgery and don't help solve the problem...at one point though they show their true power and from what I remember the horse pins a pig down with his powerful hoof...\n\nI remember that the pigs are to represent Communism or a socialist form of government...I think Orson Wells is trying to show people that it isn't a good system, and he is exposing what is going on, but he is also demonstrating the folly as well, in that the masses cannot or will not learn even when someone is pointing it out to them...as he is pointing out to us in his book and what do the masses do about it? They say "I will work harder" now it takes 2 incomes to buy a home and raise a family in many areas...etc..etc...
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go to this site http://www.sparknotes.com/lit/natural/summary.html
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try going to your county libraries website there should be reference links look at literary criticism
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On the Beach\nTreasure Island\nChristmas Carol\nTale of Two Cites\nRomeo and Juliet\nHamlet\nMacbeth\nRed Badge of Courage\nGreat Gatsby\nOld Man and the Sea\nDune\nCatch 22\nCatcher in the Rye\nDeerslayer\nRip Van Winkle\nHuckleberry Finn\nConnecticut Yankee in King Arthur's Court\nKing Arthur\nCrystal Cave
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1)  Old Major warns, "Your resolution must never falter.  No argument must lead you astray.  Never listen when they tell you that Man and the animals have a common interest....we must not come to resemble him...No animal must ever live in a house or sleep in a bed, or wear clothes, or drink alcohol, or smoke tobacco, or touch money, or engage in trade." \n\n\n2)  Orwell narrates, "Nobody stole, nobody grumbled over his rations, the quarreling and biting and jealousy which had been normal features of life in the old days had almost disappeared." \n\n\n3)  Squealer consoles the animals, saying, "Do not imagine, comrades, that leadership is a pleasure.   On the contrary, it is a deep and heavy responsibility.  No one believes more firmly than Comrade Napoleon that all animals are equal.  He would be only too happy to let you make your decisions for yourselves.    But sometimes you might make the wrong decisions, comrades, and then where should we be?"  The classic hypocrisy seen here is too hard to miss.  \n\n\n4)  Orwell explains, "Once again the animals were conscious of a vague uneasiness.  Never to have any dealings with human beings, never to engage in trade, never to make use of money— had not these been among the earliest resolutions passed at the first triumphant Meeting when Jones was expelled?”  \n\n\n5)  As Napoleon was deceiving the neighboring farmers he was also tricking his own animals.  The scapegoat was again Snowball.  "Whenever anything went wrong it became usual to attribute it to Snowball."  In fact many of the claims begin to sound ridiculous to the objective mind.  Of course, Squealer's mission is to keep everything subjective in the minds of the animals. \n\n\n6)  So Napoleon, with the help of his dogs, slaughters anyone who is said to be disloyal.     "...the tale of confessions and executions went on, until there was a pile of corpses lying before Napoleon's feet and the air was heavy with the smell of blood, which had been unknown there since the expulsion of Jones."  To top it off, Napoleon outlaws Beasts of England, which had served as one of the only remaining ties between Animal Farm and old Major.  \n\n\n7)  But when Muriel reads the writing on the barn wall to Clover, interestingly, the words are, "No animal shall kill any other animal without cause." \n\n\n8)  But to justify this little episode, arrangements to amend the rules are made.  "No animal shall drink alcohol to excess."  \n\n\n9)  Orwell states, "Somehow it seemed as though the farm had grown richer without making the animals themselves any richer— except, of course, for the pigs and the dogs."  \n\n\n10)  The 7 Commandments are abridged for the last time, simply reading, "All animals are equal but some animals are more equal than others."\n\nThese can all be related to the metaphors that the book embrases
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Early in the book, Bradbury criticizes americans for being prejudiced, too politically divided, impatient, distracted by fads, apathetic, and racist.\n\nThe mechanical dog symbolizes our society's departure from nature. Bradbury feared that in the distant future, we would forget our roots and lose the simpler things in life.
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http://www.sparknotes.com/shakespeare/merchant/themes.html
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A  novel by American abolitionist author Harriet Beecher Stowe, 'Uncle Tom's Cabin' is fiction based on real incidents. Please read about its history, plus impact, in full detail, at :\nhttp://www.en.wikipedia.org/wiki/Uncle_Tom's_Cabin
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good luck....\n\nhttp://www.sparknotes.com/lit/greatex/\n\nNext time read the book....it is pretty good.
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Charlie is the narrator and the main character of the novel, and his miraculous transformation from mental disability to genius sets the stage for Keyes to address a number of broad themes and issues. Charlie’s lack of intelligence has made him a trusting and friendly man, as he assumes that the people in his life—most notably, his coworkers at Donner’s Bakery—are as well intentioned as he is. As his intelligence grows, however, Charlie gains perspective on his past and present. He realizes that people have often taken advantage of him and have been cruel to him for sport, knowing that he would not understand. Likewise, he realizes that when people have been kind to him, it usually has been out of condescension or out of an awareness that he is inferior. These realizations cause Charlie to grow suspicious of nearly everyone around him. Interestingly, the experimental operation elevates Charlie’s intelligence to such an extent that his new genius distances him from people as much as his disability does. Charlie eventually convinces himself that he has lost feeling even for Alice Kinnian, the one person whom he feels has never betrayed him and the only one for whom he has maintained a deep affection throughout his life.\nFeeling isolated from humanity, Charlie pursues a course of self-education and struggles to untangle his emotional life. He comes to feel that his mind contains two people: the new, genius Charlie, who wants to reach emotional maturity, and the older, disabled Charlie, whose actions are largely informed by the fear and shame his mother, Rose, instilled in him. To reach his goal, the new Charlie must come to grips with the traumas the old Charlie experienced.\nAlthough Charlie resents the mistreatment he endured while disabled, he harbors hostility toward his old self and, ironically, feels the same lack of respect for his intellectual inferiors that many others used to feel for him. It is only in the final weeks of Charlie’s heightened intelligence, before he reverts to his previous mental retardation, that he learns to forgive his family and give and receive love. Charlie’s brief moment of emotional grace comes in the form of the fulfilling but fleeting romantic affair he has with Alice. Finally, though Charlie lapses back to his original state at the end of the novel, a newfound sense of self-worth remains within him, despite the fact that he has lost his short-lived intelligence.
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http://amb.cult.bg/american/4/steinbeck/chrysanthemums.htm\n\nhttp://www.1stcollegetermpapers.com/term-papers/38678/analyzing-the-chrysanthemums-by-steinback.html\n\nhttp://hatteraslight.com/navy/JohnSteinbeckhall/shakespeare13.html
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RALPH ELLISON\n\nIn 1936, a few weeks after my arrival in New York City, I was lucky enough to be invited by an old hero and newfound friend, Langston Hughes, to be his guest at what would be my introduction to Broadway theater. I was so delighted and grateful for the invitation that I failed to ask my host the title of the play, and it was not until we arrived at the theater that I learned that it would be Jack Kirkland's dramatization of Erskine Caldwell's famous novel Tobacco Road. No less successful than in its original form, the play was well on its way to a record-breaking seven-and-a-half-year run, and that alone was enough to increase my expectations. And so much so that I failed to note the irony of circumstance that would have as my introduction to New York theater a play with a southern setting and characters that were based upon a type and class of whites whom I had spent the last three years trying to avoid. Had I been more alert, it might have occurred to me that somehow a group of white Alabama farm folk had learned of my presence in New York, thrown together a theatrical troupe, and flown north to haunt me. But being dazzled by the lights, the theatrical atmosphere, the babble of the playgoing crowd, it didn't. And yet that irony arose precisely from the mixture of motives__ practical, educational, and romantic__ that had brought me to the North in the first place.\n\nAmong these was my desire to enjoy a summer free of the South and its problems while meeting the challenge of being on my own for the first time in a great northern city. Fresh out of Alabama, with my junior year at Tuskegee Institute behind me, I was also in New York seeking funds with which to complete my final year as a music major__ a goal at which I was having less success than I had hoped. However, there had been compensations. For between working in the Harlem YMCA cafeteria as a substitute for vacationing waiters and countermen and searching for a more profitable job, I had used my free time exploring the city, making new acquaintances, and enjoying the many forms of social freedom that were unavailable to me in Alabama. The very idea of being in New York was dreamlike, for like many young Negroes of the time, I thought of it as the freest of American cities and considered Harlem as the site and symbol of Afro-American progress and hope. Indeed, I was both young and bookish enough to think of Manhattan as my substitute for Paris and of Harlem as a place of Left Bank excitement.\n\nAnd yet I soon discovered, much to my chagrin, that while I was physically out of the South, I was restrained__ sometimes consciously, sometimes not__ by certain internalized thou-shalt-nots that had structured my public conduct in Alabama. It was as though I had come to the Eden of American culture and found myself indecisive as to which of its fruits were free for my picking. Beyond the borders of Harlem's briar patch__ which seemed familiar because of my racial and cultural identification with the majority of its people and the lingering spell that had been cast nationwide by the music, dance, and literature of the so-called Harlem Renaissance__ I viewed New Yorkers through the overlay of my Alabama experience. Contrasting the whites I encountered with those I had observed in the South, I weighed class against class and compared southern styles with their northern counterparts. I listened to diction and noted dress, and searched for attitudes in inflections, carriage, and manners. And in pursuing this aspect of my extracurricular education, I explored the landscape.\n\nI crossed Manhattan back and forth from river to river and up, down, and around again, from Spuyten Duyvil Creek to the Battery, looking and listening and gadding about; rode streetcar and el, subway and bus; took a hint from Edna Millay and spent an evening riding back and forth on the Staten Island Ferry. From the elevated trains I saw my first penthouses with green trees growi
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1. Crime and Punishment.\n2. Tom Sawyer\n3. 20,000 Leagues Under the Sea.\n4. War and Peace\n5. A Brief History of Time.\n6. Critique of Pure Reason.\n7. The Inferno\n8. The Iliad\n9. The Odyssey\n10. As I Lay Dying
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This is a great website for analysis of books:\n\nhttp://www.sparknotes.com/lit/gatsby/section1.html\n\nLater in the evening Tom and Daisy ask Nick about his engagement. He tells them he is not engaged, and that it is all a gossipy misunderstanding. \n\nhttp://www.homework-online.com/tgg/chap01.asp\n\nDaisy Buchanan, who happens to be Nick's second cousin and the wife of one of his Yale classmates, a wealthy former footballer named Tom Buchanan. Nick learns that the Buchanan marriage is not particularly happy...\n\nQuote from the book:\n\n“You make me feel uncivilized, Daisy,” I confessed on my second glass of corky but rather impressive claret. “Can’t you talk about crops or something?”\n\nI meant nothing in particular by this remark, but it was taken up in an unexpected way.\n\nBOTTOM LINE: Nick is re-acquainting himeself with three people who each love themselves more than anyone else in the whole world.  As he tells Daisy, he is an outsider to their clique and he is uncomfortable.