Sample Essay on:
The Power of Romantic Novels

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Essay / Research Paper Abstract

This 6 page paper discusses Great Expectations, Dubliners and Pride and Prejudice and how they can carry readers away from reality. Bibliography lists 6 sources.

Page Count:

6 pages (~225 words per page)

File: KV32_HV678963.rtf

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Unformatted sample text from the term paper:

this adequately describes the way romance conventions work in the novels Pride and Prejudice, Great Expectations and Dubliners. Discussion It can be argued that the purpose of any nonfiction work is to carry readers away, at least for a few moments, from the reality of life. This means that the comment on the face of it is both nonsensical and unanswerable, since the response of any reader to the situations presented in a novel is unique. Give 20 readers a novel and there will be 20 different reactions to it, ranging from sheer adoration to utter contempt. Therefore, trying to generalize about romance novels in relation to readers lives is pointless. What might be more profitable is to discuss the romance conventions used by each author, and whether they might provide the intense experience that can pull a reader out of reality and into the fantasy. We begin with Pride and Prejudice. This comedy of manners is a favorite book of a great many people. Its one of those written works that actually benefits from the techniques of film and television, which open it up and give a real sense of place and time to the story. It also helps to have close-ups of the characters faces so that we can see, for instance, how Mr. Darcy reacts to Elizabeths snub or the reaction of the Bennett women to the sycophantic Mr. Collins. At any rate, the book translates well to the screen, but does so because its a strong property in itself. Part of that strength comes from its undeniable romanticism but part comes from its examination of epistemology-the theory of knowledge (Wiltshire 2001). Knowledge in this case is not learning, but knowledge of the psychology of other people (Wiltshire 2001). Wiltshire argues that the secondary characters ...

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