English literature

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******
Vladimir Nabokov
1 of 34
Obsession
******, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: tip of the tongue taking a trip of three steps down the palate to tap at three on the teeth
2 of 34
Changing love
I knew I had fallen in love with ****** forever; but I also knew she would not be forever ******.
3 of 34
Possession
And she was mine, she was mine, the key was in my fist, my fist was in my pocket, she was mine.
4 of 34
Loss and betrayal
If a violin string could ache, i would be that string.
5 of 34
Innocence
Between the age limits of nine and fourteen there occur maidens who, to certain bewitched travelers, twice or many times older than they, reveal their true nature which is not human, but nymphic (that is, demoniac);
6 of 34
Virginity/Innocence
I had stolen the honey of a spasm without impairing the morals of a minor. Absolutely no harm done.
7 of 34
Betrayal
I am thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art. And this is the only immortality you and I may share, my ******.
8 of 34
Love or hate
I could not kill her, of course, as some have thought. You see, I loved her. It was love at first sight, at last sight, at ever and ever sight.
9 of 34
The Go Between
L.P.Hartley
10 of 34
Loss/memory
The past is a foreign country: they do things differently there
11 of 34
Nature
The river came out of the shadow of the belt of trees, Green, bronze and golden it flowed through weeds and rushes; the gravel glinted, I could see the fishes darting in the shallows.
12 of 34
Loss of love and happiness
You flew too near the sun and you were scorched
13 of 34
Alice in Wonderland
But if I'm not the same, the next question is, Who in the world am I?
14 of 34
Brokeback Mountain
Annie Proulx
15 of 34
Intimacy
"Jesus Christ, quit hammerin and get over here. Bedroll's big enough," said Jack in an irritable sleep-clogged voice. It was big enough, warm enough, and in a little while they deepened their intimacy considerably.
16 of 34
One flesh
They seized each other by the shoulders, hugged mightily, squeezing the breath out of each other, saying, son of a *****, son of a *****, then, and easily as the right key turns the lock tumblers, their mouths came together.
17 of 34
Homoerotic realisation
"I like doin it with women, yeah, but Jesus H., ain't nothin like this. I never had no thoughts a doin it with another guy except I sure wrang it out a hunderd times thinkin about you.
18 of 34
Societal view
you guys wasn't gettin paid to leave the dogs baby-sit the sheep while you stemmed the rose.
19 of 34
Loss and betrayal
I wish I knew how to quit you
20 of 34
One flesh
It was his own plaid shirt, lost, he’d thought, long ago in some damn laundry, his dirty shirt, the pocket ripped, buttons missing, stolen by Jack and hidden here inside Jack’s own shirt, the pair like two skins, one inside the other, two in one
21 of 34
Cyclical effect of their love
Nothing ended, nothing begun, nothing resolved
22 of 34
Rejection of self
...saying not a goddamn word except once Ennis said, “I’m not no queer,” and Jack jumped in with “Me neither. A one-shot thing. Nobody’s business but ours."
23 of 34
Valentine (poetry)
Carol Ann Duffy
24 of 34
'Not a rose or a satin heart'
She seems to not appreciate the traditionalist ideals of these valentines gifts that many hope for but instead finds romance in an onion
25 of 34
'It is a moon wrapped in brown paper. It promises light. Like the careful ********** of love'
The onion is firstly romanticised by its calling of a moon through the metaphor. It brightens his life as love will. It is then sexualised by the idea of **********
26 of 34
'It will blind you with tears like a lover'
Love is presented as a cause of pain and sorrow to the valentine
27 of 34
'It's fierce kiss will stay on your lips, possessive and faithful, as we are'
She shows herself as wanting to be his and only his with the upcoming idea of marriage with the rings of the onion and she still seems vicious and slightly dangerous
28 of 34
'Lethal. Its scent will cling to your fingers. Cling to your knife'
The use of the knife gives the poem a final idea that she in fact may have been stabbed in the back by her partner
29 of 34
A dolls house
Henrik Ibsen
30 of 34
The controlling era in which feminism was entirely undeveloped
Free. To be free, absolutely free. To spend time playing with the children. To have a clean, beautiful house, the way Torvald likes it.
31 of 34
The first realisation of the potential of living her own life without the controlling male conquest
I have been performing tricks for you, Torvald. That’s how I’ve survived. You wanted it like that. You and Papa have done me a great wrong. It’s because of you I’ve made nothing of my life.
32 of 34
Sacrificial role of women
Nora breaks the law in order to save her husbands life and care for her children yet when she admits to her wrongs she is punished by her husband. She sacrifices her secure lifestyle to make something of herself
33 of 34
Foreshadowing
Nora rebels against Torvald at the start when she eats the macarons and this foreshadows her continuing and growing rebellious acts
34 of 34

Other cards in this set

Card 2

Front

Obsession

Back

******, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: tip of the tongue taking a trip of three steps down the palate to tap at three on the teeth

Card 3

Front

Changing love

Back

Preview of the front of card 3

Card 4

Front

Possession

Back

Preview of the front of card 4

Card 5

Front

Loss and betrayal

Back

Preview of the front of card 5
View more cards

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