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Essay / Research Paper Abstract
6 pages in length. Wilkie Collins' "The Woman in White" surrounds itself with enough pastoral landscapes and compulsory interplay as a means by which to present what is seemingly a run-of-the-mill whodunit; however, when one delves beyond the perfunctory elements so common to conventional mystery/suspense novels, one finds the most delicious array of characters around which Collins craftily functions his plot. That he is able to utilize plot as a function of character rather than the other way around speaks volumes regarding the author's inherent talent, particularly when it has to do with his wickedly humorous insight to human conflict. Bibliography lists 6 sources.
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File: LM1_TLCPlotC.rtf
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Unformatted sample text from the term paper:
when one delves beyond the perfunctory elements so common to conventional mystery/suspense novels, one finds the most delicious array of characters around which Collins craftily functions his plot. That
he is able to utilize plot as a function of character rather than the other way around speaks volumes regarding the authors inherent talent, particularly when it has to do
with his wickedly humorous insight to human conflict. "A sensation novel, deliberately meant to shock the reader" (Black Secrets Cloak Wilkie Collinss Woman
in White), The Woman in White is often seen as quiet and pastoral, dealing with beautiful landscapes and unassuming banter. There is however, another side of his work that
deals with conflict between human beings in such a way as to force the plot to become a function of character. The exact manner in which Collins reveals this
conflict is an integral component to the storys overall mystique, utilizing literary techniques that compel readers to question their own conclusion at least once throughout the tale. At first,
one may not plainly recognize Collins deeper assertions beyond his telltale quiet and pastoral direction; however, there is no denying the fact that the undercurrent of human conflict is more
than apparent as evidence of how plot is a function of character. "The evening, I remember, was still and cloudy; the London air was at its heaviest; the distant
hum of the street-traffic was at its faintest; the small pulse of the life within me and the great heart of the city around me seemed to be sinking in
unison, languidly and more languidly, with the sinking sun" (Collins 6). Prior to putting pen to paper, Collins visualized thoughts and ideas
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