Gaiman and Shakespeare

Wow...I don't really know how to respond to the Gaiman text. I was confused, and didn't realize there were two 'stories' going on at once until about half way through : /

But....I think that Gaiman's technique and approach is an effective one. I think that his idea of taking the original text and inserting the feelings/conversations/ideas of the audience who are watching the play is different. I was confused at first because I could not differentiate between those characters that we in the Shakespearean play, and those that were watching it and commenting. If you notice though, (which I clearly didn't until half way through) when the audience is interacting the speech bubbles are black and it looks nothing like the panels of the actual play, like on page 81. I think that in some ways Gaiman's approach does take away from the original because it turns the interpretation of the play, but on the flip side it's nice to have someone else interpret the play other than Shakespeare himself. I think that although Gaiman's interpretation was choppy it worked. 

Helena and Demetrius

So, after reading through A Midsummer Nights Dream, I must admit I felt quite overwhelmed. I tried to keep up while listening to the BBC version posted on the blog, and that seemed to help a lot. One of the relationships in the play that I found most interesting was the one between Helena and Demetrius. Its the typical she loves him, but he doesn't love her scenario. While Demetrius is betrothed to the beautiful Hermia, and has professed his love for her, Helena can't help but to still love the man that will seemingly never love her.
In the passage in Act 2 Scene I, we see Demetrius and Helena in a struggle to come to terms with their 'relationship'. Demetrius tries to get her to leave him alone and says "I love thee not, therefore pursue me not." He is stern with her and makes it very clear that he does not love her, nor will he ever-his love is vested in Hermia. After Demetrius tells her that he may have to tell her that he cannot love her her reply is "And even for that do I love you the more. " Helena's infatuation with Demetrius makes her look needy and lost. She can't seem to understand that he will not love her. Her character in the play is a little crazy I think. She almost seems to be stalking him. Creepy? I think so. But i guess love can do that?....
All throughout this part of the scene there is an obvious struggle as Demetrius tries to get away from Helena. I think that Helena just wants to feel loved and have someone reciprocate her feelings for a change. Although her character seems a bit weird, I think that she just wants to be accepted. She wants to receive the attention that the beautiful Hermia gets.
Now....when Puck and Oberon come into the play I know this is where the 'play within a play' begins. At this point in Act 3 scene 2, we know that Puck has put Demetrius, Helena, and Lysander under the 'spell' by using those flowers. This is when Demetrius and Lysander profess their love for Helena. Demetrius says "O Helena, goddess, nymph, perfect, divine! To what, my love, shall I compare thine eye?". Helena is being swooned over by not 1 man , but 2. I think for her this is a huge deal. She got what she wanted. The affection of the man she loved: Demetrius.
This was truly one complicated love triangle.

Working Thesis Paper #2

Ok, this is rough...but I have an idea.

I want to discuss Persepolis and the idea that conflict changes how we see the world, faith, and our self-identity. I think that Marjane finds herself through dealing with the Iranian Revolution, and her set backs and growth show how conflict and violence help to shape an individual.

So maybe it would look something like this?

Conflict, violence and terror reek havoc on individuals everyday, yet the set backs and difficulties these issues bring help to create a new outlook on life, identity and faith. 

Any suggestions??

I am most likely doing the traditional format for this paper