"The Rime of the Ancient Mariner" is said to have been inspired by several historical sources. These include Captain James Cook's voyages, the legend of the Wandering Jew, and especially Captain George Shelvocke's 1726 A Voyage 'Round the World , in which he describes how one of his shipmates shot an albatross that he believed had made the wind disappear. Other sources claim that the poem was inspired by a dream of Coleridge's friend, Cruikshank, and still others believe that Coleridge wrote the strange, sensually-rich text under the influence of opium, as he did his famous "Kubla Khan." "The Rime of the Ancient Mariner" has become an important landmark in the literary canon since its publication, and has also contributed certain phrases to common speech. The most notable of these is the secondary definition of the word "albatross," often used to denote "a constant, worrisome burden" or "an obstacle to success." Also in common usage are the poem's most famous lines: "Water, water, every where, / Nor any drop to drink." The phrase has come to mean any situation in which one is surrounded by the object of one's desire but is unable to partake.
For Sade, sexual immorality – defined as “prostitution, rape, incest, and sodomy” 17 – also means encouraging women to enjoy all the freedoms men do. 18 In true libertine democracy, all exclusivities must be removed from pleasure 19 , all sexual experiences and subjectivities must be equalized, and sexuality must be central enough to political discourse so as to continuously effect an adequate degree of healthy insurrection. But the conventionally misogynous and/or symbolically Freudian content of the pink film is contentious without being libertine ; constructing a self-contradictory world where everything is speakable only insofar as it is fetishized, the genre’s Freudian vocabulary continually constricts and decenters our understanding of sex. While some may want to champion pink films because, formally, their low budget experimentation seems opposed to soulless corporatism, the pink film has – to borrow Adorno’s term – its own “jargon of authenticity” that tricks its audience into believing the rules of its genre are (somehow) politico-sexually progressive, while they are actually in direct service to the status quo.
Our fascination with vampires and the supernatural has not changed, but in the 21 st century vampires have the tendency to be far more glamorized than the 1922 version of vampires. Does our shift in the portrayal of such creatures have to do with the evolution of the vampire (because nothing ever stays the same) or is it part of the grander scheme of things, a reflection of the time period? Nosferatu was a reflection of the expressionistic period and perhaps largely correlated with World War One; vampire shows, movies, books, etc. today are perhaps more subtle in their appearances (for instance: less creepy looking and no odd-angled fingers) because dangers today are more hidden and frankly our time period seems a bit obsessed with appearances. Each era has its own twist on things and even, if only in the details, leaves its own unique mark and adds to the evolution of the idea or entity. History plays a key role in where humans are today and often old ideas are pulled from the past and improved for the current time period. Trends are patterns: they prosper, fade, and come back again, if only a little tweaked—Nosferatu was the beginning of the vampire and supernatural trend . . a trend that is ever so strong today.