“The critic asks “is this believable?” The novelist, “how can I get them to believe this”? In short she argues that a good novelist always has some sort of conflict to tell and it must be suspenseful. “Something other than breakfast”. She uses witty humour to loosen the audience up. Atwood discusses the several genres of fiction that are available in this time and explains how this is not only a time of gender crossover but of genre crossover.
Key points on Rebecca L. Walkowitz Rebecca L. Walkwoitz starts her article by giving us Coetzee’s “Diary of a Bad Year” as an example of what she calls Comparison Literature. Coetzee’s novel meets the criteria of comparison literature due to its circulation and production formally, typographically and thematically. Rebecca goes on to state clearly the difference between the field of national literature in which the scholars share the locus of production, and the field of comparative literature in which scholars share a structure of analysis. In Rebecca’s point of view, two requirements are necessary for comparison literature: First, new geographic lines are to be drawn for the literary works. Second, preserving the study within the historical context including the different editions and translations.
Imagery in Fiction Writing Authors often use imagery as a powerful tool for describing and delivering their main point in fiction writing. Imagery can hint at an underlying meaning, let the reader know character traits, describe the setting, and has a host of other uses. As such it is one of the most important literary devices. Two excellent examples of how to use imagery properly are Kate Chopin’s “Desiree’s Baby” and Raymond Carver’s “Cathedral”. In both of these stories the authors use imagery to help drive home their main points, although in a somewhat different manner.
The writer of this article talks about how the basement isn’t just a hiding place for a Jew or a refuge to learn but it is a place to rebel against authority when Max transforms it into a setting for creative/political activity by painting over Hitler’s Mein Kampf erasing Hitler’s authority and becoming his own authority. Maslin, Janet. “Stealing to Settle a Score with Life.” New York Times, Published by Janet Maslin, Monday 27 March 2006. Wednesday 30 April 2014. This article is a review on the book itself; however the article also talks about important points involving the main character Liesel Meminger “the book thief” and how they dealt with life during the war.
Gerald Graff, on the other hand, would commend A Walk to Remember as an art form that gives rise to many debates and arguments about the movie and that gives viewers a chance to prove their intellectualism outside of the academic realm. By exploring their opposing arguments with respect to A Walk to Remember and the movie’s historical context in romance films, one can reach a conclusion about the effects of the movie on audiences and whether or not these effects are considered positive or negative. A Walk to Remember began as a novel by well-known author of romance novels, Nicholas Sparks. It was written in 1999, and Sparks shares that there was a rather strong inspiration behind the writing of it. Sparks loosely based the novel off of the life of his younger sister, who developed cancer at a young age (Sparks).
“Connections Between Ismael Kadare and Franz Kafka” Jaclyn Savickas LCS 361 630 M Professor Kuhlman March 5, 2012 The fictional works of Ismail Kadare have often been characterized as being “Kafkaesque,” where the reader can identify similarities to the works of Franz Kafka. While reading the well-known works of Franz Kafka and Ismail Kadare, there is an evident correlation of themes and connections among their stories, especially when considering a boundless labyrinth, punishment seeking the offense, and the use of obedient and functionary characters. Ismail Kadare’s The Pyramid contains all three of these themes when comparing the story to Franz Kafka’s “Before the Law,” “In the Penal Colony,” and “The Great Wall of China.” The connection these two authors have in their writings creates interesting comparisons among stories that help a reader relate one story to another. The presence of a boundless labyrinth, where a character can never find an ending or understanding, is often what makes a Kafka story “Kafka-like.” In his parable, “Before the Law,” Franz Kafka introduces a man from the country that is seeking to gain admittance to the Law, which everyone seeks during his or her lifetime. Met by a doorkeeper at the gates of the Law, the countryman is restricted entrance due to the increasingly powerful doorkeepers that come to follow.
In crime writing, composers not only scrutinise justice but also experiment with textual forms and features in response to different contexts. Evaluate this statement with reference to two prescribed texts and two texts of your own. According to Fiske, genre’s ‘embody the crucial ideological concerns of the time in which they are popular.’ Throughout our study of crime fiction it is incontestable that each text, despite the context in which they are composed, focus on the overriding theme of truth and justice and how this is achieved – a popular concern in our time. Michael Ondaatje’s revisionist crime novel, Anil’s Ghost is a reflection of its late 20th century context of war torn Sri Lanka where through its subversion of structure and resolution justice is never administered, despite what the truth may be. Secondly, Stoppard’s 1968 ‘Absurd’ and Post-modern Real Inspector Hound focuses on iconoclasm, the questioning of identity and the abandonment of realism.
‘Every age manipulates an established genre in its own ways and for its own purposes’ Write an essay in which you evaluate the extent to which this is true in TWO prescribed texts AND at least TWO texts of your choosing. The famous literary theorist Jonathan Culler once defined genre as a “style or category” of painting, novel or film that is governed by a particular set of “conventions and expectations”. In literature, crime fiction is a genre in which the cause of a mysterious happening, often a crime, is gradually revealed by a hero or heroine. This is usually accomplished through a combination of intelligence or ingenuity, or at times just sheer luck. Through the employment of various characteristics such as a ‘lone sleuth’, a ‘detailed and plausible setting’, and ‘crimes to be solved’, it has allowed the genre to explore universal themes of corruption, justice, the search for ‘truth, and the antithetical concepts of order and disorder.
As to be expected, this thesis opened up a multitude of hugely controversial sub-topics, and in dealing with such controversial and heavy subject matter, Woolf utilized a writing style and used to her advantage the ‘liberties and licences of a novelist’ that allowed her more literary freedom. She did this by exploiting the narrative voice of her invented character of ‘Mary Beaton, Mary Seaton, or Mary Carmichael’ to lead us through the elegantly meandering journey that was her stream of consciousness. In writing in this semi-fictional narrative style, Woolf was able to merge deeply political, and philosophical views expressed in a partially illusory voice, which afforded her the freedom to subtly uncover ‘some nugget of truth’ and put across her powerful message. In a time where women writers’, and indeed women, were not afforded the liberties of equality and freedom of speech. A time where female writers’ had to be guarded, and confined, in expressing their opinions, the narrative voice, ‘Call me Mary Beaton, Mary Seaton…’ aided the conveying of Woolf’s argument, as it engaged with women on a more personal level, through making her character a universally identifiable ‘every-woman’, rather than an individual displaying her anger towards the system of patriarchy.
The riveting, razor-sharp debut novel explores with wit and insight the realities of these two India – “…Men with Big Bellies, and Men with Small Bellies” - and reveals what happens when the inhabitants of one collude and then collide with those of the other. It demolishes the idea of India's claim to be truly democratic, even-handedly prosperous and corruption-free. It sheds the spotlight on the power dynamics of class and caste and corruption in modern 'shining India', thus exposing India as a sordidly hierarchical country that is almost unique in its disregard for human dignity. The novel can