How Do Washington Irving‘S “the Legend of Sleepy Hollow“ (1820) and Edgar Allan Poe‘S “the Fall of the House of Usher“ (1839) Incorporate Supernatural Events?

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Englisches Seminar Seminar: Introduction to American Studies Jasmin Dücker SoSe 2013 Tobias Ludwig Matrikel-Nr. 5610834 Essay: How do Washington Irving‘s “The Legend of Sleepy Hollow“ (1820) and Edgar Allan Poe‘s “The Fall of the House of Usher“ (1839) incorporate supernatural events? Take into account narrator, narrative levels, plot, setting and characters. There is no doubt that the narrative perspective in John Updike‘s short story “WifeWooing“ is a very subjective one. Furthermore, the whole story seems to be about the personal emotions, impressions and thoughts of the narrator. While the reader receives almost no information about the points of view of the other characters, the narrative perspective leads him completely in the constructed reality of the narrator. From the beginning on, the author creates a very small distance between the narrator and the reader. The atmosphere of the story, especially at the first part, seems to be very warm, passionate and intimate. There are, for example, a lot of thoughts and hints on intimate past events of the narrator and his wife mentioned. As a result, the reader receives the impression of an inner monologue, in which he is gaining an insight or, nearly, is interfering. In addition, the narrator even adresses the reader directly at the last paragraph in an insulting way: “it would take weeks to explain to you snags my brain“. This strenghtens on the one hand the impression the disturbance by the reader reading his intimate thoughts. On the other hand it is supporting the general cold atmosphere, which is, in opposite to the first paragraph, created in the second one. Moreover, the narrator maintains this subjective way of narrating the story consistently by using a lot of personal metaphors and symbols. As already mentioned, the general atmosphere of the first paragraph in the story is an intimate and warm one.

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