Besides insight into collective societal culture, literary history has provided future writers with models of poetic device, style and content influencing literary works and building upon past literary ideas. Literary history is a vehicle to understanding the past and plays a major role in its influence on literature up to and including the present day. Knowledge of historical literature gives us insight into the traditions and societal conventions of the time in which the piece was written. One outstanding example comes from Anglo-Saxon times. Beowulf is a literary work which enables a reader to glimpse not only the societal customs but into the savage and seemingly uncontrollable environment of the first century.
Through any and every writing, an author has a point hidden within literary elements. With literary elements authors develop a style to their writing to prove the point they intended from the beginning. There are many various literary elements to make up a rhetorical situation, to develop a side of ideas, some very commonly used in especially rhetorical situations. Like allusion, hyperbole, rhetorical questions, hypophora, and commonly simile. Mohandas K. Gandhi and Henry David Thoreau speak of and develop similar government opinions and points, through their interpretations of Civil Disobedience through literary elements; they prove similar points of civil disobedience but with their own style of writing and use of rhetorical devices.
Slide 1: Title slide The focus of my IOP will be on the short story ‘Chekov and Zulu’ from the anthology ‘East, West’ written by Salman Rushdie. My title will address “How the significance of the author’s approach to writing impacts readers’ understanding of the theme of Westernization presented in ‘Chekov and Zulu’”. Slide 2: Overview My essay will first provide evidence that ‘Chekov and Zulu’ is in fact a text typical of Rushdie, then focus on two aspects of Rushdie’s approach to writing most relevant to the given story, following which I will relate how knowledge of these aspects of Rushdie’s background as a writer will influence and even enhance our reading of the text. To begin with, it is important to establish if ‘Chekov and Zulu’ is characteristic of the author’s style and focus of writing, since my entire presentation hinges on the assumption that ‘Chekov and Zulu’ is in accordance with Rushdie’s usual style of writing, and that therefore knowledge of his writing preferences would allow for greater insights in reading the text. Slide 3: Contextual Knowledge As an author, much of Rushdie’s early fiction is set on the Indian subcontinent, and ‘Chekov and Zulu’ is in keeping with this tradition.
Islamic Azad University Rasht Branch Research 1 Instructor: A. Nezami Themes and Motifs in Works of Albert Camus By: Arman Khalili and Morteza Sheikhalizade Date: 91/10/10 Abstract The general themes in works of Albert Camus are discussed in this paper. The Stranger and The Plague, two of Camus’ novels, is the main works that were used for writing this paper, first we gathered some information about Camus’s life and literary career, then the themes are discussed, mostly themes are extracted from The Stranger and The Plague. Introduction of Persian translation of these books were used as reference books, in addition the myth of Sisyphus and a book that is about Camus’ philosophy is also used. Short Biography and Literary Career: Albert Camus, French writer, philosopher, and journalist was born on 7 November 1913 in Drean in French Algeria. His mother was of Spanish descent and was half-deaf.
‘Why is Sixty Lights worthy of critical study and inclusion on the HSC Prescriptions List for module B- Critical Study of Text?’ The novel Sixty Lights has been included on the HSC Prescriptions List for Module B because it is worthy for critical study as it is a diverse piece of literature covering significant topics that have been ignored in the modern world. We enter the lyrical and image-laden world of Sixty Lights. It’s a tale, resplendent in colour and imagery, set across two worlds - the constrained and stilted world of Victorian England, and the chaotic danger and abandon of India. Gail Jones creates literature, like Shakespeare, but in this particular piece explores the significance behind photographs and what they represent.
American Literature Topics | American History Topics | * Compare and contrast Transcendentalism and Dark Romanticism * The Development of Early American Literature * Analysis of Themes in Early American Poetry * Poe--his influence on American Literature * Literary nationalism as an emerging trend in American literature from the beginnings to 1820 * Women poets from the colonies – their challenges and contributions * Compare the Puritan focus with the enlightenment thinkers (using exemplary literary works from each period). * Dickinson's Explorations of Poetry * Native American oral and written traditions * The ideals of masculinity that helped shape the nineteenth-century figure of the American hero * Edgar Allen Poe and Nathaniel Hawthorne contribution to Dark Romanticism * The elements of Naturalism * Characteristics of African American literature * An author’s influence on American literature (you pick the author) * The
Browning’ poetry explores the consequences of obsession. How effectively does F. Scott Fitzgerald’s The Great Gatsby deal with this issue in a different context and form? An idea that continually preoccupies and intrudes on a person’s mental and physical state is a term referred to as 1obsession and can lead to a character’s salvation or undoing. Elizabeth Barrett-Browning’s, “Sonnets from the Portuguese”, composed in the Victorian age of unparalleled power and industrial revolution, reflects significantly on the ideas of obsession and it’s ramifications through figurative language, poetic devices and techniques. Ideas such as idealistic love and societal expectations are heavily embedded within the Petrarchan sonnet form, which, on the
Even in 1976, Herbert Schiller recognized a shifting towards cultural imperialism in work Communication and Cultural Domination. He describes cultural imperialism as, “the sum of the process by which a society is brought into the modern world system, and how its dominating stratum is attracted, pressured, forced, and sometimes bribed into shaping social institutions to correspond to, or even to promote the values and structures of the dominated center of the system” (Galeota, Julia). An example of the usage of brides for cultural imperialism may be seen in United States policies in the Cold War. The United States began to heavily employ foreign aid for democratic promotion in order to keep European states from becoming allies with the USSR. Each ally was important for the acquisition of power.
That’s why the major themes of Maya Angelou’s poetry stand for racial, sexual, cultural and political subjugation which are in long run consequence of hegemonic principles. This paper will scrutinize the theme of hegemonic ideology that incorporated in Maya Angelou’s poetry. During European Classical antiquity, hegemony as an indirect form of imperial dominance denoted the political-military dominance of a city state over other city states. In twentieth century, the concept of hegemony prefers to cultural hegemony due to abolishment of direct arms activity and martial expedition in the name of modern and civilized viewpoint by the manipulation of the social value system, one social class dominates the other social classes of a society, with a world view justifying the status quo of bourgeois hegemony. As a universal, politicio- cultural hegemonic practice, the cultural institutions of the hegemon establish and maintain the political annexation of the sub-ordinate people.
A Comparative Analysis of New Criticism and Russian Formalism Every age has its theoretical definitions of the nature of literature and its theorized principles on which critical approaches to the analysis of literature are premised. Among many critical approaches, New Criticism and Russian formalism are the earliest and the most preliminary ones. Russian Formalism, mainly produced in the second two decades of the twentieth century, did not have widespread impact until the late 1960s and the 1970s, when it was effectively rediscovered, translated and given currency by Western intellectuals who were themselves part of the newer Marxist and structuralist movements of that period. In this respect, the Russian Formalists belong to a later moment of their reproduction and were mobilized by the new left critics in their assault, precisely, on established literary criticism represented most centrally, in the Anglo-Saxon cultures, by New Criticism and Leavisism. Hence, students of literature brought up in the tradition of Anglo-American New Criticism with its emphasis on “practical criticism” and the organic unity of the text might expect to feel at home with Russian Formalism.