I Do Not Love Thee Figurative Language: What poetic devices were used in this poem? The poetic device is rhyme. What did these poetic devices do for the poem? It made the poem rhyme. Did these devices help create imagery or communicate the author's feelings?
‘The Gothic genre is based on the blurring of distinctions’ Discuss Gothic literature often uses the blurring of distinctions to explore the idea of oppositions and the liminal. Critics argue that the gothic aims to reveal “deeper wounds” which can be done through the blurring of distinctions, revealing to the reader that although it is easy to label things and set things, this is not always the case. This can certainly be seen in Bronte’s ‘Wuthering Heights’ as the fragmented structure and the settings prove that distinctions can become blurred. Similarly, in Shakespeare’s ‘Macbeth’, there appears to be a blurring of what’s right and wrong and what’s good and evil, particularly when considering the blurring of the supernatural and real world. In Carter’s ‘The Bloody Chamber’ gender roles and gothic tropes are subverted to show that nothing is set in stone.
Unit 5 Seminar Option 2 1. The author tells us that language is symbolic. What does this mean? “Words are symbols, which are arbitrary, ambiguous, abstract representations of other phenomena. Because language is arbitrary, the meanings of words can change over time.
Although the similarities between the themes and writing of Nikolai Gogol and Mikhail Bulgakov are unmistakable, they use and apply similar ideas and themes differently, such as the supernatural, religion, the demonic theme, use of setting, and the mockery of the social-hierarchical system of ranks. Furthermore, there are separate themes and aspects that one author addresses while the other does not, such as emasculation in Gogol’s short stories, use of myth and
Perspectives within a literary text tend to be depicted in different ways in order to confront the responder, challenge perceptions and promote a varied perception of the human condition. This depiction of conflicting perspectives creates a makeup of the entire construction of the text, as it effectively creates a cause for conflict; the protagonist of a story very rarely does not have a differing perspective on an issue to the antagonist of the story, inevitably leading to conflict, and therefore, a story line. This notion of conflicting perspectives is powerfully expressed through various textural forms, as shown through William Shakespeare’s 1399 dramatic text, Julius Caesar, Mark Haddon’s 2003 novel, The Curious Incident of the Dog in the Night-Time, and Sylvia Plath’s 1966 poem Morning Song. Throughout Julius Caesar, Shakespeare effectively utilises textual form to shape the responder’s understanding of the conflicting perspectives surrounding the personality of Marcus Brutus. Throughout the dramatic literature medium, Brutus experiences many different forms of conflicting perspectives relating to his own sense of identity as well as his relationships to those around him.
Gatsby Illusion vs. Reality There are differences between illusion and reality, which in this novel The Great Gatsby written by F. Scott Fitzgerald plays a very large part of this literature. Illusion is something that deceives by producing false or misleading impression of reality. Now, reality is the state where things as they are or appear to be rather than as one might wish them to be. One aspect of a character’s life in this novel that sets a great example of illusion seen as reality involves the character Jay Gatsby.
Even if unintentional, texts cannot present an even-handed, unbiased representation of conflicting perspectives due to the inherent bias and objectives of the composer. Controversial events are often filled with a variety of views and beliefs, and it is the emphasizing of a particular perspective over others that provokes a biased attitude. To a great extent the manipulation of textual structure and the influence of authorial context in David Guterson’s novel Snow Falling on Cedars enables the subjective construction of perspective representations to shape responder’s opinion. Guterson’s text clearly demonstrate the extent to which the use of structure creates a biased representation of events and situations. Snow uses a circular narrative structure, thus allowing Guterson great flexibility in the manipulation and construction of perspectives.
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. Although, these two forms of criticism espouse what many call the “text and text alone” approach to literary analysis, they have some certain important differences in terms of critical theoretical ideology. Through a comparative analysis, this paper tries to discuss two major differences between New Criticism and Russian Formalism; New Criticism’s humanistic, and Russian Formalism’s scientific base as of their literary critical regard and the different evaluation of Literary Canon in their critical positions and practices. The most distinctive common feature of both kinds of criticism is their aim to explore what is specifically literary in texts, and both reject the limp
However, the most terrifying thing about the events depicted in Nineteen Eighty-Four, is not the society itself. It is the simple fact that since the time it was written, the real world began to resemble the society introduced within the pages of Orwell’s dystopian novel. However, the invention of the dystopian genre should actually be accredited to Russian writer, Yevgeny Zamyatin through his work We. Not only is Zamyatin considered to be the true “grandfather of dystopian literature,” his influence can be seen clearly within the pages of George Orwell’s Nineteen Eighty-Four within the intrinsic plot, overall setting, character development and message. Born as Eric Blair in 1903, British author, George Orwell began his life as one of two children in an upper–middle class family.
Abused as the term is, its overuse nevertheless signifies a general cultural difficulty in understanding and interpreting contemporary art ("to name is to know" becomes the axiom, from the entertainment pages of newspapers to the critical investigation of literary texts). The prevalence of the term also speaks of the manner in which the various arts media have become intermixed: there is a degree of accuracy in relating Philip Glass and John Cage and Samuel Beckett, owing to their shared interest in "silence" and repetition, for instance. A term that is so pervasive in so many diverse areas of concern would seem to defy an all-encompassing definition. (3) [pic]Literary minimalism appears to be somewhat protean in its manifestations; Barth describes minimalist writing as being "terse, oblique, realistic or hyperrealistic, slightly plotted, extrospective, cool-surfaced fiction," but he then speaks of Beckett, Carver and Donald Barthelme as being minimalists all in the same breath ("A Few Words . .