James’ choice of language in the Governess’ manuscript displays this interpretation; Frequent use of the words, “mine”, “me”, “myself” give this interpretation verification. Her manuscript is written in first person, however her outlook on her surroundings and the story itself, constantly revolves around her own feelings and actions and very often little more than a monologue. James presents the governess as self important and as seeing herself as the centre of attention often. When she first sees Peter Quint, James writes “it was intense to me that […] he never took his eyes from me”. From the governess’ manuscript, how far away the ghost was from her, makes this account both unreliable and self important.
Author O’Brian also confuses the reader by writing his novel as if everything that was told took place in the real world. For example, just by saying “this is true” (64) doesn’t always make it true. O’Brian leaves it up to the reader to distinct what they see the story as: reality or fiction. It is said that “a true war story… makes the stomach believe” (74). Author and character O’Brian tell the story in such a way to make it believable that the two different people are really the same person.
The Lottery Plot- The conflict in this story is a simple one, do you follow traditions laid before you even if you know them to be wrong. The story is told in a forthcoming manner which creates foreshadowing to the death of Tessie, and how it will happen. While reading, the beginning of the story you simply overlook many foreshadowing items because you don’t really think twice about it. Your point of view on the story and your attention to detail do not come into the story until you’ve read the story a second time because in all honesty you are kind of shocked at what you just read. The climax in the story is when Tessie begs for her life and no one says anything to stand up for her, instead they all go grab a rock to stone her to death.
'The Handmaids Tale' is a first person narrative. The narrator is active in the story therefore can be considered as defective as the events are conveyed from a predisposed view point. Atwood reveals Offreds 'state of mind' through both the structure of the narrative and the opinions explored by our narrator. Offreds narrative style can be interpreted to highlight a number of viewpoints about Gilead. For instance the fragmented element of the narrative can both reflect Offreds 'state of mind' and contribute to the suggestions about Gilead as a nation/ society.
Some may say that the written word is solely influenced by the spoken; that one’s written thoughts are a direct result of something one has personally said, heard, or interpreted. Others will argue that a story told through continuous verbal translation can only lead to a less significant conclusion than that which was originally intended. Regardless, establishing a definition for the relationship between the custom of oral tradition and the short story as a literary genre proves to be a complex argument. Oral tradition is thought to have allowed the short story genre to emerge as a tool of knowledge – to create new ideas in a permanent text rather than preserving those of oral cultures. Debates and opinions aside, the real question lies not
Below I will briefly summarise how I came to understand these concepts (prophecy, omens, providence, free will), what questions I still have about them, and I will briefly discuss how I saw these concepts being exemplified. Prophecy: The act of prophecy in the play is clearly the purview of the witches. My first question regarding their prophecies was, although Macbeth clearly believes them, “were they actually registered and portrayed as something supernatural?” Or, were they—or could they be interpreted as some have suggested (e.g., Garber 698)—not so much supernatural as emblematic of Macbeth’s and/or Lady Macbeth’s psychology, their ambition in particular? The question as to the witches’ supernatural status seems to hinge at least partly on the issue of whether they have knowledge that a human could not have. Some of the prophecies, one could argue, the women might have “divined” through natural means: e.g., it might have been possible to know that Macduff’s mother had a caesarean.
S209096759 Ashleigh Spence SF 201 23/04/2013 Professor. B. Olivier “Whereof one cannot speak thereof one must be silent” (2002: 72). Writing through trauma: Fictionalisation as therapy for females I, Ashleigh Spence, understand that plagiarism is the presentation of someone else’s ideas as my own. These ideas or words can come from a classmate, en ex-student, an encyclopedia, book, journal, newspaper, the internet, or even a pamphlet. When I have consulted such sources, they have been carefully acknowledged, both in my assignment and on my reference list.
Minor crises lead to major confrontation followed by a resolution. The terms that literary pieces fall under are subject to the application of the readers own interpretation of the story, making it difficult to say with absolute certainty wither “The Passing of Grandison” is a naturalistic or realistic story. However there is more than enough textual evidence to support the idea of realism. “When it is said that is was done to please a woman, there ought perhaps to be enough said to explain anything; for what a man will not do to please a woman is yet to be discovered.” (704). Chesnutt sets the mood for “The Passing of Grandison” very well with this opening sentence.
As a result of the first person perspective the readers view is bias and reliant on trusting the accounts that Changez provides. Initially the text is awkward to read as it depicts one side of a conversation. Changez appears to approach the American with a strong, almost badgered tone. The technique Hamid uses of silencing the American gentleman engages the reader and initiates their thinking. Where there are gaps in the responses of the other characters the reader must imagine what is being said themselves in order for the text to make sense.
. .”), the slang language used is pertinent and recognisable of a teenager. The author also changes her language in order to portray a much older character (“Tea, my duck”); the language used by the author is stereotypical of an old- fashioned grandmother character. The moral of the story was emphasising through the author’s modern language use. The moral is emphasised at the end of the narrative (“You could get people wrong and there was a darkness that was not the darkness of tree shadows and murky undergrowth and you could not draw the curtains and keep it out because it was in your head, once known, in your head forever like the lines of the song.”), this was show not only for Sandra’s personal lesson but a moral lesson to everyone socially that you can get people wrong.