Through the bewitching stories we see that Barth is exploring an entirely new style of writing, sometimes confusing, sometimes fragmented, but always captivating. The Literature of Exhaustion is said to be a contradicting document due to the fact that it comes from a novelist, however John Barth has made it his responsibility to change the face of literary art, and the movement known as postmodernism. In his essays he discusses the importance of a flexible literature a genre that can be continually reinvented with out changing grammar or words. He attempts to do this in the form of novels, such as The Sot-Weed Factor, and novellas collectively known as Chimera, and a collection of short stories, Lost in the Funhouse. The collection of short stories is a great example of his idea of Postmodernity.
Along with other luminaries, like Tom Wolfe, a new type of journalist arose out of the Sixties, as part of a movement unoriginally named New Journalism. Unlike conventional journalism, which sets ‘objectivity’ as its standard, New Journalism was about ‘subjectivity’; the journalist positing themselves within the article. By involving the journalist, with their emotions, beliefs and opinions it produced a starkly literary flavour in the texts of these writers. Thompson’s own brand of New Journalism, Gonzo, typified this literary technique. It is politically and socially charged, full of an individuals excesses, as it rampantly explores the many forces of contemporary culture.
Literature is a passageway to an author’s understandings about different types of philosophies that an author believes in. The Fountainhead was a controversial novel by Ayn Rand that displays her literary vision with the philosophy of altruism and egoism. The Fountainhead analyzes two types of men: The man with integrity versus the man of dishonor, egoist versus altruist. The Fountainhead is the open door to the world of architecture, individualism, integrity, collectivism, reason, and competition. The worlds where there are characters that help readers examine the world of Altruism and Egoism.
INTRO The basis for all dystopian texts is the instability, anxiety and fears that occur within the respective times of their authors. The sole purpose of these texts is to act and serve as a medium for authors to communicate and represent their comments and ideals on these fears and anxieties to their audiences. Authors who are able to express and organise certain techniques within their texts, ensure that their messages are received clearly and without ambiguity. George Orwell’s novel 1984 and James mcteigue’s film V for Vendetta both strongly and effectively communicate their messages to their audiences with clarity. Between both authors it is debatable whether which of these authors has more effectively relayed their messages ORWELL * Both composers represent the immense fears and anxieties of their respective times within their texts through a variety of ways, * Orwell uses a diverse and signature range of language techniques, and symbols to represent his vital message of warning to the audience of the dangers of totalitarian governments/ regimes and the perversion within communist and fascist parties.
In terms of the issues that can be identified in his work, however, it is clear that his Defence of Poesie is a major work of criticism in literature, and such was its impact that it is still studied today. In addition, his sonnet sequence entitled Astophil and Stella is rightfully seen as rivalling the sonnets of Shakespeare in the way that it charts Sidney's own unhappy relationship with Penelope Rich, whom he was unable to marry. Note for example this famous quote from one of his sonnets, where the speaker writes of how he found inspiration to describe his love for Stella: Thus, with child to speak, and helpless in my throes, Biting my truant pen, beating myself for spite: Fool! said my muse to me, look in thy heart, and write. No political issues are discussed in such works, but his description of the frustrations and joys of being in love when that love is doomed to be thwarted makes compelling reading, and are excellent examples of the Petrarchan sonnet form.
That may sound too obvious piece of advice, but this is one of the most common mistakes we commit when writing fiction. In order to give due credit to the two most important characters of your story - the protagonist (the good guy - in most of the cases) and the antagonist (the bad guy/group/institution), you need to be well-versed with the ideology that they represent and how they differ from each other. The Protagonist In the creative field, a protagonist is the central character around whom the entire plot of the story revolves. The term is derived from 'protagonistes' - a Greek word meaning one who plays the first part or the chief actor. While the protagonist is a good guy in most of the stories, he can be a bad guy (or an anti-hero) as well.
So then, my contribution to the scores of literary analysis on the works of the “great master” would seem trivial but in such, I would hope to provide at the least a view on one of his works that yet again that baffle and amaze me. As literary critic Alfred Kazin would say, “I am moved by the force of Shakespeare's mind.” I most certainly agree with this and perhaps the only slight difference would be that I am more stunned than moved—and am to be left in isolation searching for my soul. His tragedies then are that of a quasi-religious statement that moves so much the mind and paralyzes the body—in the same way stopping oneself for a time. This is the force that has moved so “many ships” and has done so in me. Here, I make an account on the tragedy of the “Moor of Venice” and his subordinate, who schemes much of the tragedy yet seems to love him like an angel.
Remington Bruce 10.27.2011 Period 2 Psychoanalysis: Hamlet ! Psychoanalysis; a method of interpreting text at a deeper level of comprehension, widely varies in its ideas, concepts and views of analysis. Applying this critical lens to any piece of literature is a difﬁcult task in its own. Evaluation of the writings of Shakespeare, however, takes an engaged reader who’s willing to continually read the Renaissance ﬂuency through a psychoanalytical set of “glasses”. Sigmund Freud built the foundation for the house that is analytical thinking, and it is his theory which reveals the true meaning behind the text.
The way to wisdom was to find exceptions to common sense thought and work a problem through in order to find a logical conclusion. The Socratic method of reasoning to develop knowledge is the base for any good writer. We write what we know and this writing produces knowledge. Socrates saw writing as a form of moral courage and outrage, a way for an individual to define themselves. Famous literary critic and author Rebecca West encompassed this mentality as she said, “I really write to find out what I know about something and what is to be known about something.” Simply put to write is to know, therefore writing is a form of expression used to manifest our thoughts on to paper.
Marking the Mind: Streaming of Consciousness in “The Mark on the Wall” and “Modern Fiction” “The Mark on the Wall” anticipates Woolf’s later essay “Modern Fiction”, in its extreme attention to the minute elements of human experience, and its self-conscious striving to use these elements to come to a better understanding of life and its meaning. “The Mark on the Wall” is the practice, while “Modern Fiction” is the theory, however in this case the practice came before the theory. This is largely due to its extreme emphasis on experience; the act of reflection that “Modern Fiction” embodies is an act which takes one away from one’s current experience, distracting one with abstract thoughts. Thus, the nature of her writing is such that the practice would have to precede the theory, for the practice is on a certain level antagonistic to any abstraction. This is not to say that “A Mark on the Wall” is lacking in abstract themes, indeed the self-consciousness of the piece is what forms the abstraction of the theory in “Modern Fiction”.