Jay Asher effectively uses bildungsroman in his young adults’ novel Thirteen Reasons Why. Bildungsroman is the underappreciated literary device in which a character noticeably develops throughout the course of the novel. In Thirteen Reasons Why, a young woman, Hannah Baker, tells her story in a rather unconventional way: through tapes she recorded prior to her suicide, which were then passed along to the people mentioned in the tapes. These fall into the hands of Clay Jensen, who is both mortified and curious as to why he was mentioned in the tapes. This use of bildungsroman is subtle, and quite intriguingly played out.
Mystery Formula The formula applied to many mystery stories acts to engage a reader’s interest and involve the reader in the thickening plot. Sir Arthur Conan Doyle perfected the formula through his series of novels and short stories involving Sherlock Holmes. The formula is applied with great precision in “The Red-Headed League”. To examine the formula it is useful to articulate exactly what it consists of. Elements of Doyle’s mystery formula include a detective with super intellect and sleuthing skills, and his side kick.
In contrast Intimacy by Hanif Kureshi looks at in detail the stream of consciousness of the character Jay. Jay is a sex obsessed character and longs for his wife’s’ affection, that his wife is not interested in. There is only one main event in Intimacy, which I will explore later in the structure. The author’s perceptions of narrative voice are essential to the way that we view the characters. The narrative voice defines whether the reader should have an emotional response to the narrative voice or not.
With this aim, we will try to point out the relevant contextual aspects, the characters’ main features and the outcome of their interaction, hopefully revealing the story’s verisimilitude and its undeniable potential to be read, and seriously taken as a lesson of life. We will focus on the false teaching ideal embodied by the protagonist, and in the dangers inherent in a profession affording privileged relationships that can, either intentionally or unintentionally, harm students’ moral, social and psychological development. This idea is clearly expressed and summarised in the quotation below: […] The Prime of Miss Jean Brodie [is] a novel that reveals the dangers of a powerful personality seeking to dominate the lives of young impressionable girls. It is also a novel that reveals how a lack of self-knowledge about one’s subconscious motivations and needs can lead to using one’s students inappropriately to meet those needs;[…] 2 In fact, the parallel between the
The whole protagonist's story could be summarized as a research for her own identity. Through symbolic episodes and underlying themes of racial and sexual ambiguity, Rhys explores the dark side of the past emancipation era in the event Indies, by showing her audience the consequences invasiveness and abandonment have on an individuals sanity. To sum up ,the aim of my thesis is to explore the racial discrimination and how people of different races get along and what prejudices they had. These are major themes in wide Sargasso
As with many of the play’s characters the Queen uses her embellished and romanticized language to achieve a level of ambiguity surrounding Ophelia’s death leading the audience to ask many questions which go unanswered. To further analyze this extract it is necessary for us to understand why Shakespeare chose the Queen as the character to deliver the news of Ophelia’s death. The first notable parallel between both characters is that they are the two women of the novel, so their sexuality creates a bond between them. The Queen may be one of the only characters able to understand and empathize with the circumstances Ophelia was subject to solely because they are both women. However, the audience is fully aware of the fact that the Queen has largely ignored the problems Ophelia has been faced with and has failed to provide any solutions or form of emotional outlet for Ophelia.
Bertha Mason: object of terror, or object of pity? Discuss Charlotte Brontë’s depiction of Mr Rochester’s first wife. Brontë depicts the character of Bertha Mason in such a way that we can perceive her as an enigma of sympathy, but also one of terror. When reading the novel, it is apparent that the relationship between Jane and Bertha goes much further than their mutual relations with Mr Rochester. Throughout the concerning chapters, Brontë allows the reader to explore their own interpretation of Rochester’s former bride, Bertha, through both the eyes of Jane and the description of the environment in which she inhabits.
Carley Chandler Mr. Wright AP English 12 20 September, 2013 Feminism in Hamlet Two critics are illustrated and criticized themselves in this paper on Feminism in Hamlet. Lisa Jardine's paper talks about history and ideas of return, as Elaine Showalter writes about how Ophelia should be represented by feminists critics. Both of these topics tie into the story, and even tie in to each other! In the critical essay 'No Offence i'th' : Hamlet and Unlawful Marriage : written by Lisa Jardine, ideas that so-called historicist critics are overusing the word “history”, are being illuminated. Some of these critics are using “history” as an idea of return.
Both conflicts are important as they can either act as an insight into a character’s mind, serve as a moral to the story, or even as a way to show relationships between characters. In “Chronicle” there is a love conflict where the ‘labeling’ as to who is ‘evil’ and who is ‘good’ is greatly affected by both the reader’s perception and the character’s perception. This conflict is between Bayardo and Angela – he rejected her when he discovered that she was not actually a virgin. This conflict was revealed when Bayardo brought Angela back to her house, where she was then beaten by her mother. In this case, even when some readers might agree with the character’s perceptions, their reactions are thought of as too exaggerated and unnecessary.
A Doll’s House In Henrick Ibsen’s A Doll’s House, the main relationship we see is Nora Helmer and her husband Torvald Helmer’s. Their relationship is seemingly influenced by their era. When first reading the play, one may suggest that the women in this play are victims of this era. As the plot develops, we see that the relationship is also influenced by Nora’s lies, which suggest she was also a victimizer in her relationship, aside from her era. By the end of this play, we see how Nora’s secret changes the relationship between the couple, as she violates the stereotypical role-play as a wife and mother in her era, which generates her inspirational growth.