Where there would usually be prepositional phrase “ lashing off of the boy” there is now a verb phrase as the main component of the phrase is “lashing”. The prepositional phrase has been compressed into one non standard English word. This is typical of the Scottish accent and dialect and provides some context to the novel. The reference to Jean Claude Damn is a cultural reference which can be used to entice the reader to carry on reading as it is someone can all relate to as as he is a familiar icon within popular culture. The use of jargon also relates to the reader and the swear words make the text a lot less formal which is relative to the context of the novel.
Suspense plays a very pivotal role in the story, and as such, we find that the installation, exploitation and conclusion to be revealed only at the very end, where readers find out they have been in fact following a trial of red herring. As mentioned earlier, setting and atmosphere are tools played around with by the author to place us in a position where readers understand only one point of the story, from the unstable viewpoint of the paranoid passenger. The veil of darkness hiding the face of the driver hangs around like a fog throughout the story, a prevalence of vagueness in the description of the settings. We do not know where the man was, we do not know what the taxi was like, nor do we know what the driver was reaching for, almost as if we were under the same haze of paranoia the man was
Dustin F. Guastella A.P. English Mr. Conston April 03, 2009 John Barth's Experimental Postmodernism John Barth discovered that literature was repetitive that it was growing old and bland styles and genres were perpetually repeating themselves so he decided to attempt to break from this norm. With his essays on the Literature of Exhaustion, his short stories, and his novels he explores a new realm of fiction and a new aspect of humanism. His philosophies on ambiguity are the driving force throughout this new literature, which is neither absurd nor classic but a hybrid of the two. Through the bewitching stories we see that Barth is exploring an entirely new style of writing, sometimes confusing, sometimes fragmented, but always captivating.
Caliban’s relationship with his master Prospero is also one marked with obstacles, both, in the end, wanting release from their bands, although in entirely different ways. However, to locate a true understanding of this complicated relationship, one must start at the beginning of Caliban’s conception. The Tempest was first staged in 1611 in King James’s presence (Garber 853). The play, with its references to exotic locales and New World allusions, was very topical. While the discovery of the New World was not fresh news, the colonization of these areas was a much discussed topic among Jacobeans, and the expansion of the British empires to these areas was flourishing.
The unseen of Love In A Fallen City Figurative language is commonly used in many novels and stories. In stead of narrating plots directly, it indicates the thoughts of characters, the theme and the background in a rather tactful way. Different areas of figurative language are displayed in the story "Love In A Fallen City". First, metaphor can be found in many part written in the story. At the beginning paragraph, "Shinghai's clocks were set an hour ahead so the city could "save daylight", but the Bai family said: "We go by the old clock", not only did the Bai family reluctant to adjust their clock, but it also implies the meaing that Shinghai is moving onwards, yet the Bai family choose to stick with the old thoughts, old customs, old traditional China stuff.
In “The Fall of House Usher,” Edgar Allan Poe uses different aspects of narrative to generate different moods and feelings in the story. One of the most essential on influencing aspects of narrative is the setting, specifically, House Usher. he actual location of the house is never revealed in the story, along with the time period in which the story takes place. This is probably because the mood of the story would be much harder to maintain if the story had given such precise facts, as it would ruin some of the tension created by this mysterious location. The area surrounding the mansion is the initial setting of the story and is one of the first spooky and theatrical settings Poe renders in his tale.
The style of Kafka’s writing is humorous but dark. His writings even coined a word listed in the dictionary as Kafkaesque. “So ubiquitous is Kafka’s legacy that the word “Kafkaesque” has been introduced into the English language. The adjective refers to anything suggestive of Kafka, especially his nightmarish type of narration, I which characters lack a clear course of action, the ability to see beyond immediate events, and the possibility of escape. The term’s meaning has transcended the literary realm to apply to real-life occurrences and situations that are incomprehensibly complex, bizarre or illogical.” Pg 182 What that basically means it that it describes a nightmarish situation which most people could relate to but very surreal there also seems to be an evil component that is like a shadow out of the corner of your eye.
While there are undoubtedly subversive, or corrupt elements in the novel, arguments for censoring it generally misrepresent its more nobler intentions and greatly exaggerate its subversive designs. Putting aside the overinflated claims of the novel's most extreme critics and supporters, the diversity and intensity of readers' reactions to The Catcher in the Rye suggest that the issues it raises are significant ones. Consequently, it seems likely that readers will continue to have heated discussions about this "minor" classic for a long time to come. One of the issues that has been debated ever since the novel's initial publication is whether or not it qualifies as a significant work of literature. Does it offer significant insights into the complexities of human existence and the development of American culture, or does it simply appeal to vulgar adolescent minds with its obscene language, complaining about everything without developing any positive insights of its own?
Fowles is constantly trying to highlight the differences between art and reality in order to give his characters independence. Up to Chapter 13’s digression, Fowles’s readers have been allowed to consider that they have been reading a conventional Victorian novel to a certain extent. However, Fowles’s repetition of ‘perhaps’ encourages his readers to view the text in a more fictional way. When Fowles teases the audience by saying; ‘perhaps I live now in one of the houses I have brought into the fiction’ – he humorously says that his fictional characters are ‘perhaps’ an ‘illusion’ therefore stating that the whole novel is an illusion. From the outset we already know that their author controls Rosencrantz and Guildenstern as Shakespeare already writes out their destiny for them.
Hemingway, E. The Snow of Kilimanjaro. Reviewed by Jane(20116382), University of Hefei Technology. The Snow of Kilimanjaro is a successful stream-of-consciousness novel which is written by Ernest Hemingway in the period after World War I and first published in the August, 1936. It has been called Hemingway’s short story masterpiece. The author, Hemingway, is the representative of the Lost Generation that is one of schools of literature which arose in the period after the World War I and of whom works express confusion as a result of war.