...economy. Germany had spent six years preparing for war, and a large portion of the economy was already devoted to military production. During the war, as Germany acquired new territories (either by direct annexation or by installing puppet governments in defeated countries), these new territories were forced to sell raw materials and agricultural products to German buyers at extremely low prices. Fiction as Reconstruction of History: Narratives of the Civil War in American Literature by Reinhard Isensee Even after more than 140 years the American Civil War continues to serve as a major source of inspiration for a plethora of literature in various genres. While only amounting to a brief period in American history in terms of years, this war has proved to be one of the central moments for defining the American nation since the second half of the nineteenth century. The facets of the Civil War, its protagonists, places, events, and political, social and cultural underpinnings seem to hold an ongoing fascination for both academic studies and fictional representations. Thus, it has been considered by many the most written-about war in the United States. The War That Never Goes Away: The Significance of the Civil War for the Cultural Imagination in the United States Despite the overwhelming body of academic work on the Civil War produced in the United States (and beyond) most of the American public (as well as the international audience) has been exposed to it through cultural...
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...For other uses, see Fiction (disambiguation). An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing afantastical game of croquet. Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting...
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...“Canada is an unknown territory for the people who live in it, and I’m not talking about the fact that you may not have taken a trip to the Arctic or to Newfoundland, you may not have explored as the travel folders have it – This Great Land of Ours. I’m talking about Canada as a state of mind, as the space you inhabit not just with your body but with your head. It’s that kind of space in which we find ourselves lost. What a lost person needs is a map of the territory, with his own position marked on it so he can see where he is in relation to everything else. Literature is not only a mirror; it is also a map, a geography of the mid. Our literature is one such map, if we can learn to read it as our literature, as the product of who and where we have been. We need such a map desperately; we need to know about here, because here is where we live. For the members of a country or culture, shared knowledge of their place, their here, is not a luxury but a necessity. Without that knowledge we will not survive.” Margaret Atwood, Survival As Atwood’s statement demonstrates, Canadian literature is concerned with place and displacement, and with the development of an effective identifying relationship between self and environs. Canada’s literature whether written in English or French reflects three main parts of Canadian experience. First, Canadian writers often emphasize the effects of climate and geography on the life and work of their people. Second, frontier’s...
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...Can say that my hypothesis for her motives, including the literature was this… but actually only she (as the author) can know Role of Literature in Alison’s coming out… Handwriting all the poems, what does this have to do with memory, and can she fully replicate her father’s signature? Daedalus mytch and Ulysseus…starts out book with it Passage 1: Page 140: Because of her obsessive-compulsive spell she started a diary… But, because of the questioning of memory, the words “I think” popped in her comments. Page 141: How did I know that the things I was writing were absolutely, objectively true? She’s doubting what she writes down to be true… Specfic kind of text: the kind that’s in the boxes, speech bubbles bring you back into the moment, Square ones are superimpositions, narratively offering her own interpretation Two different times: reflecting back she’s interpreting the events as a crisis The “curvy circumflex as a symbol” helps her get closer to the truth, what actually is happening but leads to more indecision on her part Relates to Phaedrus, moves from her decision to use shorthand, we wouldn’ know what that symbol means In between sentences, to between sentences to nouns:...
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...bears resemblance to Fitzgerald’s The Great Gatsby is debatable despite the fact that there are numerous similarities between the two texts in terms of its narrative structure dominant themes and the presentation of characters thus their respective zeitgeist of modernism, both texts have clearly their own mark that make them truly unique. Clearly the extent of the similarities between the two texts cannot be overlooked when Palahniuk stated himself in the Afterword that ‘’Gatsby’s updated a little’’, as both novels have apostolic narratives it can be seen that both reveal the hollow superficial nature that existed within society in both the 1920’s and 1990’s. Fight Club and The Great Gatsby can be contrasted as, Fitzgerald describes Gatsby’s lavish parties, flamboyant suits and mansion to be a template for the narrator’s own existence in ‘Fight Club’. His life is dominated by his IKEA ‘’condo’’ and his own job, which he then finds that he has nothing to live for and is empty inside. He is someone who has ‘’ lost everything’’ and is ‘’ Lost in oblivion. Dark and silent and complete.’’, which also illustrates the impossibility of the American Dream of both novels. ‘’Fight Club’’ thrusts the idea of conspicuous consumption even further as the narrator describes the destruction of material possessions no longer defining who you are but how ‘’now they own you’’. They do not make him feel happy or give him any sense of accomplishment, and it seems pointless to him; they merely...
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...arguments usually question or celebrate the transgressive potentials of the book (Giroux; Mendieta), or address issues of masculinity brought into the fore by their literary and cinematic representations emergent in the same decade (Tuss; Friday). However, few, if any, have addressed the literary aspirations of the text and its author. Although none of the approaches to the thematic concerns of Fight Club are unjustified, in the argument that follows I will suggest that conclusions drawn and critical judgments passed have been hasty, and not only failed to take into account the formal aspects of story-telling, but that the narrative features of Palahniuk’s text have largely went unexplored, and constitute a blind spot of the reception. Critics condemning or acclaiming the novel, and, indeed, many a cultic reader of Palahniuk ignored Fight Club as a literary narrative, and have inadvertently been repeating the catchphrases of the text, either reinforcing or trying to undermine what they have understood as their meaning. I see the significance of Palahniuk’s fiction and the literary event of Fight Club’s publication in somewhat different terms. Palahniuk’s emphasis and continued insistence on minimalism suggest that his fiction is properly understood as belonging to a literary tradition whose evaluation remains troubled and, for a large part, unsettled. Nevertheless,...
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...The film “Soul Surfer”, directed by Sean McNamara, illustrates the life of a teenage surfer after becoming an amputee due to a shark attack through an inspirational parable. The film inspires the non-disabled community while alienating the disabled community due to the simplistic undertone of a tragic event and the glossing over a crucial process for amputees; healing and recuperation. Although the film accurately illustrates the psychological effects and the acceptance of the amputation, the director prioritizes the audience’s emotional attachment to the moral lesson of the narrative by utilizing the “supercrip” stereotype. The “supercrip” stereotype leads society to objectify people with disabilities, due to the constant use of these inaccurate...
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...according to a nineteenth-century history of tea, tea was such a fundamental part of everyday life that English tea drinkers often failed to notice its significance within their daily lives. G. G. Sigmond, in the opening pages of Tea: Its Effects, Medicinal and Moral, declares, “Man is so surrounded by objects calculated to arrest his attention, and to excite either his admi- ration or his curiosity, that he often overlooks the humble friend that ministers to his habitual comfort; and the familiarity he holds with it almost renders him incapable of appreciating its value.”1 By the early nineteenth century, tea had become a com- modity of necessity, forming a crucial part of daily patterns of consumption and domesticity. The habitual comfort of tea, ac- cording to Sigmond’s tea treatise, does not draw attention; it is quiet and familiar and thus goes unnoticed. Tea is represented as dependable, a frequent part of everyday life that forms a com- fortable, secure basis for the rest of life’s responses, decisions, and actions. As Sigmond declares, the English tea drinker is “in- capable of appreciating [tea’s] value” (1). What the typical tea drinker fails to recognize, Sigmond suggests, is the crucial role that tea plays in forming the foundation of everyday life. Despite Sigmond’s attempts to rectify the humble status of tea in nineteenth-century English culture, tea has remained a 1 2 introduction relatively unrecognized aspect of Victorian life. Just as Sigmond implies that...
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...Song of Solomon Analysis: Gender Roles and Freedom Racism divides communities, but sexism deserts individuals. American history is ridded with oppression on the basis of race and gender that have left individuals and communities alike subjugated and isolated. Toni Morrison, through her fictional novel Song of Solomon, tackles the desire for belonging that so many faced during the oppressive 1960s. Appeals to equal rights for African Americans were met with hateful discrimination and bloody discourse—ultimately dividing people from within groups. But Morrison pushes her discussion beyond just the confines of racism to the treatment of black women in society; the tyrannical repression they faced. Throughout Song of Solomon, a reoccurring theme of dependence and abandonment of women presides. Toni Morrison exploits women’s belonging to men and yet, also, their burdens for men’s freedom. In order to conquer the quest of the novel, the main character must recognize and overcome such female injustices. Foundational to the their societal repression, black women suffered not only from racial segregation but the social obligations to men, children, and their community. Women were the guardian of the family in the 1960s, and lacked the free-will retained by men. The man they married, the structure he created, defined a woman. Song of Solomon directly touches on the heavy racism circling the times. Milkman and Guitar actively talk about racism and the cruelty of the white “nonhumans...
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...Otherness: Essays and Studies 1.1 October 2010 Haunting Poetry: Trauma, Otherness and Textuality in Michael Cunningham’s Specimen Days Olu Jenzen Early conceptions of trauma are intimately linked not only with modernity but specifically with the height of industrialisation (Micale and Lerner 2001). This is converged in the opening of Specimen Days particularly in the image of an industrial accident at the ironworks where a young man is killed by the stamping machine. His young brother, replacing him at the machine after the funeral, then experiences an apparition of the dead brother still trapped inside the machine, which leads him to believe that all machines house entrapped ghosts of the dead. Writing on the Victorians’ anxieties about internal disruption caused by the advent of the railway, Jill Matus (2001, 415) has pointed out that, Freud himself remarked in Beyond the Pleasure Principle (1920), [that] there is ‘a condition [which] has long been known and described [and] which occurs after severe mechanical concussions, railway disasters and other accidents involving a risk to life; it has been given the name of traumatic neurosis’ (12). Freud’s remark brings to the fore the traumas of the industrial age as both individually and publicly experienced and negotiated. This condition of trauma as private and public, individual yet also societal is held in tension throughout Cunningham’s novel. Reflecting on the otherness of trauma and its vexed relationship to representation...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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...these people are not dramatically different from the reader. These means that one can accept the conclusions that Steinbeck makes. In many ways, Salinas Valley is a microcosm of the world as a whole and this passage helps establish that. On the fifth page of his novel, Steinbeck references the opening chapter of another universally beloved novel. This passage is remarkably similar to the first lines of A Tale of Two Cities. While it may not be as well known as Dickens’ quote, it still draws a conclusion that can be applied to all people. The wet years are like the best of times and the dry years are the worst of times. Just like the people of the French Revolution, the people of Salinas experience both the wet and dry years and this makes fictional people extraordinarily relatable. 2. ***Intro Sentence*** When East of Eden is nearing its conclusion, Aron Trask joins the United States Army when he discovers his mother is actually Cathy. This discovery only happened because his brother, Caleb, became angry with his father and decided to reveal the truth about the brothers’ parentage. Aron does not tell his father of his what he learned or of his plans to join the army, but instead leaves his family to avoid confronting his father’s lies. After several days, Adam becomes worried about his son and he asks Caleb if he knows of Aron’s whereabouts. “‘Do you know where your brother is?’ ‘No, I don’t’ said Cal.’Weren’t you with him at all? ‘No.’ ‘How do I know?’ said Cal, ‘Am I supposed...
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...Ministry of Education of the Republic of Moldova State Pedagogical University “Ion Creangă” Foreign Languages and Literature Faculty English Philology Department DIPLOMA PAPER Figurative Language, Language Shaped by Imagination in Katherine Mansfield’s Short Stories Submitted by: the 4th year student Paşcaneanu Mariana Group 404 Scientific adviser: Tataru Nina Senior Lecturer Chişinău 2012 Contents INTRODUCTION 2 CHAPTER I: SHORT STORY AS A FORM OF FICTION 5 I.1.Common Characteristics of a Short Story as a Form of Fiction. Its Plot and Structure. 5 I.2. Figurative Language. Definition. Function. 9 I.3. Imagery – Language that Appeals to the Senses 11 I.3.1. Simile, Metaphor and Personification. 13 1.3.2. Symbol and Symbolism. 26 I.3.3 Allegory. 30 CHAPTER II: LANGUAGE SHAPED BY IMAGINATION IN K. MANSFIELD’S SHORT STORIES 36 II.1. Figurative Language, Symbolism and Theme in "Her First Ball": 37 II.2. Katherine Mansfield – Techniques and Effects in A Cup of Tea. 41 II.3. Literary Colloquial Style in “Miss Brill” by K. Mansfield. 49 II.3.1. Lexical features—Vague Words and Expressions 49 II.3.2 Syntactical and Morphological Features 52 II.3.3 Phonological Schemes of the Figures of Speech 55 II.4. Simplifying Figurative Language in K.Mansfield’s Short Stories 60 CONCLUSION 64 BIBLIOGRAPHY 66 APPENDIX 70 INTRODUCTION Figurative Language is the use of words that...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...
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...December 12, 2014 JASS 248 Professor Erik Marshall Analysis Essay-The Five Heartbeats; The Film Genre of Biopics The Five Heartbeats (1991), directed by Robert Townsend, is a movie that I know all too well. This film effectively portrays the highs and the lows of the music industry and how it affects the members of a group. In this essay, I will analyze the cinematography, mis-en-scéne and the importance of music in films such as this one. I will also expound upon the genre of biographical films and how they contribute to society. Biographical films, or “biopics” represents the life history of an actual person or group. Unlike documentary film, biopics employ actors to play the roles of these individuals: they are dramatized, fictional films. Biopics are often marketed as being “inspired by” or “based on” the lives of famous people including entertainers, royalty, scientists and even criminals. Dennis Bingham conducted a study on biographical films and discusses and history of the biography. He also looks at the various forms of the biopic, including theatrical releases, made-for-television movies and short films. Bingham argues that biopics of women are structured so differently from male biopics as to constitute their own genre. The conventions of the female biopic have proven much more intractable than the male biopic. This is due to society’s difficulty with the very issue of women in the public sphere. The difficulty kept female biopics in a cycle that constantly...
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