...In The Catcher in the Rye by J.D. Sallinger and The Young Elites by Marie Lu, Adelina and Holden have very intense mental states which leads to the motif of isolation within the novel. Adelina is a young girl who is living a happy life, when suddenly a blood fever emerges and she becomes infected. Adelina survives but becomes a malfetto, causing her father to not love her anymore. Adelina despises her father, therefore, her bottled up hatres causes her to hate herself, which then leads to her isolation, “Perhaps I was as selfish as my father” (Lu 5), Marie Lu uses a simile to compare Adelina with her father and create an image in the reader’s mind. The reader associates Adelina’s acts with her father’s and learns her further hatred for her father. The use of the word “selfish” has a negative connotation to it which causes the reader to have a negative image of Adelina’s father, and it sets the hateful tone in Adelina’s narration. In The Catcher in the Rye, Holden is also a normal boy -like Adelina- who faces...
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...Catcher in the Rye Essay Innocence Themes in literary works are recurring, unifying subjects or ideas, motifs that allow us to understand more deeply the characters and their world. In The Catcher in the Rye, the major themes reflect the values and motivations of the characters. Some of these themes are outlined in the following sections. As its title indicates, the dominating theme of The Catcher in the Rye is the protection of innocence, especially of children. For most of the book, Holden sees this as a primary virtue. It is very closely related to his struggle against growing up. Holden's enemy is the adult world and the cruelty and artificiality that it entails. The people he admires all represent or protect innocence. He thinks of Jane Gallagher, for example, not as a maturing young woman but as the girl with whom he used to play checkers. He goes out of his way to tell us that he and Jane had no sexual relationship. Quite sweetly, they usually just held hands. Holden comforted Jane when she was distressed, and it bothers him that Jane may have been subjected to sexual advances from her drunken stepfather or from her date, Holden's roommate, Stradlater. Holden's secret goal is to be "the catcher in the rye." In this metaphor, he envisions a field of rye standing by a dangerous cliff. Children play in the field with joy and abandon. If they should come too close to the edge of the cliff, however, Holden is there to catch them. His attitude seems to shift near the end...
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...Multiple Critical Perspectives ™ Teaching J.D. Salinger's The Catcher in the Rye from Multiple Critical Perspectives by Stephanie Polukis ™ Multiple Critical Perspectives The Catcher in the Rye General Introduction to the Work Introduction to The Catcher in the Rye S ince The CaTCher in The rye was published in 1951, the book has received mixed reviews. While sev- eral critics commend Salinger’s thorough development of the narrator, the realistic use of vernacular in the narration, and the accurate portrayal of post-World War II teenage life, others feel that the novel is perverse and immoral. In fact, The Catcher in the Rye was on the public school’s banned book list for its use of profane language, depiction of underage drinking, and sexual allusions. However, regardless of the challenges to the novel, the book was a New York Times Bestseller for thirty weeks, and remains popular in the twenty-first century. While the novel in its present form is roughly 214 pages long, the story evolved from short stories published by J.D. Salinger in the 1940s. “I’m Crazy,” published by Collier’s magazine in 1945, developed into the conversation with Mr. Spencer in Chapter 2 and Holden’s visit to Phoebe in Chapters 22 and 23. While the story features Holden, the Spencers, and Phoebe, it also includes Jeanette—the housekeeper— and Viola—Holden’s youngest sister, who have both been omitted from the novel. Salinger’s “Slight Rebellion Off Madison...
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...What motif plays a crucial role in the novel and how is this motif significant? Thesis: In The Catcher in the Rye, the motif of Holden’s red hunting hat is mentioned through out the book and plays an important role because the hat helps him differentiate and alienate himself from society. Holden buys this hat he sees in a window of a sports store when he gets out of the subway. He says, “I put on this hat that I’d bought in New York that morning. It was this red hunting hat, with one of those very, very long peaks. The way I wore it, I swung the old peak way around to the back—very corny, I'll admit, but I liked it that way. I looked good in it that way. (17). Holden thinks the hat looks good on him but it really makes him look different...
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...Parjit Sigh Dhaliwal Mr. Mannello ENG3U0-I 2015-12-10 Donnie Darko and The Catcher in the Rye Comparative Essay: The Transition into the Adult World When one’s views contrast with those of society’s, a societal phenomenon of alienation occurs. Both, J.D Salinger’s novel, The Catcher in the Rye, and director Richard Kelly’s film, Donnie Darko, emphasise this estrangement by contextually presenting protagonists who suggest that teen discordance is universal due to their opposing collective perspectives. The book, The Catcher in the Rye, is about a young-adult’s three-day experience living in New York city after being kicked out of his school. The narrator, Holden Caulfield, recounts his experiences and interactions within those three days through thorough analyzation. The film, Donnie Darko, is about a teen, Donnie Darko, who is supernaturally transported to a tangent universe, guided by a ghost, Frank, in which his actions determine the future of the normal universe. In both the book and the novel, the ironic nature of societal seclusion being self-inflicted shown through the rejection of society by the protagonists themselves, both works are able to reinforce the universality of teen discord. Although there is trust to be found in adults, superficiality is present in the mass majority of the adult society. This phoniness amongst adults is present in both the book and the movie ultimately which contributes to the prevalence of distrust amongst the adolescent protagonists...
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...Sudesh Amyan Mr.Taylor ENG 3U1 05/14/12 Dealing with Change Everybody has a hard time dealing with change. It’s no joke. Some go to the extreme to try and not make things change; others just cannot accept that it happened, while some people choose not to move on from it. In J.D. Salinger’s The Catcher in the Rye the main character Holden Caulfield, a troubled young man, is going through a tough time in life where everything is moving so quickly. He cannot accept the fact that he is becoming an adult and needs to start behaving as well as act like one. He constantly wants to be treated like an adult, but never acts like one. The reason for this is because he does not want to let go of his childhood. Dealing with change has been the issue he cannot seem to conquer. There are various images, symbols, and motifs that Salinger used in the novel that helps the reader realize that Holden is going through a tough time in life and cannot handle the fast paced. Overall the main problem with Holden is his trouble with dealing with change. There are many images in the book that Salinger used to make the reader come to a conclusion that Holden is having a hard time dealing with change. The movie theater, the museum, and the carrousel are just a few that were used in the novel. The movie theater is a strong image because basically that is the place where Holden goes to get away from everything. The movie theater is a place where he can escape reality and just relax from the fast paced...
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...J.D. Salinger’s The Catcher in the Rye Life Doesn't Always go as Planned J.D Salinger’s 1951 novel The Catcher in the Rye, takes place in the late 1940s and is mainly about a pessimistic lethargic teenager that abhors almost everything revolving around him. The novel is a first person narrative, Holden Caulfield, is the indecisive teen that tells his story about a horrible weekend he once had and calls it “this madman stuff” (Salinger 1). His story begins at his high school Pency Prep in Agerstown, Pennsylvania which he just got kicked-out of for failing all his classes except English. Holden is supposed to arrive home days later, but he gets in an argument with his roommate Stradlater, and leaves to New York to stay at the Edmont hotel. He begins...
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...Cameron Fattore The Catcher in the Rye written by J.D. Salinger has many motifs that run through and play a big part in the novel. A very important motif would be Holden’s old time friend Jane. She runs through the story, yet Holden never talks to her. “[He] got old Jane Gallagher on the brain again” (76). Holden always thought about Jane. Holden and Jane had a lack of communication where they would never talk face to face. He is always thinking about calling her and seeing how she has been, but never does. This shows when Holden thought “[He] might stop in a phone booth and give old Jane Gallagher a buzz” (202). He then realized he wasn’t in the mood. Another motif would be Holden’s red hunting hat. One of the things his hat stood for was protection. “[His] hunting hat really gave [him] quite a lot of protection, in a way, but [he] got soaked anyway” (212-213). His hat gave a protection from reality as well. He could put it on and pretty much be in his own world. He would put his hat on whenever he wanted and feel comfortable with it. “That hat [he] bought had earlaps in it, and [he] put them on-[he] didn’t give a damn how [he] looked” (53). “[He] pulled the peak of [his] hunting hat around to the front all of a sudden, for a change” (34). He usually wore his hat backwards like a baseball player, but all of a sudden he got quite nervous and put it to the front. The ducks is an important motif in the novel. Holden was always wondering what happens to the ducks when...
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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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...Кухаренко В.А. Практикум з стилістики англійської мови: Підручник. – Вінниця. «Нова книга», 2000 - 160 с. CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Craphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement...
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...Кухаренко В. А. Практикум з стилістики англійської мови: Підручник. — Вінниця: Нова книга, 2000. — 160 с. Кухаренко Валерия Андреевна, д.ф.н., проф., кафедра лексикологии и стилистики английского языка факультетеа РГФ ОНУ им. И. И. Мечникова CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Graphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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...500 extraordinary islands G R E E N L A N D Beaufort Sea Baffin Bay vi Da i tra sS t a nm De it Stra rk Hudson Bay Gulf of Alaska Vancouver Portland C A N A D A Calgary Winnipeg Newfoundland Quebec Minneapolis UNITED STATES San Francisco Los Angeles San Diego Phoenix Dallas Ottawa Montreal ChicagoDetroitToronto Boston New York OF AMERICA Philadelphia Washington DC St. Louis Atlanta New Orleans Houston Monterrey NORTH AT L A N T I C OCEAN MEXICO Guadalajara Mexico City Gulf of Mexico Miami Havana CUBA GUATEMALA HONDURAS b e a n Sea EL SALVADOR NICARAGUA Managua BAHAMAS DOMINICAN REPUBLIC JAMAICA San Juan HAITI BELIZE C a r PUERTO RICO ib TRINIDAD & Caracas N TOBAGO A COSTA RICA IA M PANAMA VENEZUELA UYANRINA H GU C U G Medellín A PAC I F I C OCEAN Galapagos Islands COLOMBIA ECUADOR Bogotá Cali S FR EN Belém Recife Lima BR A Z I L PERU La Paz Brasélia Salvador Belo Horizonte Rio de Janeiro ~ Sao Paulo BOLIVIA PARAGUAY CHILE Cordoba Santiago Pôrto Alegre URUGUAY Montevideo Buenos Aires ARGENTINA FALKLAND/MALVINAS ISLANDS South Georgia extraordinary islands 1st Edition 500 By Julie Duchaine, Holly Hughes, Alexis Lipsitz Flippin, and Sylvie Murphy Contents Chapter 1 Beachcomber Islands . . . . . . . . . . . . . . . 1 Aquatic Playgrounds 2 Island Hopping the Turks & Caicos: Barefoot Luxury 12 Life’s a Beach 14 Unvarnished & Unspoiled 21 Sailing...
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