...in this novel “links” between his art and his life. The New York Times selected the book The Things They Caried as one of the best works of war fiction for the year, and Chicago Tribute awarded the novel its Heartland Prize. According to O'Brien, in using these interrelated sections of facts, story, confession, commentary, and narration of other people's experiences, he forced himself to invent a new form that blurs the boundaries between fact and fiction, short story and novel, memory and imagination. Tim O’Brien, who describes himself as “strict realist”, who dismisses critics labels of “surrealist” or “magical realist”, but admit, that he is “war writer”. Tim O’Brien uses a mixture of facts and fictions (truth and reality) to reveal the complexities of war. Tim O’Brien mixes truth and fiction in his stories. O’Brien explores the way stories are told throughout his work . In his stories he demonstrate the way truth always seems to be around the next story. Tim O’Brien himself revised his stories. In his novel are revision, after revision of what could happened, what might have happened, what did happened and what did not happened. The things they carried as a complete work is different from reading the stories. O’Brien calls the book simply “A Work of Fiction” One of the main characters Rat Kiley, often tells stories, and it is hard to know whether they happened or...
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...Before the United States became militarily involved in defending the sovereignty of South Vietnam, it had to, as one historian recently put it, "invent" the country and the political issues at stake there. The Vietnam War was in many ways a wild and terrible work of fiction written by some dangerous and frightening story tellers. First the United States decided what constituted good and evil, right and wrong, civilized and uncivilized, freedom and oppression for Vietnam, according to American standards; then it traveled the long physical distance to Vietnam and attempted to make its own notions about these things clear to the Vietnamese people—ultimately by brute, technological force. For the U.S. military and government, the Vietnam that they had in effect invented became fact. For the soldiers that the government then sent there, however, the facts that their government had created about who was the enemy, what were the issues, and how the war was to be won were quickly overshadowed by a world of uncertainty. Ultimately, trying to stay alive long enough to return home in one piece was the only thing that made any sense to them. As David Halberstam puts it in his novel, One Very Hot Day, the only fact of which an American soldier in Vietnam could be certain was that "yes was no longer yes, no was no longer no, maybe was more certainly maybe." Almost all of the literature on the war, both fictional and nonfictional, makes clear that the only certain thing during the Vietnam War...
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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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...Women, Romance Novels and Shame Mac H English Composition 111 22 March 2013 Introduction “Bodice-ripper”, “trashy books”, “porn for women”, these are just some of the derogatory terms used to describe romance novels. The romance genre has maintained a steady popularity among women for many decades. Afraid of women gaining power in any form, they were labeled sub par literature by a male dominated social and literary culture. This anthology will attempt to answer the question of why women who read romance novels are ashamed of their choice or reading material and why these books are vilified in the literary world. Previous generations established a woman’s place as a mother and homemaker no matter her social status. This fear of women wielding more knowledge and power through reading was born because the women depicted in romance novels were independent and free of the sexual, social, and financial constraints that a patriarchal society placed on them. Although romance novels do not come to mind when literature is discussed, if you listen carefully you will realize they are actually the subtle battle cry of the feminist movement. Romance novels fly high the flag of feminism; they are the drumbeat swelling the dynamic purposefulness of women who read them. Nevertheless, the genre is covered in a layer of disdain and scorn and women are made to feel ashamed of reading such literature. The stigma attached to these books suggest that anyone who reads them...
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...The story is about Pecola, a young black girl ostracized by society, who is never able to tell her story, she is silenced by the society which marginalized her. This narrative, especially the seasonal sections written as “the diary,” finally gives “a voice to the voiceless” (Malmgren 155). This is the essential point to most Post Modern novels, representing those who were normally forgotten by literature and history, Malmgren argues that the use of multiple narrators brings this issue to life; this is why Pecola never really gets a chance to tell her own story, it is told for her by those around her, because that how history has been written, by those who are remembered, those who are important enough to be...
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...documentary by Federico Fellini that was commissioned by RAI, an Italian television broadcast service, to discover the public’s fascination with the circus. In true Fellini fashion, however, the film is not a true documentary, it blends elements of fantasy, memory and reality together in such a way that it makes it difficult for the audience to decipher whether they are watching a work of pure fiction or the truth of a documentary. It is for this reason that I Clowns has been credited as being one of the first mockumentaries in film history. Fellini created one of his most Felliniesque works and made his artistic style noticeable particularly in I Clowns by focusing on the circus and employing a wide variety of common motifs and stylistic technique. Clowns and circuses have famously been a common, reoccurring subject in many of Fellini’s films. This film is Fellini’s exploration of his personal obsession and it was made in an attempt to discover the public’s changing interest in the circus. Unable or unwilling to merely stick to facts and make a true documentary, Fellini melds fact, fiction and his memories to create something unique and distinct within this movie all together and is considered one of the first mockumentaries. A young boy in Rimini in the opening sequence of the film is intended to be autobiographical of Fellini’s youth and modeled after his own memories. I Clowns could be recognized as Fellini’s love letter to the circus because despite the fact that a person...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History ...
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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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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History ...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History ...
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...Compare and Contrast American Psycho by Bret Easton Ellis and The Remains of the Day by Kazuo Ishiguro focussing on the topic of the unreliable narrator The unreliable narrator is a technique used by authors where a scenario is created in which the reader cannot trust the narration of the book usually done in the first person. In American psycho, Ellis explores the sinister nature of Wall Street yuppie culture by examining the sanity of the narrating protagonist Patrick Bateman using the unreliable narrator. Ishiguro also uses this, exploring ideas of regret and also self-justification in the character of Mr Stevens in The Remains of the Day. Unlike Ellis who examines Bateman during his early working years, in his mid-twenties and presenting a snapshot of his life, Ishiguro uses his take on the unreliable narrator to look at Stevens towards the end of his life using a series of flashbacks narrated unreliably, by Stevens. Both novels are comparable in the sense they examine the topic of failure using unreliable narrators that will do anything to escape the idea that they are failures. A popular debate regarding American Psycho is whether Patrick Bateman is a murderer or not, certainly Bateman describes in detail of murders he commits and why he commits them, however, certain factors bring Bateman’s reliability of narration into question. Bruno Zerweck argues that due to the lack of ‘detective framework’ and ‘unintentional self-incrimination’ the narration of the novel is...
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...In Harold Ramis’s film, “Groundhog Day” and Franz Kafka’s story, “The Metamorphosis”, both main characters are faced with a life-changing event because of the way they live their lives. In Groundhog Day the main character Phil is an arrogant, sarcastic weatherman absorbed in his own discomforts, without hope, and cut off from other people. He is forced to relive the same day, groundhogs day, over and over again. In “The Metamorphosis the main character is Gregor Samsa, a man who spends his time working to pay off a debt for his father. Gregor wakes up to find that he has turned into a beetle. Throughout these two works the main characters try to go back to living their life as before not realizing that this is their second chance at life to make things right. Phil manages to do so only by breaking through and becoming a person of intimacy, creativity and compassion which sets him free from his exile of living in the same day over and over again. As for Gregor, going from someone everyone depends on to something no one wants to care for, he doesn’t get a chance to have everything go back to normal. He dies and his family, for once, is relieved. Groundhog Day lets us experience what it would be like to make a breakthrough like this in our own lives. The movie shows us a character that is like the worst in ourselves. Like us, he finds himself in an inexplicable situation, something like fate. But, unlike us, he gets the luxury of being stuck in the same day until he gets it right...
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...Treatment of time in Mrs Dalloway. In 1925 Virginia Woolf’s novel Mrs Dalloway was published. Virginia Woolf wrote Mrs Dalloway about the perambulations of a middle aged woman on a sunny June day in London, and it became one of the main Modernist classics. One of the most prominent themes in Mrs Dalloway is time and the distinction between two types of time. The clock measures time, but on the other hand time is represented by the duration of experiences as the human consciousness registers them. The time told by the timepiece of the mind is called psychological time, a term taken from the philosopher Henri Bergson. There are two different types of time: the time the clock tells and time in the human mind. These two types of time have distinct characteristics, which clearly separate one from the other. Clock time governs the relentless progress of life, ordering events in a chronological, linear sequence according to when they happened in time. It is what history is made of. Minutes, hours, days, weeks, years and centuries are all indicators of clock time. The other type of time is the temporal experience in the human mind: it is flexible; it is constantly in flux and can be compressed or extended. A period that is compressed in the mind seems to pass very quickly in comparison to clock time: an event took more clock time than the human mind perceived. When time is extended, the actual time span of an event was much shorter that experienced. Time on the mind is also referred...
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...Essentials: World Fiction) Naomi is an ironic account of a seemingly proper gentleman in his mid-twenties who meets a young girl named Naomi, who is working as a waitress in a cafe. The story is told by its protagonist, Joji Kawai. Fascinated by her Western-sounding name and her sensuous beauty, which reminds him of American silent film star Mary Pickford (highly popular in Japan in the 1920’s), Joji decides that he intends to marry Naomi; soon he falls into a Pygmalion-like relationship as he attempts to tame this selfish and willful creature. Joji gives Naomi money for English and voice lessons, only to learn that she is less talented than he had first supposed. She refuses to do any work in the house, buys extravagant clothes, and manipulates Joji into borrowing money under false pretenses from his doting mother, who lives in the country. Naomi next takes up Western dancing and forces Joji to accompany her to her lessons and to Tokyo dance halls. There he realizes that she has developed a whole coterie of younger male friends unknown to him. The young student Kumagai in particular speaks with Naomi in a fashion which suggests that they have been intimate. Joji’s illusions shatter; his work suffers, and he begins to lose control of himself. At Naomi’s suggestion, Joji decides to rent a cottage for the summer in the resort town of Kamakura, south of Tokyo. He commutes from there to his job in Tokyo. Naomi seems happy with this arrangement, but Joji learns one evening that she has been...
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...The history of anime extends all the way back to early 20th century Japan with the success of the first commercial animated film, 1917’s Imokawa Mukuzo, The Janitor. Since then, anime has evolved into a worldwide phenomenom with numerous franchises and large fan bases. Among them is AKIRA, a cult classic film revered as the “quintessential anime” and one of the best anime and science fiction films of all time. Initially created by Katsuhiro Otomo as a manga in 1982, the first half of AKIRA was later adapted into a feature film in 1988. The film has since opened the eyes to what filmmaking, art and storytelling could be in anime like Hayao Miyazaki’s Spirited Away and it demonstrates truth behind its gruesome reality like in Fernando Meirelles’...
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