...useful tool”. The liar is able to take advantage of the innocent due to the exchange of trust. In Edgar Allen Poe’s short story “The Cask of Amontillado,” Montresor yearns to wreak vengeance on Fortunato. Montresor utilizes Fortunato’s trust to get what he wants. In “The Cask of Amontillado,” Edgar Allen Poe parallels King’s theme, through dramatic irony and the climax, that once trust has been gained, the bad qualities in a person are much less noticeable. One way Edgar Allen Poe emphasizes that the establishment of trust masks lunacy through the use of dramatic...
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...Seeing Poe’s Struggle with Alcoholism through his Stories “The Cask of Amontillado” and “The Black Cat” Jen Andalou Edgar Allen Poe’s stories “The Black Cat” and “The Cask of Amontillado” are among his most popular. Both of these stories can be read on several different levels causing everyone who reads them to come up with a totally different interpretations, yet none of the interpretations I have read seem satisfying. The two stories at first seem simple enough, with “The Black Cat” reading as a darker version of “The Telltale Heart”, this time with the conscience given a physical form, and “The Cask of Amontillado” as a chilling tale of revenge exacted told as a deathbed confession. Yet these simple interpretations leave too many questions. Many reviewers unfairly single Poe’s works out as coming directly from his subconscious, ignoring not only how carefully Poe chose his words and phrases but also the sources that inspired the stories (E A Poe Society, “Autobiography”). That being said, I think Poe did deliberately use his stories as a kind of self-therapy thus revealing at least a little about himself. A large constant in Poe’s life was his fight with alcohol, which made itself known in his writing in many ways. The main theme of Edgar Allen Poe’s stories “The Black Cat” and “The Cask of Amontillado” centers on the narrators’ attempts to wall off, or suppress, his alcoholism, with the narrator succeeding over alcoholism in “The Cask of Amontillado”...
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...The Tell-Tale Heart Q. Choose a novel or a short story in which the author creates a fascinating character. By referring to appropriate techniques, show how the author has created this character and why you found him/her so interesting. Among the many strange and complex short stories by Edgar Allen Poe, ‘The Tell-Tale Heart’ has come to be known as one of the most mysterious and psychologically intriguing. The story contains a fascinating character in form of the narrator, which is explored through Poe’s use of word choice, irony, and alliteration, as well as many other thought provoking techniques. The story as a whole explores the themes of perception versus reality, and the question of whether the evil within is worse than the evil without, and Poe delves into these themes using the character he has created to narrate the story. The story follows the murder of an old man and its aftermath, the story told with what seems like dazzling clarity on behalf of the narrator, obscuring the meaning of the act and calling the emotional stability of the unnamed, assumed male, narrator into question. In the very first sentence of the story, Poe introduces irony to draw in the reader, and leaves the beginning purposefully ambiguous to cause intrigue towards the narrator. “TRUE! – nervous – very, very dreadfully nervous I had been, and am; but why will you say that I am mad?” By starting the sentence with the word ‘true’, Poe leads us to believe what we read next will be some sort...
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...best served cold”. This is a quote I am sure Edgar Allen Poe has herd after reading his short story “The Cask of Amontillado”. “The Cask of Amontillado” is the story of man, Montresor, and his brutal revenge against his former friend, Fortunato, who had insulted him. Poe’s story is riddled with examples of dramatic, verbal and situational irony which highlight the brutal revenge and brings humor into the story. Dramatic irony occurs when the reader knows something that one of the characters does not. Such is the case in “The Cask of Amontillado” as the story begins with Montresor stating “The thousand injuries of Fortunato I had borne as I best could; but when he ventured upon insult, I vowed revenge”(510). This statement sets up dramatic irony throughout the story as the reader knows Montresor has sworn revenge on Forunato, while Fortunato believes they are still friends. This irony is evident through the whole story as Montresor pretends to be friends luring Fortunato to his cellar where he would eventually trap and kill him. The irony enhances the brutality of the murder as the reader knows throughout Montresor is planning some revenge while Fortunato believes he is going to sample his friends wine. Secondly Poe weaves verbal irony, a statement in which the meaning that a speaker employs is sharply different from the meaning that is ostensibly expressed, throughout to add humor to the story. The story is filled with verbal irony as Montresor is planning on killing Fortunato...
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...family. Authors and poets used this guaranteed death sentence as inspiration and motivation to spawn some of the great literary works that have lasted the test of time. Poems, books, and operas all found roots in the use of consumption with metaphors, symbols, and images; defining a horrific and dramatic death, reversing it into the personification of beauty and grace. This paper examines consumption as it converges on the minds and pens of 19th century authors. The Art of Death: Consumption in the 19th Century Consumption in the 19th century was a widely misunderstood illness that by its very nature created some of the most dramatic writings. Poets, authors, and playwrights alike all used consumption as a form of expression in their writings. They found a certain dignity within the disease that probably affected everybody in one fashion or another. Poets like Edgar Allen Poe and Henry David Thoreau were influenced by the people in their lives that were close to them who contracted the disease. Others, like John Keats and RL Stevenson, had a direct connection as they themselves dealt with the deadly, predetermined path on which they must walk. Authors Victor Hugo, Puccini, and Verdi all used consumption as a catalyst to some greater, higher meaning in their stories. It was delicately embellished in some writings, while others it was shown with deep, dark metaphors. “Consumption was the leading cause of death in the 19th century, a scourge that affected men, women, and children...
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...The Theme of Perversity in Edgar Allen Poe’s The Black Cat ENG 201 American Literature to 1865 2/28/2012 The Black Cat is a tale that leaves the reader somewhat perplexed. It certainly contains all the ingredients necessary to satisfy the appetite of any Poe enthusiast - an enigmatic narrator, alcohol and the effects thereof, mutilation, strangulation, murder, putrefaction, and, last but not least, one of Poe's slight (but recurring) obsessions, perversity - but we are left wondering whether the tale really amounts to anything much at all. One could almost split this short story into two halves: one that contains a couple of ideas worth considering; and another that simply indulges briefly in an unlikely plot before grinding to a predictable halt. Even the worst of Poe is, thanks to the very nature of the man, worthy of our interest and consideration. This paper will analyze one of Poe's recurrent themes as his stories often explore the determination of man's most twisted minds. The underlying theme of perversity in Poe’s The Black Cat, is evident in several different instances and levels of intensity. The dark tale starts out normal enough…for Poe anyways. The narrator and his wife own several pets. Among them is large black cat named Pluto. Pluto become an adversary to the narrator after, one day, in a drunken rage, the narrator blinds Pluto in one eye, and then hangs the cat from a tree. Mysteriously, the house burns to the ground, leaving a silhouetted mark of...
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...heads with the mysteries of sadomasochistic attraction” Angela Carter; Foreword to Perrault’s Short Stories. In much of today’s feminist writings, the Gothic era is frequently defined as a period in which the oppression of females was at its most intense. In response to fin de siècle anxieties of a social revolution in which gender stereotypes could be overhauled, gothic writers, it is claimed, sought to reassert cultural and gender norms – a reassertion which inevitably resulted in the oppression of women. In view of such contemporary analysis, it is thus all too tempting to offer a sweeping judgement of gothic literature as victimising, oppressive and misogynistic; Dracula’s “victims” are all “unambiguously women[1]”, Poe victimises through an “idealised and dehumanising image of women[2]”, while Carter is a “pseudo feminist” who merely “reinforces patriarchal views” with her “pornographic” writing[3]. Yet such views are largely artificial, and are primarily based on potted summaries of the above works, rather than a closer textual analysis. If one takes the definition of a victim as a being who is subject to the successful predatory actions of another, and who is resultantly devoid of power[4], then such primitive analysis in blindly labelling “all women as victims of the beastly male[5]” becomes flawed. Read in the context of Carter’s ironic foreword[6] to Perrault’s Short Stories, a deeper exploration reveals women as being willingly complicit in adopting the role of victim...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...The Gift of the Magi Themes Love "Gift of the Magi" is the story of a poor, young couple whose love for each other is the most important thing in their lives. Such is their love that they're led to sacrifice their most valuable possessions to find Christmas gifts for each other. The warm home they make together contrasts with the drabness of their poverty and the dreary world outside. Their love seems to know no bounds, though Della (the wife) worries about how her sacrifice will affect her husband because of how it affects her looks. If ever there were a story with the message that all you need to be happy is love, this is it. Sacrifice The two main characters in "Gift of the Magi" are a husband and wife who give up their most precious possessions to be able to afford gifts for each other on Christmas Eve. The story seems to be all about sacrifice. We watch Della go through the process of deciding to make the sacrifice and going through with it, only to discover that her husband has made the same sacrifice. The story's narrator assures us that in their willingness to give up all they have, they have proven themselves the wisest of all gift-givers. It might remain unclear, though, exactly what their sacrifice has accomplished, or how it has affected them. Wealth In many ways, "Gift of the Magi" is a story about what it means for something to be valuable. Does something's value lie in how much money it is worth? Or are other things more valuable than money? The main characters...
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...A very basic way of thinking about literary theory is that these ideas act as different lenses critics use to view and talk about art, literature, and even culture. These different lenses allow critics to consider works of art based on certain assumptions within that school of theory. The different lenses also allow critics to focus on particular aspects of a work they consider important. For example, if a critic is working with certain Marxist theories, s/he might focus on how the characters in a story interact based on their economic situation. If a critic is working with post-colonial theories, s/he might consider the same story but look at how characters from colonial powers (Britain, France, and even America) treat characters from, say, Africa or the Caribbean. Hopefully, after reading through and working with the resources in this area of the OWL, literary theory will become a little easier to understand and use. Disclaimer Please note that the schools of literary criticism and their explanations included here are by no means the only ways of distinguishing these separate areas of theory. Indeed, many critics use tools from two or more schools in their work. Some would define differently or greatly expand the (very) general statements given here. Our explanations are meant only as starting places for your own investigation into literary theory. We encourage you to use the list of scholars and works provided for each school to further your understanding of these theories...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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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...
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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...
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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...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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