...been used as a means to describe or make a point to an audience. In American literature, the focus of these devices has become the use of language, aesthesis, truth, expression, fiction, and affectiveness. In Death of a Salesman, Arthur Miller’s stylistic devices convey not only bitter deception and bleak despair, but also hopeless despondency and forlorn anguish to display the realism and iniquity of the common man. As a representative form of American realism, Death of a Salesman portrays the use of language to convey a feeling of acrimony that demonstrates the relationship between the ideas of Willy Loman and the American common man. Willy Loman as the protagonist and the antagonist of his own story creates the sense of language that develops the idea of being “liked and you never will want” stating the façade of the Willy’s society (Miller 21). While communicated to the audience through a form of realism, his language functions as the crevice between the real and non-real. As development of language continues sometimes Willy Loman’s clichés “rise to the level of pure poetry” (Roudane 369). The use of language constructs poetic symbolism and closes the gap between non-realism and realism. Throughout the Adventures of Huckleberry Finn, Mark Twain utilizes a poignant sense of diction reciprocating the slang the common man used in the Antebellum South. The language exhibits the principles of Death of a Salesman in its acrimony and pain through Loman’s statement “a man is not...
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...inescapable problem is himself-what he would like to be, what he is, what he is not, and yet what he must live and die with.” –John Mason Brown (Brown 207) The Two Sides of America and Willy Loman America is a madman. America became a man who fell off his rocker and is free to roam the earth to disturb the minds of those who inhabit it. The American dream is often considered a fantasy by those who criticize it. Capitalism sometimes may not be all that it is cracked up to be when you get down in the dirt and start building. Even when you begin to believe you are moving forward you can be eternally unsure of the direction you are moving. At this point, the race to the top can drive you crazy. In Arthur Miller’s play A Death of a Salesman, the central character Willy Loman embodies the American dream and he is certainly mad. In the story, Willy works as a growing salesman who is getting older and tiring from travelling for work for small returns. His hard work goes unrewarded as each paycheck goes right into the house which always needs to be serviced and mended. This house as it gets to be paid off after 25 years finally becomes owned by the family who ironically may soon not live in the house together. Willy’s family consists of his humble and caring wife, Linda, and his two handsome and able-bodied sons Happy and Biff. The story centers around the external conflict of Willy pushing Biff to be what he wants him to be and Biff’s internal conflict of what it is he would like to do...
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...2014 | Death of a Salesman: Abandonment | | | Dr. Haim Ginott, a well-known child psychologist once said “Children are like wet cement. Whatever falls on them makes an impression.” An individual of young age is highly susceptible to their environment, especially to the first agent of socialization: family. Without the natural stimuli one gets at a young age from their parents, that allows growth and understanding of norms, people will have difficulty with many human functions that come normally to others. In particular children who have experienced the loss of a parent undergo such difficulties. They tend to feel abandoned and as a result carries this fear of abandonment throughout their lives; consequently affecting their ability to develop healthy relationships. Arthur Miller explores this theme of abandonment in his play Death of a Salesman through the life of William“Willy”Loman, using father-son relationships. The author demonstrates how an individual like Willy who was abandoned in the past has insecurities caused by such trauma, which can affect their future. At the tender age of 3, Willy and his older brother Ben were abandoned by their father, who had left for Alaska. Willy who was young at that time never had the chance to fully understand what a “father” actually was, as he didn’t know his own. In act 1, when Ben enters the scene the two brothers begin to reminisce about old times and Willy shows his curiosity and lack of knowledge about his father...
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...Through out the history of American society, and still today, many people live their lives solely in pursuit of achieving “the american dream”. This idea of chasing the “american dream” and the belief that one will only accomplish true happiness when in the midst of a life filled with complete success, is one often held and many times praised through out cultures. However, American Beauty by Alan Ball and Death of a Salesman by Arthur Miller shine the “american dream” in a different light. A crucial reality is revealed through these two films, they depict that actual joy in life is not achieved by being entirely successful or obtaining all of the material things that one could want but rather being content with the small pleasures in life....
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...and the American Dream in Arthur Miller’s Death of a Salesman Narcissism och den amerikanska drömmen i Arthur Millers en handelsresandes död. Fredrik Artan Faculty of Arts and Education Subject: English Points:15.0 Supervisor: Magnus Ullén Examiner: Anna Swärdh 2014-06-18 Serial number Abstract This essay focuses on the theme of the American Dream in relation to narcissism in Miller’s Death of a salesman. The purpose is to demonstrate that a close reading of the main protagonist, Willy Loman, suggests that his notion of success in relation to the American Dream can be regarded as narcissistic. This essay will examine this by first observing how Willy´s notion of success is represented in the play, then look at how his understanding of it can be viewed from a narcissistic standpoint. The results I have found in my analysis show that there is a connection between Willy’s understanding of success and his narcissistic behavior. He displays traits such as grandiosity, arrogance, need of specialness and denial of emotions. His relationship with other characters reveals his lack of empathy, manipulation and exploitation of others as well as his need of superiority and fear of inferiority. The conclusion is that Willy and his notion of success could be considered as narcissistic. Contents Introduction ................................................................................................................................................................1 The American Dream..........
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...DEATH OF A SALESMAN Study Guide for Teachers World-Class Theatre in the Heart of Vermont 703 Main Stre e t , W eston, V T 05161 www.westonplayhouse.o rg The Weston Playhouse Theatre Company The 2010 WPTC Teacher’s Workshop and the School Matinee and Touring Production is made possible in part by grants from: The Bay and Paul Foundations Mountain Room Foundation National Endowment for the Arts The Shubert Foundation The Vermont Country Store and The Orton Family Vermont Humanities Council and the National Endowment for the Humanities With additional contributions from: Black River Produce Berkshire Bank Clark’s Quality Foods Price Chopper’s Golub Foundation Ezra Jack Keats Foundation Okemo Mountain Resort Thrifty Attic …and an ever growing family of individuals who believe in the impact that the performing arts can have on its community. This Teachers Study Guide was compiled and edited by Rena Murman. Credit and thanks to the following theatres for materials used or referenced from study guides created for Death of a Salesman: Guthrie Theatre, Minneapolis, MN; Kennedy Center, Washington, DC; Lyric Theatre, London; Royal Lyceum Theatre Company, Edinburgh; Yale Repertory Theatre, New Haven, CT. © 2010 Weston Playhouse Theatre Company, a nonprofit 501(c)(3) educational and cultural institution. WPTC Performance Guides may be duplicated at no charge for educational purposes only. They may not be sold or used in other publications without the express written consent...
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...How does Miller convey Linda’s complicity in the tragedy and in the patterns of self-delusion? In ‘Death of a Salesman’ Miller writes Linda’s situation as being one of an exceptionally difficult and intractable nature; we see that she is aware of Willy’s suicidal tendencies as well as his financial issues and yet keeps them to herself. Stuck in an invariably volatile relationship, Linda is shown to be doing her best for her husband and sons, yet struggles with the burden of responsibility. She seeks solace in what she deems to be the only way possible; almost by ignoring the problem rather than confront them. Whilst some may denounce Linda as a form of tragic villain, it seems more fitting to view her as a victim of circumstance, her failings in aiding Willy derived only from her well-intentioned yet misguided attempts to be there for him. ‘You’re my foundation and my support,” Willy tells Linda, only highlighting Linda’s profound devotion to him despite everything. Willy needs Linda to stay sane- she provides stability to his otherwise uncertain state. It would be expected then that Willy would pay Linda the utmost respect and reciprocal love, but we find this not to be the case; instead Willy treats her rather cruelly and even cheats on her. Why then does Linda stay with him? The answer is clear: she loves Willy unconditionally. Linda believes and supports Willy’s dreams to a great extent, even talking him out of the opportunity his brother Ben offered him in Alaska, choosing...
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...Final Project Final Project Hello! I hope this note finds you well. If you have unearthed this time capsule in the distant future, then times have absolutely changed. It is my objective to enlighten you to a couple of of the things that this humanity has discovered to be significant and to give you an concept of what life was like in the year 2011. In the time time span that I am composing this, numerous persons are very cognizant of their wellbeing, and I am no exception. Every forenoon, I awaken up at 5am to exercise. This encompasses not less than 45 minutes of cardiovascular workout and heaviness training. This assists me to organise my engaged work week and give me the power to join categories at night. At present, I work as a task coordinator in the Informational Technology field. During my day, my job comprises of coordinating job location setups for job trailers and considering with mesh management and demands for my company’s nine agencies that are established all through the U.S. Although this can be time spending, I relish it and find that the busier I am, the more creative I will be. Once my workweek is over, although, I spend my time playing golf, paintball or softball. The more hardworking I can be on the weekends, the better individual I am at work and at home. Staying fit assists me to find a affirmative balance in my life that I could not manage without. In 2011, times are very unsure, and I genuinely wish that this note will be read in more affirmative...
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...in reality. Elements of fantasy are used in It’s a Wonderful Life to convey themes and create an interesting structure which amplifies these themes, ultimately winning the hearts of the American people. The genre of fantasy allows you to escape reality and lets your imagination ignite a world in which you have not seen before. In the film there are elements such as a parallel world, flashbacks, an overall fight of good versus evil, control the playback of reality, guardian angels, an attempt to complete a goal, and later an effort to ‘save a community’. In It’s a Wonderful Life director Frank Capra illustrates many elements of fantasy, in which is pulls you into a new world, constructed by imagination. The opening credits, which are illustrated on a story book, are where the ‘fairy-tale’ and fantasy mixture begins. As the first scene opens the town sign is covered in snow, as well as the ground, indicting a Wintery Wonderland, as the camera scans to the town of Bedford Falls. Capra demonstrates the typical small town, the snow covered ground, lights stung in the trees lining the sidewalks, and specialty shops. Even though it looks and seems completely normal you will still have the feeling of an imaginary or fantasy land. The film begins in the present time; the year is 1945 on Christmas Eve. Voiceovers occur, praying for George Bailey. After hearing such prayers, we see a star-filled sky, and what seems to be ‘constellations’ beam with light, and they begin to talk...
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...The adjective “post colonial” signifies the notion that the novel or be it any piece of writing for that matter, goes beyond every possible parameters of the locality, region and nation to participate in the global scenario today which is an aftermath of European colonization. The God of Small Things written in the post colonial Anglophone by Arundhati Roy does reveal a decisive post colonial condition; through its dialogues, characters and various events and instances it encompass. Ms Roy refers to the metaphor “the heart of darkness” in the novel which is a sort of ridiculous reference to Conrad’s novel the heart of darkness. She says that, “in Ayemenem, in the heart of darkness, I talk not about the White man, but about the Darkness, about what the Darkness is about.” (Frontline, August 8, 1997). The God of Small Things tells the story of one family in the town of Ayemenem in Kerala, India. The temporal setting shifts back and forth from 1969, when Rahel and Estha, a set of fraternal twins are 7 years old, to 1993, when the twins are reunited at age 31. The novel begins with Rahel returning to her childhood home in Ayemenem, India, to see her twin brother Estha, who has been sent to Ayemenem by their father. Events flash back to Rahel and Estha’s birth and the period before their mother Ammu divorced their father. Then the narrator describes the funeral of Sophie Mol, Rahel and Estha’s cousin, and the point after the funeral when Ammu went to the police...
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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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...Excerpts from On Writing Well William Zinsser New York, Harper, 1998, Chapters 2 through 4 2. Simplicity Clutter is the disease of American writing. We are a society strangling in unnecessary words, circular constructions, pompous frills and meaningless jargon. Who can understand the viscous language of everyday American commerce and enterprise: the business letter, the interoffice memo, the corporation report, the notice from the bank explaining its latest "simplified" statement? What member of an insurance or medical plan can decipher the brochure that tells him what his costs and benefits are? What father or mother can put together a child's toy—on Christmas Eve or any other eve—from the instructions on the box? Our national tendency is to inflate and thereby sound important. The airline pilot who announces that he is presently anticipating experiencing considerable precipitation wouldn't dream of saying that it may rain. The sentence is too simple—there must be something wrong with it. But the secret of good writing is to strip every sentence to its cleanest components. Every word that serves no function, every long word that could be a short word, every adverb that carries the same meaning that's already in the verb, every passive construction that leaves the reader unsure of who is doing what—these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur, ironically, in proportion to education and rank. During the late 1960s...
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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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...Northup Table of Contents SYNOPSIS......................................................................................................................................3 ABOUT THE AUTHOR...............................................................................................................3 INTRODUCTION TO THE STUDY GUIDE............................................................................3 MEETING COMMON CORE STANDARDS.............................................................3 THE SLAVE NARRATIVE GENRE...............................................................................3 HISTORICAL OVERVIEW..........................................................................................................4 DURING READING.....................................................................................................................6 SYNTHESIZING DISCUSSION QUESTIONS.......................................................................9 ENRICHMENT ACTIVITIES.......................................................................................................9 ACTIVITIES FOR USING THE FILM ADAPTATION........................................................ 11 ADDITIONAL RESOURCES................................................................................................... 13 ABOUT THE AUTHORS OF THIS GUIDE.......................................................................... 13 Also available in a black-spine Penguin Classics edition Copyright...
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...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 while staying in the third person. Gustave Flaubert pioneered this style in Madame...
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