...subway is like a robot monster – people = prisoners Problems: Narrator vs. The Others White jewish vs. the blacks Middleclass vs. workingclass Observing vs. passive/alienated Feels as a stranger in the subway vs. accepting The ride is a development for the narrator. Tunnel: Transformation – at the end she’ll see the light Subconscious – underbevidsthed New journalisme or Narrative Journalism: Began in 1960’s by American journalists. Combines journalism (facts, research and relevance) and literature (identification, excitement and presence). = New type of communication (from writer to reader). NJ can facilitate knowledge and messages different from other genres. It’s not passing on abstract knowledge and messages, but a concrete style concrete people and concrete situations. The writer is the main character in his own article and describes the scenario as if it was a short story. He wants to give the reader information and an experience. This genre is criticized in Denmark, because journalists see it as a showdown between NJ and ordinary neutral journalism. A NJ article is: 1) Dramatically composition as in fiction. (NEEDS EXAMPLE!) 2) Characters get to express a subjective point of view. The description of people is allowed to fill more than the statement of the chase (NEEDS EXAMPLE!) 3) Scenic setup and dominating dialog (NEEDS EXAMPLE!) City of Orgies (p. 17): About being alienated Communication doesn’t have to be verbal. ”A Ride on the...
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...will, choice, and personal responsibility. Hamlet is an existentialist character who believes that he is forced to avenge his father’s death and the hatred builds in his heart because of the many betrayals which direct him towards a senseless life and constant thoughts about suicide; this ultimately leads to his demise and he is left with naught.... [tags: Existentialism] 872 words (2.5 pages) $14.95 [preview] Life Value vs. Existentialism in Grendel - A main theme in John Gardner’s Grendel, is the constant competition of the ideas of meaning in life versus existentialism. Throughout the novel, Grendel makes a steady spiritual decay to the point of denying any value or significance in life itself. He believes the world is nothing more than “a mechanical chaos of casual, brute enmity on which we stupidly impose our hopes and fears”(16). This progression starts at a young age, and...
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...Todays modern age is apprehensive only with facts, yet facts can be a double edged sword when it comes to the human person. For people seem to be only interested in the biography of an artist rather than the statement he or she has contributed to the literary world. Sherman Joseph Alexie, notes this idea in an interview with Mr.Moyers when being prompted about developing great work. For in his words, “truly great work comes from an artist who is in a manic and or depressed state of being” (Sherman Alexie). This is where Alexie sees himself creating his best works because a surge of emotions rises up and write themselves out in his clinically diagnosed manic depression. Through his works, he “challenges and explodes” the common ideology of Native...
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...of metafiction, literary works address the devices of fiction to uncover the fictional illusion. Sometimes these works have a voice interacting within the world or review a contemplation of thought. Some works utilize different scenarios to emphasize metafiction such as; a reader reading a literary work, an author writing a literary work, or a narrator intentionally exposing him or herself as the author of the story. These works could also address the specific conventions of story, such as title, character conventions, paragraphing or plots. The various ways of creating a metafictional work is meant to capture the reader by making them aware that the story being told is made up, preventing a connection to their reality. One must question how do readers respond to the metafictional work? Can this response change when a different media is being used? These questions must be evaluated first in order for the metafictional to be comprehended in the second reaction. After the reader has had time to pose certain questions it will help them understand the work of leiterature. Using reader’s reactions to Beckett’s “A Text for Nothing, Number 4,” “The Magic Poker” by Robert Coover and Virginia Woolf’s Orlando , we can evaluate the responses to these works and acceptance of the evident fictional world. In the first round of reading Samuel Beckett’s “A Text for Nothing, Number 4,” the reader might start off with more questions than answers. In the beginning the narrator asks himself personal...
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...Free Essays Unrated Essays Better Essays Stronger Essays Powerful Essays Term Papers Research Papers Privacy Our Guarantee Popular Essays Excellent Essays Free Essays A-F Free Essays G-L Free Essays M-Q Free Essays R-Z Essay Topics Plagiarism Donate a Paper View Cart / Checkout Related Essays - Use of Theme, Setting, and Time in Ibsen's Hedda Gabler - Use of Theme, Setting, and Time in Hedda Gabler Hedda Gabler, by Henrik Ibsen, is a work about a woman who manipulates the fates of others in order to fulfill her own desires. The title character...[ view ] - Pursuit of Freedom Depicted in Henrik Ibsen’s Hedda Gabler and Albert Camus’ The Stranger - One’s own Freedom is what one desires to control the most in life. Yet in both Henrik Ibsen’s Hedda Gabler and Albert Camus’ The Stranger, Hedda and Meursault do not have this influence over themselve...[ view ] A Psychoanalytic Reading of Hedda Gabler Rate This Paper: 1 2 3 4 5 Submit Length: 786 words (2.2 double-spaced pages) Rating: Red (FREE) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - A Psychoanalytic Reading of Hedda Gabler Attempting a psychoanalytic reading of a given text is a bit like attempting to understand a city by examining its sewer system: helpful, yet limited. There are several reasons for using psychoanalysis as a critical literary theory; the critic might be interested in gleaning some sort of subconscious authorial...
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...Jonathan Broadie Mr. Hurley Eng 131 26 Oct 2014 Sacrificing Happiness As Ursula LeGuin emphasizes in “The Ones Who Walk Away from Omelas”, happiness is about perspective. This perspective differs between those who seek it, as do the lengths that people are willing to go to achieve their version of happiness. People often argue the moral boundary of sacrificing the well-being of few for the well-being of many. In LeGuin’s story a utopia exists. The people that inhabit it experience true happiness. Their happiness comes with a price that the inhabitants are informed of between eight and twelve years old. Locked in a cupboard is a child who has to suffer in order to maintain the town’s perfect atmosphere. This is an extreme example of people sacrificing the well-being of few, or even one, for the happiness of many. A more realistic example comes from Kate Chopin’s “The Storm”. Chopin’s story involves a wife, a seemingly loving husband, and a young son in the 1800s. A storm hits and while the wife is safe at home, the husband and son are at a store and must remain there until it passes. A former lover of the wife is nearby when the storm hits and must take shelter at her home. Then story turns very intimate as the wife and the man from her past experience sensual tension while waiting out the storm. When the skies calm, the man leaves and shortly after, the husband and son return home and life continues as if nothing ever occurred. The wife, Calixta, jeopardized...
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...most plausible theory present. Estorick, a prominent scholar in this discipline, contends that the type of literature present in a society is ultimately reflects the type of ideology that society embraces in Literature and Democracy. Estorick discusses the evolution of muckraking literature into reform literature. Upon analyzing the social conditions of the day, Estorick draws a connection between reform literature, through which we expose problems in society, and democracy. He contends that such literature is "impossible to conceive" except in a democracy; he states the literature of fascist countries, for example, must be a “literature of conformity, which may account for the fact that German literature, with the exception of the exiled writers, is apparently nonexistent, and that Italian literature finds its...
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...Biography of Nick Joaquín (1917-2004) Posted on September 15, 2010 by Pepe Nicomedes "Nick" Joaquín This is the best biography of Nick that I’ve encountered so far… The 1996 Ramón Magsaysay Award for Journalism, Literature and Creative Communication Arts BIOGRAPHY of Nick Joaquín Resil B. Mojares He was the greatest Filipino writer of his generation. Over six decades and a half, he produced a body of work unmatched in richness and range by any of his contemporaries. Living a life wholly devoted to the craft of conjuring a world through words, he was the writer’s writer. In the passion with which he embraced his country’s manifold being, he was his people’s writer as well. Nick Joaquín was born in the old district of Pacò in Manila, Philippines, on September 15, 1917, the feast day of Saint Nicomedes, a protomartyr of Rome, after whom he took his baptismal name. He was born to a home deeply Catholic, educated, and prosperous. His father, Leocadio Joaquín, was a person of some prominence. Leocadio was a procurador (attorney) in the Court of First Instance of Laguna, where he met and married his first wife, at the time of the Philippine Revolution. He shortly joined the insurrection, had the rank of colonel, and was wounded in action. When the hostilities ceased and the country came under American rule, he built a successful practice in law. Around 1906, after the death of his first wife, he married Salomé Márquez, Nick’s mother. A friend of General Emilio Aguinaldo, Leocadio...
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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 ART OF FICTION by Henry James [Published in Longman's Magazine 4 (September 1884), and reprinted in Partial Portraits (Macmillan, 1888); paragraphing and capitalization follow the Library of America edition.] I SHOULD not have affixed so comprehensive a title to these few remarks, necessarily wanting in any completeness, upon a subject the full consideration of which would carry us far, did I not seem to discover a pretext for my temerity in the interesting pamphlet lately published under this name by Mr. Walter Besant. Mr. Besant's lecture at the Royal Institution--the original form of his pamphlet--appears to indicate that many persons are interested in the art of fiction and are not indifferent to such remarks as those who practise it may attempt to make about it. I am therefore anxious not to lose the benefit of this favourable association, and to edge in a few words under cover of the attention which Mr. Besant is sure to have excited. There is something very encouraging in his having put into form certain of his ideas on the mystery of story-telling. It is a proof of life and curiosity--curiosity on the part of the brotherhood of novelists, as well as on the part of their readers. Only a short time ago it might have been supposed that the English novel was not what the French call discutable. It had no air of having a theory, a conviction, a consciousness of itself behind it-of being the expression of an artistic faith, the result of choice and comparison. I do...
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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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...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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...country apart. Once America was reunited in 1865, there was a lot of healing that needed to take place to correct the wounds Americans had suffered at the hands of their kin. In these years there were still a lot of questions to answer and still a lot of truth to be found out about the nation itself. The questions of the place of African-Americans, white Americans, political Americans and every other kind of American out there was a source for constant frustration and violence. This is the background and the huge dust storm that American Realism rose out of. Prior to the Civil War, America was knee deep in the Romantic Movement which included writers such as Hawthorne, Thoreau, Melville, Poe and Whitman. Their writings focused on the puritan aspects of their ancestors or of the dark romance and psychological perspectives writers such as Poe and Melville used. However, after the war, this movement began to fade and Realism increased as the choice reading of the people. This was due to multiple events and changes in culture that led to Americans looking for something better to relate to. The first event was the end of the Civil War. The Civil War showed the violent intentions men had towards each other and also showed the vulnerability of men and the nation and how ungodly man actually was. However, Realism did not begin immediately after the Civil War but rather took off in the 1880’s. So what happened in the 1880’s then? The 1880’s saw the major migration of the typical American...
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...arouses dread and horror; equally certainly, too, the word is not always used in a clearly definable sense, so that it tends to coincide with what excites fear in general. Yet we may expect that a special core of feeling is present which justifies the use of a special conceptual term. One is curious to know what this common core is which allows us to distinguish as ‘uncanny’ certain things which lie within the field of what is frightening. As good as nothing is to be found upon this subject in comprehensive treatises on aesthetics, which in general prefer to concern themselves with what is beautiful, attractive and sublime - that is, with feelings of a positive nature - and with the circumstances and the objects that call them forth, rather than with the opposite feelings of repulsion and distress. I know of only one attempt in medico-psychological literature, a fertile but not exhaustive paper by Jentsch (1906). But I must confess that I have not made...
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