But even he does not specify the nature and form of the process applied to interpretation and analysis from the stand point of aesthetic structure and form of such a type of novel. The process may even be human in a broad way without being political. That is emphasizing the socio-human repercussions of the political. Even the test of 'the political' lies in its socio-human ends than its hypothetical formulations. All political programmers create their reactions in the lives of the people, who eventually fashion the course of future politics in their human way. That is why Stephen Spender states that... ....the writer who refuses to recognize the political nature of the age must to some extent bare fusing to deal with an experience in which he himself is involved. 27 (Stephen, Spender: 1953, 215)
All these considerations prove that one way or the other the writer and politics are knotted with one another in their communication with the public, without being emphatic or narrow about commitments. Wolfgang Iser holds that, unlike philosophies or ideologies, literature does not make its selections and its decision clear. Instead its selections or records the signals of outside reality in such a way that the reader himself is to find the motives underlying the questions, and in doing so he
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For Narayan, the story is everything for Raj Rao it is a little more than a expediency. In Kanthapura the story is told from the witness-narrator point of view. The Serpent and the Rope because of its philosophical subject-matter requires a complicated and intellectual storyteller. As the theme is the knowledge of the self and the action takes place in the thought process and psyche of the superman, the narrative perspective is focused on him. The story of the novel, therefore, is opened from the protagonist narrator point of
To the reader this makes the book more of a political statement than Shipler says it
First person perspective can be categorised into two where one is where the author includes themselves into the story and uses ‘I’ throughout the story. Where the second is the first person peripheral, where the author is the supporting character in the story and not the main person. In his story the author has included herself as vee. The narrator has peeked into each and every character in the story. She has read everyone’s thought and explored multiple fact of the story in depth.
The protagonist in this story is a boy named James William, who the story is being seen and told through. In using sequence of events, the author hooks the reader to the story, revealing bits of action until the climax of the story is unleashed. Conflicts shown in sentences like, “They
S.E Hinton uses point of view to show the narrator’s position in relation to the story as being reveal. One example where the author uses point of view is “ I could have waited to go to the movies until Darry or Sodapop got off work.” This illustrate the reader that is a first person point of view since the story is narrated by a fourteen years old named Ponyboy. As a narrator, Ponyboy first let the reader to know his character better than others, but even though show us his friends and the difference of the social classes the socs and the greasers by describing his environment. “The Socs jumped up and left me lying there”
The author persuades the reader to empathize with the man and sympathize with the snake by giving the snake a personality, narrating the story from the man’s point of view, and creating a calm setting. The snake’s intelligence, fair treatment of the man, and gruesome death evoke sympathy from the reader. Upon seeing the man for the
In the first paragraph of the first chapter in the novel, Yonnondio by Tillie Olsen, the speaker is speaking in third-person. The narrator is someone who is able to get in the mind of the characters and knows what is going on at any point in time. This is illustrated in the first paragraph because the narrator talks about Mazie Holbrook, and uses words such as “she” and “her” to describe what is going on. 2.
Narrative point of view can express a different perspective to the reader by presenting experience, voice, and setting. Perspective is a particular way or attitude of considering events, by whatever character’s point of view the narrator takes. A character’s background and experiences in their life is a key to help the reader relate to the character. Culture may provide more insight about the circumstances, and can change a reader’s perspective, as well as the voice of the narrator - sophisticated or naive.
Through shifting points of view, a purposeful structure, and settle choices in diction the author adds
In the thirteenth chapter of Thomas C. Foster’s How to Read Literature Like a Professor, Foster asserts that “nearly all writing is political” (118). To begin the chapter, Foster states that he hates political writings which are solely one minded, programmatic and root for a single cause. These novels, poems and plays ー which are more reports on the authors ideal culture ー “don’t travel well, don’t age well, and generally aren’t much good in their own time and place” (116). Political works which are more in depth, have several differing viewpoints and even are disguised with stories are, in Foster’s eyes, much more interesting. Furthermore, writers are people who commonly take great interests in the world around them.
The novel also makes a unyielding point about the dangers of consumerism, emphasizing how creativity and individualism can be reduced by allowing the government and media to think for them. Perhaps the most important feature of the book is that readers understand the value of imagination and cultural heritage. These points would not be understood or accepted by readers if the novel failed to follow narrative structure, which is undeniably the most important aspect of any literary
When you start reading the novel you are aware of reading about
At the beginning of the novella, the protagonist is able to recognise that more
This explains the why the narrator initially refers only to himself. The reader is then
In literature, writers use a variety of points of view to convey their plot; these points of view can be first person, second person, or third person. In “The Tell-Tale Heart”, the unnamed narrator describes he or she killing an old man. “Harrison Bergeron” is a dystopian story about Americans in the future that have handicaps in order for them to be equal. “A Good Man is Hard to Find” tells the story of a grandmother and her family taking a trip to Florida that went wrong.
This is a key point in understanding the narrator’s character and the overall meaning of the