The fictional world is full of chaos, as people tend to prefer unstable theories to countless philosophies. Specifically, there is a literary shift from linearity and order to randomness and fragmentation. Consequently, Postmodernist writers understand that their works are subject to interpretation; however, they believe that the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Moreover, Kurt Dinan writes in a nonlinear, flexible fashion by writing with a component of Mystery. Subsequently, the reader can make different predictions on what will occur throughout Don’t Get Caught, and the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature.
The values and attitudes that the protagonists carry with them into new worlds can influence their perception of their discoveries and its significance, giving the protagonist a growing depth of understanding and discernment. Discoveries, driven by wonder or necessity, can be challenging and confronting, compelling individuals to leave their comfort zone. Consequently, they are prepared to sacrifice the old to embrace the new, transforming and gaining new insights of themselves and the world around them. “The Tempest, a pastoral romance by William Shakespeare, portrays individuals who were faced with confronting experiences that assess their values, and who rediscover the necessity for compassion instead of abuse of power, leading them to re-evaluate their relations with other characters. In comparison, Ang Lee’s film, “The Life of Pi” is primarily focused on the process of self-discovery through isolation.
The tone helps the reader build the characters life story, and how they feel at a certain time. Sometimes the author may put figurative language to portray what the character is feeling, and sometime if the text is extravagant, it may cause the reader to feel the same way, such as this quote, “One more stab to the heart, one more reason to hate. One less reason to live.” (page 109). This is such a powerful emotion of hatred toward something that is very sad, such as when Eliezer lost his father. The tone and mood enhance the text by adding detail and facts.
There were also distinct themes of disloyalty, mainly between characters. This creates a connection with the reader, making the characters more relatable. The novella is overall strong and powerful in making sure the reader is not oblivious to loyalty to characters, themes and setting. At the beginning of the chapter one and the start of the final chapter, Steinbeck uses stunning natural imagery to set the scene. However, there are several clear similarities and differences between the two chapters.
He used the novel to get across many points, but he also introduced a larger theme that is still relevant today: A person’s morals will often differ from what society views as correct. He developed this theme using a variety of literary devices, such as conflict, language, and satire. He seemed to have a great understanding for these devices and how they could impact the story he was portraying. Twain took views that went against society's beliefs, similar to many people at this time, which came across especially in his portrayal of Huck. All things considered, Mark Twain did an excellent job promoting the theme that drove his
In the short story "Young Goodman Brown," the author really grabs the reader's attention with some confusion and hope. The author Nathaniel Hawthorne leads the reader into being confused at first and making them wonder what all he is saying really means. Hawthorne grabs the attention of the reader with the confusion and the hope to find out what will happen next. The short story "Young Goodman Brown" is mainly defined as a suspenseful story yet the story expressed a great amount of symbolism with many lessons for the reader to take in. The author expresses that having faith is very important asset for both men and women and the ones without faith will face problems that can break you as a person.
The aberrant plot established by Nabokov grabs attention of readers and forces them to explore what can be considered the ‘other side’ of this novel, in order to have an understanding and a new found appreciation for the classic love story. Brilliant literature involves twists in the plot and ideas that evoke excitement amongst readers. This is also the case with Nabokov’s Lolita, where Humbert is established as a paedophile. This is disclosed to
It is often able to distinguish what makes a story "great", and there are many debatable reasons; but it is a unanimous decision between readers that what makes a "great" story is one that makes you want to keep reading. There are some elements of literature that simply make a story good, such as mood, character development, foreshadowing, and symbolism. They could all be potential candidates to what makes a good story, but it is rather the way that the author will use them which is what gives the audience the ability to deem it simply "good" rather than "great". There are many similarities and differences between "The Most Dangerous Game" by Richard Connell and "The Cask of Amontillado" by Edgar Allan Poe; however, "The Most Dangerous Game" is the short story that deserves to be called
As long as people have existed, they have wronged one another. They find different ways to harm others. Those who have been wronged tend to seek revenge no matter the situation. They feel as though they must revenge. Because humans almost always seek revenge, William Shakespeare’s statement, “If you wrong us, shall we not revenge?” holds significant truth.
In any work of fiction, there is bound to be a character who undergoes major changes in his personality and tries to fulfill his/her inner potential. Often times, as is the case with many of these novels, main characters in works like these mirror the inner thoughts and aspirations of the authors, giving anecdotal evidence and experiences via personal storytelling. Catcher in the Rye by JD Salinger explores this theme via a first-person narrative, carefully crafting and weaving stories and small details to invite the reader to sympathize in Holden Caulfield’s experience. Although critics often “complain of the novel’s pedestrian content,” in reality, personal storytelling and integrating themes into dialect is different from pedestrian, uninteresting content because of the nuances embedded within the text (Roemer 5). In his first description of Allie, although the passage is just a “pedestrian” description, the sheer difficulty of opening up and exploring themes subtly comes up via Salinger’s syntax, diction, and tone of the passage.