An Analysis Of Aesthetic Distance In Louise Erdrich's 'Shadow Tag'

Charlotte’s mother made it clear that Ms. Hancock was not conventional, nevertheless, seventh graders were inspired by her to love writing. This irony shows that society can be blinded by its own rules that someone like Miss Hancock is looked down

Thus, Mark Twain shows that the readers should not prejudge the characters based on their appearance and descriptions because doing so essentially makes the readers “pudd’nheads”. Firstly, Mark Twain juxtaposes Pudd’nhead Wilson with Judge Driscoll by making connections between their occupations and hobbies to show readers that they lead parallel

The second mode, metamemory, is perhaps best illustrated by Albertina Carri’s Los rubios (2003). Metamemory discourse, through generational and aesthetic-methodological distancing, seeks to reveal memory’s limits, both individual and collective. In this mode, a lack of information about the hero figure’s death eclipses love bonds; it introduces an aesthetic and narrative distance that flattens affect. In Carri’s experience, when so little is known, when life is in such turmoil, it is difficult to speak from a place of emotion. Los rubios, therefore, sublimates affect, casting it as a void, and chooses to focus instead on illustrating memory’s limits and its decidedly performative and fictional qualities.

To borrow the words of Tucker, “… Baudelaire 's intention was not to rhapsodize his mistresses as his forebears had done” (888). “Une Charogne” is an intricate anti-Petrarchan piece; Baudelaire not only mocks Petrarchan ideals of beauty, but he attacks the blason by making it his own and using the uncanny to highlight its flaws in dehumanizing women and reducing them to body parts and flesh. Baudelaire reminds readers that the reason his poem is unsettling is not only because it is about an aestheticized carcass, but because the conventions he borrows to describe the carcass, the very same ones used to describe women, are questionable and troubling. He uses Petrarchan conventions to implode its own system. By taking the blason to the extreme, he highlights its problems and showcases its true

While questioning the author’s intention in creating such a wretched tale, I discovered that Vladimir Nabokov, himself states that the novel has no intended moral, it was just something he had to get off his chest. And that is perhaps the best evaluation I can offer, one should read Lolita not for is sexual and emotional rawness, the beautiful prose, or a good and honest cry, but because it is book without an intended moral. Books like these have no gray zone, no middle ground, the reader is forced to love it or hate

Transitional states of maturity can be challenged or championed by unexpected discoveries which can be confronting or provocative. This is explored through Alice Walker’s 1973 prose fiction, “The Flowers”, as the protagonist’s view on the world is transformed due to the personal zemblanic discovery made. The short story explores the themes of loss of innocence and death in order to address cultural indifference and the prejudice experienced by certain groups within society, which in turn causes individuals to be effected negatively. Walker hopes to evoke sense of political and social reflection in her audience, hoping that intimate discoveries of past inequity by her readers will ensure cultural equity maintains future momentum.

Finally, the short story concludes with the narrator still trapped inside the secluded room. The setting emphasizes the narrator’s life by showing internal graduation of frustration that was going through her mind. As a result, Charlotte Gilman provided evidential clues from the text to distinguish and make clear of the setting. “The Yellow Wallpaper” verifies the understanding of the setting and cultivates the perspective of the characters. In conclusion, the narrator loses touch with her sense of identity as she maintains in a medical

The 19th Century was a resolute period for human rights as for women’s rights. In A Doll’s House, by Henrik Ibsen, the protagonist Nora is the emblematic Angel in the House, submissive to her husband, Torvald. Nora decides to ostracize herself from the society she’s always been a part of by leaving her children and her husband in the pursuit of a new life. The author, however, doesn’t ever address the events that happen after her exit, which leaves the reader with an ambiguous ending. The ending’s purpose is to have a rupture between Nora’s past and future, but still being realistic and showing that there are hopes for a return.

Indifference is destructive and inhumane Indifference is defined by Elie Wiesel as lacking empathy or keeping silent while there is discrimination (Anthony, n.d.). He continues to say that indifference is a friend of the enemy because it benefits the aggressor and then disfavors the victims as they feel forgotten. There are two seemingly different speeches, one by Elie Wiesel a survivor of the Holocaust and another by Susan. B Anthony who spoke for women’s right, straight out a theme that the attitude of indifference is destructive and inhumane.

Compare and Contrast the Characters Miss Brill and Emily Grierson The short stories A Rose for Emily and Miss Brill have two characters Emily Grierson, the daughter of a civil war hero and Miss Brill, an old English teacher. Although the stories are written at different times in history, the authors present a common theme in both characters. They both suffer from the pain of solitude brought about by lack of companionship and isolation.

Charlotte Perkins Gilman’s ironic short story, The Yellow Wallpaper, describes how a depressed woman, who lives in an aristocratic society, is indirectly effected by a wallpaper that reflects her lifestyle. The point of view of the short story is first person. This is essential to know because readers are able to read the narrators thoughts and why the character take necessary actions toward certain situations. In the beginning of the story, the woman describes her condition.

Take-Home Exam: Examining “Scott Fitzgerald” in A Moveable Feast: The Restored Edition In the chapter, “Scott Fitzgerald,” Hemingway portrays how a good writer can be destroyed by alcoholism and a jealous wife. Immediately in the epigraph, Hemingway establishes that Scott is a natural writer, “[h]is talent was as natural as the pattern that was made by the dust on the butterfly’s wings” (Hemingway 126). However, his wings are described as “damaged” and Hemingway explains that he met him at a great moment in his career.

Her take on the antagonist is a complex mixture of agreement and disapproval. The reader almost wants to feel sorry for him, which is one reason why this work is controversial. In an eye opening

When visiting the contemporary collection at Johnson Museum, I couldn’t help but notice a piece painted on a shinny, reflective surface. It is the work of an Italian artist, Michelangelo Pistoletto, called Parade #3 (figure 1). The two figures here are carrying a banner and marching forward. In fact, this is a typical example of his iconic Quadri Specchianti, or mirror paintings, which brought him international acknowledgement. Although Pistoletto also makes sculpture, land art, and staged performance, these mirror paintings remain his largest body of work across his career.