The story proves that society does not want to recognize its past. It wants to create one that justifies their current actions. A history that people forge will never be indicative of society. The myth, therefore, fails to establish a sense of national
What do all great works of literature have in common? All impressive literary works have hugely contrasting alienated characters, usually portrayed by the villains, and heroic characters. These two distinct characters may not get along well, but they both work together to highlight the underlying themes woven in the story. Alienated characters reveal the things a society values and desires by embodying characteristics that go against these wants. On the other hand, heroic characters highlight these morals and aspirations by exemplifying them.
Throughout history, there have been many controversies concerning books causing them to either be challenged or straightforwardly banned. For a lot of these books, they are banned in certain regions due to viewer discretion, such as the case with the mature topics noted in J.D. Salinger’s, The Catcher in the Rye. The Adventures of Huckleberry Finn, a picaresque novel by Mark Twain, however, is generally distinguished as a racist, due to diction, and for that reason one of the most challenged books of all time. Despite the negative connotation surrounding banned books, such as The Adventures of Huckleberry Finn, their people who will argue the book's impact on the world.
Critics of Religion Midterm 2. Although Friedrich Nietzsche’s ideas and work have long been associated with atheism and even the antisemitism that would eventually lead to the Holocaust, I think a slightly more fitting description of his point of view in The Genealogy of Morals might be “anticlerical”. While I believe there are good arguments that can be made for both atheism and anticlericalism, Nietzsche seems to focus most of his energy on critiquing religious clergy such as priests as well as organized religion and its impact on morality, rather than critiquing belief in God. The first essay includes an etymology of the words “good” and “bad” and how they underwent a transvaluation at some point due to religious clergy, which ultimately lead to a morality system that he argues is not natural or innate within us. The second essay deals with guilt and
The future is full of chaos, as people 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; furthermore, the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Accordingly, different predictions on what will occur throughout the novel are the ideals of postmodernist literature. Moreover, one way an author can write in a nonlinear, flexible fashion is to write with a component of mystery.
Totalitarianism is one of the classical theories that have been widely used in the literature-based context in analyzing a text. There are several researches done previously using the same theory which is totalitarianism but on different texts. There are quite a number of dystopian novels that promoted totalitarianism. One of the famous texts is Pirates of the Universe (1996) by Terry Bisson that portrays a depressing and imaginative kind of living. According to Lyman, authors of dystopias distinguish perilous tendencies in contemporary society and intensify them in their fiction in order to notify and warn readers about these dangerous trajectories and also encourage them to take a step to prevent a possibility of dystopian futures (1979).
During this period, freedom of feelings and creativity. This may have lead to Extreme Skepticism to occur after all the writings infused with strong feelings. Sigmund Freud's book Civilisation and its Discontents prove that his writings make him one of the founders of Modernism. The theme of “Conscience and the Super-Ego” (Gradesaver, Civilisation and its Discontents) plays out in the book as a form of Skepticism. He argues that the Super-Ego is responsible for the “discontents” that human beings experience in civilisation as “The super-ego often puts severe demands on the individual that he cannot realistically met, causing great unhappiness.” (Gradesaver, Civilisation and its Discontents).
Despite his groundbreaking theory in postcolonial studies, Bhabha, as a controversial postcolonial theorist, has received a number of criticisms since the appearance of his seminal work The Location of Culture. I would like to illuminate this part mainly drawing from the book, Postcolonial Theory: Context, Practices, Politics, in which Bart Moore-Gilbert has, relatively, at large, criticized Bhabha’s theory, from his writing style to his application of theories. Among those criticisms, the obvious one, to which almost all the people who have read his book has reached a consensus, is his “characteristically teasing, evasive, even quasi-mystical mode of expression” (Moore-Gilbert 114). His poetic language became well known after he won the second place of Philosophy and Literature Bad Writing Contest in 1998. For his complex and fragmented language which “seems designed to appeal primarily to the reader’s intuition,” the most well-intentioned explanation is that Bhabha uses this style of writing in purpose of making a strange feeling, avoiding the familiar “parameters of Western knowledge” (Huddart 10).
The contrast between these two sub-sets of fiction is controversial among critics and scholars. Neal Stephenson has suggested that while any definition will be simplistic, there is a general cultural difference between literary and genre fiction today. On the one hand literary authors are nowadays are frequently supported by patronage, with employment at a university or similar institutions, and with the continuation of such positions determined not by book sales but, by critical acclaim by other established literary authors and critics. On the other hand, he suggests, genre fiction writers tend to support themselves by book sales. However, in an interview John Updike lamented that "the category of 'literary fiction ' has sprung up recently to torment people like me who just set out to write books, and if anybody wanted to read them, terrific, the more the merrier.
In Postmodern Era, postmodern authors often treat very serious subjects like World War II, the Cold War, conspiracy theories from a position of distance and disconnect, and choose to depict their histories ironically and humorously, and this is clearly seen in Heller’s Catch-22. The novel does not tell its story in chronological order but starts in the middle and jumps backwards and forward in time. The narrative is structured around chapters that focus on individual characters such as Colonel Cathcart, the squadron commander, or A.T. Tappman, the base chaplain. It is also structured around extended sequences that stretch out over several chapters, such as the Great Big Siege of Bologna or the scenes of Yossarian and the other men on leave in Rome. A few episodes are returned to