Fragmented Humanity -Michael Ondaatje's The English Patient, through the lens of Postmodernism Fragmentation, being the major tool of Postmodernism; the concept of fragmented identity has its due importance. The humanity was in a great search for identity after the World War II. Michael Ondaatje's novel The English Patient reads the pulse of the postmodern era. The idea of fragmentation is dealt exclusively in the novel. The distinct nature of post modernity is analyzed through the various forms of fragmentation employed in the novel.
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. Ultimately, the central purpose of an author’s novel is to engross the reader, by writing in a genre and movement that is appropriate the book. Appropriately, Kurt Dinan engages the reader with both a Mystery genre and Postmodernist elements in his novel, Don’t Get Caught. Postmodernists believe that traditional authority is false and corrupt, and the central theme of Don’t Get Caught is that the powerful students play pranks and humiliate the less influential students. There exists a social elite club known as the Chaos Club that plays pranks on the school and faculty, and nobody can figure out the leader of the club is or who the members’ are.
We must build again”-Stephen Benet. In the book, By The Waters of the Babylon, by Stephen Benet, the tones, literary devices, and the point of view the narrator plays an important part in the story. The tones are very contrasting being eager and dark, the literary devices that are used in the story are flashback and foreshadowing, and the naive narrator speaks in first person. Stephen Benet uses the idea of contrasting the tones eager and dark, into an effective idea. The tone eager sets the feeling in an excited and adventurous way.
Reason and enlightenment played a dominant role during the period of the age of reason. Satirical and skeptical were the mode of their writing style. Emotions, feelings, instinct and idealism are key for the writer those emerged during the Romantic and Gothic period in American literature. Imagination and autobiographical elements dominate in the works whereas supernatural elements are blended in the works of the Dark Romantics. Autonomy and individualism are given preference by the transcendentalists.
Brians describes the dystopia genre and its origins; lists prominent novels; summarizes common ideas and themes expressed. He relates ideologies at the time of Fahrenheit 451 's creation with those in contemporary society. Brians connects the recurring themes of the genre with both the novel and modern society; particularly of suppression, control, blind conformity, and the dangers of mass media. Connor argues how Plato 's Allegory of the Cave is relevant to Fahrenheit 451 by
What makes a novel quintessential? More importantly, what can make it the most quintessential novel in American history? Is it daring sword fights, classic romances, and the senses of careless adventure or grief? Perhaps it’s a mix of all ideas; A melting pot, quite like America itself, of unique traits of family, friends, faith and adventure. Mark Twain was an author who could write stories of such prevalence, like his novel: “The Adventures of Huckleberry Finn.” This novel was written with all new boundaries in writing: point of view, the sense of journey, morality issues, and dialect differences.
THE POST-WAR NOVEL AS CATCH-22: THE CHRONOLOGY AND EX-P.F.C WINTER GREEN Abstract At the moment, ‘postmodern’ understood as distinguishing from the modem. It had been used first in 1917, the German philosopher Rudolf Pannwitz defined the ‘nihilism’ of 20th century 's western subculture a subject matter he referred from Friedrich Nietzsche and resurfaced in the work of the Spanish literary critic Federico de Onis in 1934 to consult the backlash against literary modernism’. And also this paper indicates an exploration of Catch-22 (1961), this early document of American postmodern literature, particularly attempts to present the critical discussion surrounding this novel as connatural to the broader theoretical discussions surrounding the concept of postmodernism. My contention is that of this dialogue, due in part to the natural chronology and linear inclinations of literary criticism, and despite the professed outspokenness of postmodern ideas to an enigma, diligent efforts have to be made periodically reassert collapsed opportunities in literature. With this in mind, I desire Catch-22 in an effort of; first, demonstrate how critics have diminished the potential meaning of Catch-22 in imposing their own notions of a literary‐historical orientation.
In literature symbolism plays a significant role. Symbolism basically relates to the symbols that points towards specific ideas not in a literal sense but by use of multiple symbols. It really gives the deeper stratum of meaning to a work of literature.Symbolic meaning is employed to give something totally different meaning which is much more deeper and you can say the idea becomes implied to some extent . In novels symbolism highlights the deeper implications of the situations or characters and their effects. William Golding has used several symbols in his novel “Lord of the Flies”.
The Roaring Colors The timeless American classic, The Great Gatsby, written by literary genius F. Scott Fitzgerald is considered the most important work of literature in American history as it is masterfully crafted with themes and ideals that were way ahead of its time and set the tone for future authors. In the story, Fitzgerald uses colors to give meaning and depth to an already complex story. These colors are used to describe characters and give them intangible qualities and adds more variations in the settings of the story. One character in particular who is described vividly with colors is the man protagonist and rival of Gatsby Tom Buchanan. Tom is often associated with the color red as it reflects his personality being both violent