He expects the text to learn some basic facts about the people of that story, such as the location of which they come or where to go. Also unknown names and master storyteller, and Jacques surname, which contributes to the mystery and suspense of the text. 'Normarivna narrative expectations constantly disappointing systematic denial of the simplest basic facts such as the master's name and destination and purpose of travel' (Furst: 1984, p. 160). Narrative situation of the novel surrounds the uncertainty created by the lack of information, namely their denial, and it encourages the actual readers to wonder who is the narrator, and to whom he speaks. The dialectic between the fictional narrator and fictional readers is what makes the fundamental dynamics of the text.
Remains of the Day by Kazuo Ishiguro is a whole narrative that constantly is looking back and wondering what could have happened if I had done this. It is through his memories that we can see how Stevens, the main protagonist, acts and feels about specific occasions. In this essay, I suggest that because of his condition of ‘dignity’, Stevens cannot express what he thinks and experiences so not to strip away his ‘mask’ of a professional butler. Firstly, we should mention one of the most tragic situations in which Stevens has been involved and it is his father’s death, even though, it is worth to discuss about how the butler confronts this illness before the demise. Mister Stevens father tries to speak with his son truthfully about proud was of him also about how sorry he was for not being a good father yet, Mister Stevens junior ignores it and turns to work.
By dissecting the creative nature of Bleak House, the reader can see that it was written to have people see and understand the societal nature of the times. In Bleak House the story shows the struggles of classism, sexism and other societal ailments of the time. A perfect example of this in the story was when Jo was being questioned by the courts, but his testimony was deemed unreliable because he was from the lower class and seen as lacking in Christian faith. The incident itself was a very minor issue in the story, but that goes to show that novels themselves take small examples and bring them together to give an overall picture of what the author is show. This would go to prove Mill’s point that novels come from incident.
This essay will focus on Merleau-Ponty’s account of our relations with Others, as well as its relation to Sartre’s philosophy and how effective of a critique Merleau-Ponty offers to the Sartrean understanding of our relationship to the Other. Throughout the essay i shall refer to the relationship between the Individual and the Other, this is simply to mean the relationship found between the ‘I’ and the other humans they interact with who have questionable similarity to the ‘I’. Our relationship to Others is a significant area of discussion because it opens the problem of Other Minds, which entails the idea that I, as an individual, cannot verify that any other individual I interact with is conscious in the same way I am. Both Sartre and Merleau-Ponty discuss the importance of the Other in verifying the existence of the individual, and the extent to which one can be aware of the Other’s internal life, differing significantly on their understanding of whether the world is shared or closed. We will arrive at the conclusion that while Merleau-Ponty presents a successful and effective alternative to the Sartrean account, it is an effective critique because it returns constantly to the damning criticism that Sartre butchers the reality of one 's interaction with the Other and tries to over simplify very complex human behavior, such as social relationships.
Asimov not only uses circumstances and dialogue to propel his readers toward an understanding of the “point” of his novel, he also uses carefully chosen style and diction to underscore his sociological points. For example, Asimov uses the verb “leer” (Asimov 50) to describe the look on a man’s face while he is talking about Noÿs- clearly suggesting lecherous motives. Shortly after, Harlan, while suggesting to Finge that Noÿs be removed from eternity says, “As to her incompetence and unsuitability, Computer, I cannot say” (Asimov 54). The decision to use a negative prefix in this line, rather than leaving it at “competence” and “suitability”, indicates again that Asimov is intentionally using language with negative connotations to depict the typical attitude toward women in Eternity. Pages later, Asimov paints Harlan as a love-sick boy by characterizing the tone of his dialogue with Noÿs as a “desperate whisper” (Asimov 58) while he is merely trying to move by her in a hallway.
His letters give us an intimate look into his life, his thoughts, his hopes, his fears, and his fragile mental state. He writes these anonymous letters to unburden himself, thus, the recipient never learns who sent them, nor is able to replay. Having to hide in order to express himself or just talk to someone, may be considered a sign of diffidence, low self-esteem and poor social skills. However, through these letters (and with help from his English teacher), Charlie develops his writing skills and, in the end, he realizes he wants to become a writer. When asked about his relationship with the character, Stephen Chbosky confirmed that he somehow relates to Charlie because he does “see life the way Charlie does”.
The technique of narrator perspective is used in both stories to develop the characters and provide a base to explore the main themes. Tell-Tale Heart is told in first person in the eyes of a character whom, at the start of the story, tries to convince the reader of his sanity by saying “Can you not see that I have full control of my mind? Can you not see that I am not mad?” These words, ironically, leads the reader to think of the narrator as more unreliable, as no sane man tries to convince others of his sanity. This unreliable narrator technique is used by Poe to create tension in the story, as the reader is unsure of the intensions of the murderer. The technique also helps the story explore the theme of murder, as an unreliable madman is generally more likely to commit these crimes.
This first essay that I read helped me understand the psychological struggle and symbolic meaning of the story. Kachur claims that vital information from the narrator is omitted because it seems not important to readers, but that same information is the one that describes the motives and the challenges presented by the author. This essay really caught my attention in ways that I would never imagine. Kachur argues that the narrator obsession is based in “father-on-son incest”. He supports his idea with three possible hypothesis: first, the narrator was a victimized child that resulted with some psychotic symptoms; second, the narrator is re-enacting his abuse to make the old man feel what he suffered; and for last, the old man is a victim of the narrator´s threat of incest.
But, if Twain told the story from the perspective of a character whom Huck portrays negatively, the reader could realize that his or her motives are similar to those of Huck. The protagonist lies about his identity for similar reasons as the King and the Duke: self-preservation. When the two men first reveal their “rightful” truths, Huck knows they are lying about their identities from the books he has read. Throughout this episode, Huck and Jim learn that the King and the Duke’s reasoning for lying is to acquire enough money and respect for their survival. When they performed their “Shakespearean Revival”, the Duke instructed his
Is the book more than it seeks to feign? Might a reader propose such a thought to himself, his reading of the book and its’ messages will also vary; as such cynicism will pull apart the core aspect of the novel: its emotional story-telling. Truly, The Kite Runner’s meaning can fluctuate within different interpretations of its message; it can be read as a simple novel, or as an elaborated piece of propagandistic literature. First, how can a novel have multiple meanings? In the classical sense, the ability for a story-telling narrative to be read differently comes inherently from its subjectivity, a rather philosophical matter that explains how different subjects, due to their qualities and thought-processes, can give the same thing different