War has- regrettably- been the answer to many conflicts in human history, ranging from the Sumerian’s conquests to the invasion of Iraq by the US and its allies. During its long history, war has been questioned and contemplated, especially through culture: music, poetry, literature, etc. Two prominent pieces of anti-war literature include Catch-22 by Joseph Heller and For Whom The Bell Tolls by Ernest Hemingway. Both novels express contemporary fears and questions on war: its impact, its conduct, and its purpose; as well as frustrations and dangers of a modernizing society, industry, and bureaucracy, however the former has a comedic tone, while the latter is serious. Tone is a very powerful and moving tool for both Heller and Hemingway in their novels.
Boundaries between Reality and Fiction are often exposed and highlighted through the use of various narrative techniques, thereby making it a fundamental element in both texts. The narrator of Slaughterhouse Five seeks to reinvent his “recount” of the “destruction of Dresden”. As written in The French Lieutenant’s Woman, we “fictionalize” our past as “We are all in flight from reality” (Fowles 97). This is apparent in Slaughterhouse Five as the narrator makes it clear that his story has a testimonial function although he does not construct the narrative in its original chronological structure. Instead, the narrator uses a nonlinear chronological narrative structure that truly reflects the indelible and traumatic impact of war.
The pitfalls of failed critiques and the potential within the genre are spelled out, aided by good organization of ideas and the presentation of clear examples; however, many of the examples are left unexplained and the inclusion of the debate between spy fiction and detective fiction distracts from the main argument of the article and detracts from its power. Winks organizes the article well with a logical progression of ideas that build upon one another, creating a believable thesis. The article begins with an explanation of its purpose: displaying what has been done in the past, and what should be done in the future. This introduction establishes the relevant ideas in the reader’s head. It continues by revealing the most frequent mistake that critics make when investigating American detective fiction: the high road.
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.
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).
HARD BOILED FICTION: A NARRATIVE TECHNIQUE ABSTRACT Had boiled fiction is an American literary style, commonly associated with detective fiction. It follows a tough unsentimental style of writing that brought a new tone of earthy realism or naturalism to the field of detective fiction. Hard boiled fiction used graphic sex and violence, vivid but often sordid urban background, and first paced, slangy dialogues. Hardboiled science fiction is a genre that blends noir with an American style detective fiction, within a much defined boundary. Born in America during the 1920s, hard-boiled fiction owes its enduring literary style to three writers: Dashiell Hammett, Raymond Chandler and James M. Cain.
Sung-hune, Kang Eleanor Surridge English 11 HL 30 November 2015 Embodiment of language in dystopia Dystopian novels presents to the readers of an unpleasant society, in which is often convinced to be utopian and authors take in consideration of many factors to construct a dystopian novel. Most often, the authors of future dystopian novels exert themselves to using factors such as satire in which, draws the readers to think about their society in contrast to the novel. In presenting such satirical aspect, language becomes a key factor that emphasizes what the author may illustrate. In the future dystopian novel ‘1984’ by George Orwell and ‘Oryx and Crake’ by Margaret Atwood makes significant use of such language and their role, presenting the satirical aspects of a dystopian novel. The two dystopian novels ‘1984’ and ‘Oryx and Crake’ illustrates relevant factors of language employed in our society, purposed to manipulate the population as a satirical aspect.
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.
When digging deeper into context, questions arise such as “What would a change in context do to the text?” To myself, this is an fascinating idea, especially when thinking about a book which is profoundly depending on its time, place, language or audience. One of these book is Aldous Huxley’s Brave New World. Brave New World is based on particular events in the life of Huxley and his environment, and it is known to may have predicted certain events such as Hitler taking power and world war two. It is also satirical and written with a philosophical and ethical mindset, which makes it depend on its audience. This is why I will be writing about what a change in some aspects of the context could do to the book Brave New World, will it change entirely?
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