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.
Ayn Rand, in her book, Anthem, chose to argue the most intense version of collectivism against the most extreme form of individualism. While her actions seem bold, her writing style fits this story very well. The setup of her novel was difficult to understand, however it portrayed the main character’s feelings and actions well. It helped the reader understand the main character’s frustration with collectivism. It The main character of Anthem makes many daring decisions throughout the novel.
Golding through his use of symbolism clearly shows the movement from order to chaos throughout the novel. Unfortunately this idea that life can slip into chaos from order is not only fiction like Golding’s novel but the truth is that it has been a reality in some countries throughout the world. But hopefully in these cases in the future happy ending stories will be true ones rather than fictional ones. Nevertheless it is usually good that conquers evil and that more positives should be taken from stories rather than negatives. Stories should be judged by the level of interest it inspired in the reader and their consideration of its main theme.
Any dramatic work is written with the main purpose of being represented on stage. Therefore, the action is woven around a catchy conflict, which becomes the pillar of the play. Tennessee Williams’ A Streetcar Named Desire gained its immorality as a result of the multi-angled conflict that brings alive such a broad construction. Naturally enough, the play caught the attention of many critics, among which Thomas P. Adler who praised “Williams’ ability to capture something of the complexity of the novel within the dramatic form” (9). With its carefully organized structure, the contrasts and dichotomies seem to dominate the plot.
Criticisms of Eichel’s Essay In “Interpreting ‘Sir Gawain and the Green Knight’: Translation and Manipulation of Audience Expectations,” Andrew Eichel makes a convincing argument as to how translations can affect pieces of writing. Throughout his essay, Eichel lays out a vast amount of examples as to how translations affect writing; however, there are issues with how this evidence was presented. Firstly, it is not clear what kind of audience is addressed in the essay. Eichel also presents an extremely black and white perspective on foreignization vs. domestication. Additionally, Eichel chose an unnecessarily sophisticated language for his essay and over exaggerated the way Tolkien’s translation changes the original, as well as its “obscurity.”
Aaron Copland stated, “the plot and plot development is equivalent to our sheerly musical plane” (Copeland, 14). In my opinion, this was a very clever comparison on his part, which makes my version of the analogy much more difficult. In the sheerly musical plane, a composer creates and develops their theme, whereas a director creates and develops characters, voices, and blocking. This is slightly different than Copland’s analogy because playwrights create the character from their own imagination, whereas a director must now develop the character that already exists into something that can be represented
Minor characters constantly play significant roles in dramas, novels and movies. Not only can they be quirky or a source of comic relief, they tend to be placed strategically to help further the plot or give necessary background information on the story at large. There is no doubt that the line count does not matter, if the line is three words long, or repeated in the chorus in a musical minor characters are the back bone of every musical production and cinematic sensation. In Shakespeare’s drama The Tragedy of Hamlet: Prince of Denmark it is significant that minor characters not only provide the play with loveable actors but also give the audience insight of emotions elicited from major characters. Thus, through analyzing the minor characters
One interesting factor about this novel is the fact that it incorporates magic realism. This is because the book provides an exaggerated representation of real life. The effect of magic realism has an interesting effect on the readers, as it exaggerates the reality. Using magic realism makes the novel timeless, an exaggerated version of the past, that is still applicable to the future. These two techniques are evidently seen in the different relationships in the story.
Fatima Al Otaibi Ms. Linette Booysen October 6, 2015 H a r r i s o n B e r g e r o n :T o n e ￼￼Evidently, the world of 2081 conveys the impression of a very flawed dystopian story. And that is displayed through the tone of the story in which it suggests the emotion the writer enforces in the story. To clarify the particular tone of the story, there are many critical factors that collaborate to attain that aim. Primarily, the whole of the story harmonizes with the tone of dark humour or melancholy comedy. The author uses sarcasm and sardonicism to mock a concept such as equality, which is realistically a very serious concept.
The presence of the mysterious landlady, adds a lot to the story, which leads us into the next point, dealing with the suspense in the story. The story’s suspense goes up and down. The author of the story, Stella Duffy, elegantly uses literary devices to add flavor to the story. Hints are given early on, that the reader may only notice at the second or third read through, and foreshadowings are used in the story. A great example of a foreshadowing is on the last page in lines 166-177.