So, Taylor assumes that moral responsibility is reflected in free choice of a person. I support his point of view and think that not only the laws of heredity and nature determine our behaviour – this approach decreases the importance of rational factors. In other words, I adhere with the libertarian view which “maintains that there are acts which are not completely determined by preceding events and the laws of nature, but which are not just random” (Free
Discoveries within an individual’s life involve a notion of duality, presenting challenging obstacles, however acting as a catalyst to the maturing of one’s perspective. Both, Ang Lee’s film The Life of Pi and poet, Robert Frost’s Road Not Taken, explore this concept as Lee portrays the astray protagonist, Pi Patel, as he experiences a development in his personal identity as well as a spiritual internal conflict, whereas, Frost conveys the indecisiveness of human nature and creates a notion of choices having consequences. In nuanced way, the two texts underpin that undergoing the challenges are necessary to enlighten an individual’s mindset. Firstly, Lee suggests a physical challenge the astray protagonist faces as he is cast into the barren
In Stephen Greenblatt’s “Learning to Curse,” he discusses new historicism and its use of anecdotes or storytelling. He refers to the essay of Joel Fineman who says that the anecdotes “determines the destiny of a specifically historiographic integration of the event and context” is “the literary form or genre that uniquely refers to the real,” (4). This use of the anecdote steps outside of the literary and exceeds it entirely exploring what lies beyond this form. Using this in new historicism frames the events in the historical context it is set in. Greenblatt argues that anecdotes call for “explanation, contextualization and interpretation,” because they are a “disturbance,” (5).
The opposing viewers believe New Criticism, a technique that looks at how literary techniques while analyzing a story, is the better was to approach a storyline. While both techniques do try to find a deeper meaning of a book are valid and acceptable, looking at the history behind a book gives details and context that New Criticism can not. This view of the of Heart of Darkness in relation to the mind of Conrad allows us to see the true purpose of this expansively progressive book, giving readers a look into imperialism at its core. Not only does Conrad’s own history affect his writing, but it is also a major building block and base of the creation of Heart of Darkness. Conrad and his expression through his characters bring the view that Imperialism and the civilized world have their own heart of darkness into the
Appiah accepts the importance of relationships and identities in constituting our individuality and criticizes the schizophrenic obsession with choice that can be found among existentialist thinkers. He defines collective identity as "the collective dimensions of our individual identities" -- and
Moreover, the critic wants to highlight a distinction between the types of interpretations of the story which can be called, the “hermeneutic” approach and the “rhetorical reading.” On the one hand, the hermeneutic interpretation “is guaranteed by the reference of the words to something distinct from them, (…). The “something different” may be the life of the author, or historical facts, (…), or some external code of interpretation” (144). On the other hand, the rhetorical reading “starts with the words and stays with them” (144). It supposes that is generated by the words alone rather than anything external to which they refer. Thus, the hermeneutic interpretation suggests that the meaning is “a preexisting secret outside the words of the
This conveys to the reader that material possessions enslave us by means of understanding that life should revolve around inner fulfillment and that this experiment involved Thoreau testing out this idea rather than assuming that his expectations would be correct. He also simply desired to choose his path of life independently and
This method of thinking belongs to Bernard Lonergan, who challenges us to explore the depths of ourselves and discover "A fuller self of which we are aware and the awareness itself is different." In this paper, I am participating in the Lonergan method, in hopes
Comparing the ways in which these non-conformists are represented After analyzing the way in which the non-conformists of the two literary works are represented by the authors, it is now vital to compare and contrast the two, in order to build up a more powerful conclusion as a response to our research question by the end of this essay. Both writers try to express the kind of feeling that is experienced by a non-conformist in a society which is controlled through conformity. They both resemble in terms of sacrificing some indispensable human interrelations such as love and friendship, to the cause of unconformity and also destroying some of the most important human qualities to the price of conformity. For instance in the book of Rhinoceros, the love between Daisy and Beranger is totally ignored by Daisy as she gets fooled by the conformity; teased to become like the others, a wild rhinoceros, making life much easier for herself, abandoning Beranger, the one who really loves her, in a world with all its people transformed into Rhinoceroses. The same kind of love being scarified to the cause of conformity can be found in “1984”, when Julia and Winston giving up on each other, under the violent torturing of the government of the Big brother so that they will live the rest of their life under the prescriptions of the Big brother who asks them to be obedient and loyal to the three motifs of the country:
Nevertheless, literary journalists, usually, omit the explicit projection of the authorial subjectivity through the use of fictional point of view to ensure a sense of historical objectivity. They overcome the borderlines between public events and their intersubjective experiences by approaching “public fact through a frank, obtrusive, liberated assertion of their private consciousness” (Hellmann, “Postmodern Journalism” 52). In other words, literary journalists indulge themselves in an intersubjective experience of narrating public historical facts from an individual perspective that problematizes the dichotomy between the public and private, between the historical and the personal, and consequently between the journalistic and the literary. The autobiographical trope can be traced in The Armies as the narrative opens a window of intersection between a highly intersubjective experience and reporting a historical event. Through the formal division of the book into two parts, Mailer seeks to establish an inquiry about the status of genres traditionally polarized as fiction and history, literature and journalism, novel and history.