I long to go through the crowded streets of your mighty London, to be in the midst of the whirl and rush of humanity, to share its life, its change, its death, and all that makes it what it is. (1993: 22) Thus, as we come to realize the context is crucial, and from the beginning of Dracula it is quite obvious that the story’s localization strengthens contemporary fears related to the Victorian society as well as with the nature of Englishness. The contrast between the West’s richness and splendor is constantly correlated with the East’s perpetual worthlessness. As Gill Davies pointed out, “the detailed geography of London is deployed to highlight a number of imperial and national anxieties” (Davies, 2004) which already existed. As a matter of a fact, by the time that Dracula was published stereotypes were well-established, and London was already considered both the heart and the image of the Empire, all the while the East represented all the things that the West was not.
• It is written in England, 1898–1899; inspired by Conrad’s journey to the Congo in 1890. • There are two narrators: an anonymous passenger on a pleasure ship, who listens to Marlow’s story. • The first narrator speaks in the first-person plural, on behalf of four other passengers who listen to Marlow’s tale, and Marlow is a first person narrator. • Opens on the Thames River outside London, where Marlow is telling the story, events of the story take place in Brussels, at the Company’s offices, and in the Congo, then a Belgian territory. • The protagonist of this story isCharlie Marlow.
Narratology: Slaughterhouse Five and The French Lieutenant’s Woman The role of the narrator is crucial in Kurt Vonnegut’s Slaughterhouse Five and John Fowles’ The French Lieutenant’s Woman as they help to convey the thematic concerns of writing and reality versus fiction, present in both texts. As the narratologist, Gérard Genette, discusses in Narrative Discourse, there are several ways of identifying the means in which the role of the narrator contributes to the aforementioned thematic concerns using Genette’s approach towards narratology (Guillemette). Both narrators assume the role of the implied author and are highly concerned with the process of writing. As such, they possess a sense of self-reflexivity towards the complex process of
The Essence Of Tools Of Fiction A story relies on the backdrop of themes, symbols and figurative language. They are the pieces that construct the puzzle of narrative together. Fiction commonly incorporates a writer manipulating truth in one way or another, and this idea is seen in Flannery O Connor’s, A Good Man is Hard to Find, and Kate Chopin’s, The Story of an Hour. The way a theme enhances narrative, the way symbols effect readers and the way language explores characters will be discussed in this paper. Flannery O Connor heavily depends upon themes and symbols to define her narrative.
London is a dialectic, and as such, William’s Blake writing of the city is furious and furiously hopeful. London is a world built on an idea of itself, a paradox of formed creation and self-creation. There is the mythic home of the high and the holy; the idealized picture of a city created from the written word—the land where chivalry thrives and Arthur soars, where from the ashes a city can once again rise and Shakespeare can pen his words. There is also the gritty underbelly of a city that glitters with the gold of the rich and the sweat of the poor, where an engine of steam is built to sweep the privileged far and wide, and to fog the struggles of those who cut their hands building it. London is a paradox of the myth and the truth underneath
The part of the course to which the task refers is Part 4: Literature in critical study. Heart of Darkness is a novella written by westerner novelist Joseph Conrad, published in 1899 and in 1902 to book, about a voyage up the Congo River into Congo Free State, in the heart of Africa, expressed by the story's writer Marlow. Marlow tells his story to friends aboard on a boat tied up on the River Thames in England. This context grant Conrad to create a relationship between London and Africa as places of darkness. On the following essay I’ll be discussing “How could the text be read and interpreted differently by two different readers?”, based on the novella Heart of Darkness.
The tragic exploitation by Western colonialists, the natural dangers of the African jungle, the desire for power and the collapse of civilization shows the main reasons for the collapse of colonialism itself. Marlow’s dual attitudes toward colonialism in Heart of Darkness reveal the despicable ambitions of imperialism as well as clarify the ideal model of imperialism, which consolidates the typical type of imperialism. At the beginning of the novel, the author contrasts imperialism between modern Britain and ancient Rome. The biggest difference is new imperialism like Britain, which has more territorial ambitions and political purpose; in contrast, the old imperialism from ancient Rome focuses on economic plunder. What saves us is efficiency -- the devotion to efficiency.
Alexander Pope was an eighteenth century British English poet who is best commended for the excellent craftsmanship that he demonstrates in the heroic couplet. The essential social satire that features his poetic disposition has earned him never ending literary appraisal. Pope’s “translation of Homer” seems to have achieved a perfection of form in the poem, The Rape of the Lockwhich is perhaps the best and most celebrated of his poetic successes. First published in 1712, the poem, The Rape of the Lockreappeared in 1714 as a revised version with five cantos. It is a mock-heroic poem which sarcastically details the subject of a struggle between two aristocratic families in Pope’s contemporary society.
He further adds that these metaphors, when seen in the light of the context of the work, highlight the irony inherent in the structure of the text. This theory can be safely applied on Upamanyu Chatterjee’s novels. The titles of the novels are carefully devised master metaphors that are charged with irony that permeates the entire structure of the novels. The liet-motif of the novels is suggested by their title. Irony emerges from the application of the master metaphors on the overall context of the novel.
According to Watt, modern realism - “begins from the place that the truth is discovered by the person through his senses.” But, in his The Rise of the Novel, he explains different kind of realism. He defines formal realism, which he considered it to be the base of Novel writing and the only way to portray the absolute truth ( Pamela by Richardson). He