movement; such social transmogrifications as Civil War and tactful disenfranchisement of most Blacks; and above all such literary rebellions as Racial Uplift Agenda and Harlem Renaissance. Hence, identity crisis was very much in the highlight. A discursive analysis of the manifesto of the above mentioned two literary movements alone suffices for the study of identity conflicts within and without the literary spheres. W. E. B. Du Bois in his article The Criteria of Negro published in the journal The
Marx 's system, known as Marxism, caught the attention and support of thousands, including author John Steinbeck. Of Mice And Men is full of Marxism. Steinbeck seems to have quiet been sympathetic towards many elements of Marxism. Marxist is the analysis of human events and productions that focuses on relationships among socioeconomic classes, both within a society and among societies and it explains all human activities in terms of the distribution and dynamics of economic power. They 're all based
aesthetic response in the viewer” (McCloud 9), thus excluding cartoon from the purview. In all these definitions the cognitive value of comics has been repeatedly stressed, along with the fact that when we subject comics to any kind of literary or cultural analysis, both the pictures and the words have to be taken into account. The commonest forms of printed comics available to us today are the comic strips in newspapers and magazines, and longer comic stories in comic books and graphic novels. The
2. INTRODUCTION- LIFE AND WORKS OF EDGAR ALLAN POE Edgar Allan Poe represent the first great literary generation of United States of America, this was the Romantic period in American literature. The Romantic outlook in case of novels was expressed in the form of romance but romances were not love stories. The protagonists of the American romance were generally haunted, alienated individuals. The isolated and alienated characters in the tales written by Poe were unknown and mysterious
com Abstract World War I & II taught the world about the ugliness of war and hatred, and the dichotomy between good and evil. We often blame the political system or the society for the evils that are being perpetrated in the world. But a close analysis will tell us that it is not the political system or the society that is responsible for the evil, but some individuals within the society or in the political system that perpetrates evil. Therefore, it is the individual who needs to bring-forth
powers, like the figures in a fable. The main character Shalimar, a gentle and open-minded individual ,a tight rope walker, by profession in the Pachigam village is a confused individual. His character is to some extent unrealized and underdeveloped. Little is revealed about the complex feelings he must have gone through to get from a clown to a killer. He, in the course of time is turned into an Islamic fundamentalist terrorist and a blood thirsty criminal. The reason behind his transformation is the
rural Georgia, chronicles the journey to emancipation and selfhood, of a southern black woman, Celie, who is extremely docile and who submits herself uncomplainingly to every form of violence and trauma. Her only motive is to survive somehow, however degrading her existence might be. Exploited sexually and emotionally by some of her closest male relatives, she is a symbol of the mindless violence and sexism that black men and society unleash on their helpless women. Written in epistolary style, the
Introduction This chapter attempts to explore the political scenario of the times Nadine Gordimer lived and her political views. Gordimer and her White identity, her proclivity towards liberalism and its disavowal later on, portrayal of the attitudes of Black Consciousness and the effects of the same on the ‘white liberals’ are the important areas stressed in the chapter. Another crucial element is, how has her transformed political views been expressed in her fiction. 2.1 Life and Politics of Nadine Gordimer
dates: April 7, 1928, June 2, 1910, April 6, 1928, April 8, 1928 respectively. Each section focuses on a single narrator. First three sections are given to three Compson brothers: Benjy, Quentin and Jason. The fourth section is given to Dilsey, the black servant of the family. The four-fold division, forming part of the strategy of having four narrators is designed to throw light on the central problematic of the novel from multiple angles of vision. The contradictions, thrown up by the transition
have tread the same path. In the process, ‘magnificent’ literary treatises passed down have often used woman as a spicy condiment, eventually devaluing and debasing her natural role, even if unintentionally. From Shakespeare’s plays, wherein women have been rendered ineluctable paradoxes, to nearer home Arundhati Roy’s GOST heroine, who ultimately pays the unchaste ‘cost of living’—Wordsmiths have always muffled women with their literary tantrums. It’s widely accepted that the Bard-of-Avon broke