The fictional world is constantly evolving its philosophies relating to the understanding of texts with the new writing style, Postmodernism. Specifically, the works of Postmodernist writers are increasingly subject to interpretation, as there is a literary shift from linearity and order to randomness and fragmentation. However, Postmodernists believe in and promote different interpretations of texts, which in their opinion is the basis for creativity and ultimately the development of innovative ideas in society. One Postmodernist writer, Kurt Dinan chooses to write in a nonlinear, flexible fashion with a component of Mystery, allowing the reader to create different predictions on what will occur throughout the novel Don’t Get Caught. Moreover, the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature because the Mystery genre allows the reader to make predictions based on clues planted by the author.
Literary journalistic discourse is “perhaps the most intertextual of all texts, referring to other texts” in terms of transforming prior historical stories and restructuring conventional literary and journalistic genres and discourses in an attempt to generate a new one, that is, literary journalism (Mills 65-66). Thus, the journalistic discourse cannot be but dialogic and intertextual because its raw material is a news story that can be manipulated, adapted, and adopted by the literary journalist in order to compete other versions of the story. It “assimilates a variety of discourses” that “always to some extent question and relativize each other’s authority” (Waugh 6). Literary journalists, thus, are actively engaged in interpreting and scrutinizing the discursive practices of intertextuality in order to generate their distinctive but hybrid discourse. This hybrid discourse can be conceptualized using Edward Said’s notion of the “contrapuntal”.
Good stories that teach people important lessons never die because they continueaffecting people 's actions along decades. This essay tackles the great theory of H. P. Griceshowing his point of view about the conversational Implicaturethroughout the concept ofImplicature in the history of the storytelling. Also the essay sheds light onthe approach of RukminiBhaya Nair in which she discussed the concept of Implicatureand she also added a creative idea making a new concept calledImpliculturein the field of storytelling. At the end, the essay focuses on the differences between the two approaches with particular reference to literary narratives. The concept ofImplicature is basically established in the history of storytelling throughout years and also developed by a large number of great writers such as Charles Dickens and Jonathan Swift.
His fiction typically addresses the meaning of human existence in an increasingly impersonal and mechanistic world. Writing in a humorous, anecdotal style, Bellow often depicts introspective individuals sorting out a conflict between the Old world and the New world values while coping with personal anxieties and aspirations. Saul bellow has been a most persevering chronicler of America’s restless search for a definable self, articulating more common needs and ills of American society at
A character is defined as a “fictional representation of a person” (230). A strong character is essential in literary fiction, especially in a genre of writing such as short story where the author has a limited amount of time to tell a story. The authors’ goal is often to create a realistic depiction of a person; one that will keep readers engaged and drives the momentum of the plot. In every story-but more specifically a short story- the protagonist is the catalyst for the plot. Authors use many different types of character classifications such as round, flat, stick, dynamic, or static.to build an interesting story.
The suspense and surprise in And Then There Were None According to Alewyn, the essential features of a well-written murder mystery should be the suspense and surprise (184). Agatha Christie’s And Then There Were None is a murder mystery, which is still continually complimented by different readers and has been adapted many times for television and for film because she through characters and characterization, plot, and setting makes this detective story fully combine the suspense and surprise. Characters can be defined as any person, animal, or figure represented in a literary work, each with its own development and function (Abrams 45). Characterization meant to establish the distinctive characters (Abrams 47). Plot is the series of events that form the story of a novel, play, and film (Abrams 294).
First of all, The Adventures of Huckleberry Finn consistently use perspective, writing in all their literature along with onomatopoeia, to give a sense of realism and to build perspective; similarly, the author of I Am Vertical uses imagery in a negative, but an interpreter context to implore the various readers into a thoughtful state of mind, contemplating the meaning and actions behind the various tidbits of information located around the entire poem. Therefore, giving a perspective unique to only the reader 's state of mind, whether it is 1st, 2nd, or even in some cases, 3rd perspective. Additionally, an example of onomatopoeia and perspective in the excerpt, The Adventures of Huckleberry Finn(Twain),” All of a sudden, bang
“I knew I was going to be a writer.” This is what S.E. Hinton, author of The Outsiders, said in here Dear Readers page. She is meant to be a writer. In this classic story, greasers fight in a verbal and physical war with the Socs. What makes this book a classic, is that it uses many techniques to give more information to the reader, to make the story more compelling.
The Adventurous Huckleberry Finn Hailed by (most) critics and language arts teachers alike, Mark Twain’s “The Adventures of Huckleberry Finn” is a complex novel with several developed themes. What this book does bring to the table is a controversial literary device. “Backpedaling” which is the idea of deconstructing pre-existing ideas or character developments to highlight another. Full of intentional contradictions, Mark Twain uses his own hypocrisy and puts it into our protagonist, Huck to make him a realistic and, relatable character. This is done in several ways through the novel; It is done in the character’s moral development, within the setting itself with a variety of hypocritical ideologies, and in the oversimplification of characters and plot points.
The events in the writing are chronologically arranged and well-presented. Though the language is lucid, ordinary readers might have difficulty understanding the text. The author could have ended the story with a positive and encouraging note, which is missing in the