History and historical fiction are virtually identical, realistically only being separated by one major difference; history is an account of the past, presented through facts while historical fiction recognizes the facts but is flexible with the author’s use of fiction. At face value, historical fiction appears to be virtually pointless; why would fiction be relevant in history, a recollection of the past based on facts? A historical novelist, Steve Wiegenstein, discussed the purpose of historical fiction in his writing “Understanding the Past” where he states, “We turn to historical fiction not for a comprehensive understanding of an era or event but for a sense of what the lived experience of that era would have been like; not for what happened,
Ralph Ellison in his book Invisible Man (1952) defines Identity as: “When I discover who I am, I’ll be free.” (Ellison: 17) A literary text is a vital medium for exploring queries on identity and belonging. S.P. Swain in his Random Thoughts on Identity suggests that three factors determine one’s identity. The first factor is childhood impressions and aspirations. The rebelliousness in each individual is the second factor and the zeitgeist (faith) is the third factor (Swain 3).
Such a strain of thought runs through the earlier Faulkner fiction. Paul R. Lilly is of the view that for Faulkner the highest language is silence. Concentrating on the examples of Caddy and Addie as speakers of an “impeccable” language, Lilly argues that Faulkner's ideal was to render in words the illusion of a language purer than words (“Caddy and Addie: Speakers of Faulkner's Impeccable Language” Journal of Narrative Technique 170-182). Language, as it restricts, constrains and distorts thought is seen as a contaminant. Though Faulkner recognizes that the dream of an impeccable speech is only an “imaginary hypothesis”, he seeks to create moments that embody the “illusion that language is most alive when it can thrust itself beyond words” (Quest for Failure
These are the questions; Barthes tried to answer in his study. First, we must know what a myth is. Barthes described myth as a type of speech: “It is a system of communication, that it is a message (Barthes, 1987).” It can only be produced with reference to history and cannot exist naturally. Myth as a type of speech and as a system of communication is not limited to oral speech; it could be in a form of written, visual and the likes. It is a language of representation with a significant meaning at a significant time.
Intertextuality accounts for the role of literary and extra-literary materials without resorting to traditional notions of authorship and thus subverting the concept of the text as self-sufficient and hermetic in totality, foregrounding, in its stead, the fact that all literary production takes place in the presence of other texts and are, in effect, palimpsests. For Roland Barthes, who announced ‘the death of the author’, intertexuality is the fact that allows the text to come into being. He says: Any text is a new tissue of past citations. Bits of code, formulae, rhythmic models, fragments of social languages, etc., pass into
we live short-lived to sustain the world meaning that makes us who we are. This implies that we cannot be without history; hence, the real question is there any meaning in history without heroes and their stories. Thompson posits that if we confront such questions we can end up believing our history is over like the millennialism (114). Nonetheless, the emergence of a self-fulfilling revelation is one of the key issues in the Watchmen. For instance, Ozymandias reiterates that “I believe there are some people who do want, if only subconsciously [sic.
New Criticism vs Structuralism New Criticism · Focus on “the text itself”; don’t mind the author and his/her background/biography, trust the tale not the teller; must do a close reading; must be objective and put own ideas aside · Don’t pay attention to your feelings · Formal elements (plot, setting, characterization) · Timeless verbal object · Stick to the text, quote directly; NO paraphrasing · Intentional Fallacy: trying to judge a work of art by assuming its intent/purpose of the artist who created it · Affective Fallacy: supposed error of judging a text on the basis of its emotional effects on a reader · Organic Unity: working together of all parts to make an inseparable whole · Critics
Post–structuralism as Storey (2012) suggests it rejects the possibility of a basic structure where the meaning can be secure and ensured. Meaning is always being generated and when people perceive meaning as content it is only a momentary stop, which continue to flow, and produces more meanings (Storey, 2012). Michel Foucault is one of the post-structuralism that this paper will make reference to. This essay is a detailed analysis of the film “The Truman Show” (1998) directed by Peter Weir using the approach of Michael Foucault’s theory of discourse and power as well as a close study of panopticon in relation to the popular text. Foucault (1980) mentions that power "reaches into the very grain of individuals, touches their bodies and inserts
What has been sacrificed in the contemporary era is not literary culture itself, but rather its adherents' own belief in it. The world that Birkerts constructs is not one of promise, but of mourning, and in identifying with his arguments, we bear witness to a funeral rather than a rebirth. The passion with which he and similar critics declare the end of literature constitute a world where that end has already occurred, instead of an argument for
He displays his characters in various situations without any significance to their moral position of right and wrong. These characters reach their ends only as result of chance and not according to their moral position. Johnson‘s verdict is that it is always a writer’s moral duty to make this world a better place to live through his works. In his opinion Shakespeare could not perform his