The fictional world is full of chaos, as people tend to prefer unstable theories to countless philosophies. Specifically, there is a literary shift from linearity and order to randomness and fragmentation. Consequently, Postmodernist writers understand that their works are subject to interpretation; however, they believe that the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Moreover, Kurt Dinan writes in a nonlinear, flexible fashion by writing with a component of Mystery. Subsequently, the reader can make different predictions on what will occur throughout Don’t Get Caught, and the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature.
The narrator submitted this story believing inside him that the story, in a sense, is his being. Imitation goes up to a certain point, past that isn 't healthy. This story, in the narrator 's eyes, is seen as chunk stolen from his life. A story is one of a kind, while events and emotions can be experienced by many different people. “A true piece of writing is a dangerous thing.
This book will provide arguments that fairy tales are positive impacts on children’s development. This book has very useful chapters that break down some favorite fairy tales and explain how these fairy tales are relevant. Crain, William C., et al. "The impact of hearing a fairy tale on children's immediate behavior." The Journal of genetic psychology 143.1 (1983):
Content • How appropriate is the content of the book for its intended age level? The book is very appropriate for Pre-K-1children.The author evades stereotypes and classifications and uses a variety of colorful dots to tell the story of two children and their families. The uniqueness of this book comes from the author’s ability to use line, shape, and space to give the children opportunities to create their own images of what these characters may look like. The story touches on friendship and unity across lines of “color”. Leo Lionni’s simplicity of the story allows for the children to contribute and generate spontaneous responses to what is happening per page.
Gulliver’s Travels and Journey to the Center of the Earth, for instance, are literary works that are meant for adult readers but are also enjoyed by children readers as well (Anderson, 2006). Adventure themes in children literature is dominated by fast-paced action. Just like in Dodgson’s Alice’s Adventures in Wonderland and Twain’s The Adventures of Tom Sawyer, non-stop movement and encounters is the dominant part of the story. Most often, perils and dangers are introduced for the purpose of highlighting the excitement of the adventures of the characters in the story. Magic and mystical elements are also added to make the adventure themes more interesting towards children.
Literature has always been an attractive media to illustrate wide ranges of representation of life; whether it is in written or oral form. Many authors often relate their or others’ experiences in real life while writing their works. Moreover, some may also add fantasy elements in their works that aim to simply draw the reader’s attention or even serve as a symbolism of particular things in real life. The fantasy element which is frequently used by the author in developing their work is the existence of ‘magic’. Nowadays, the use of magic has become a trend in many fantasy literary works, such as in Harry Potter and Percy Jackson & the Olympian series.
Do human beings have free will over their fate? Contradictory ideas are expressed through this concept as it is explored through various works such as “Censors” by Luisa Valenzuela, Oedipus Rex by Sophocles and “Cranes” by Hwang Sun-won. In “Censors,” the protagonist, Juan, is pressured by society to become someone who he does not want to become. In Oedipus Rex, the protagonist, Oedipus, becomes obsessed with finding his identity, which in the end hurts him more than it helps. “Cranes” by Hwang Sun-won is a story about two childhood friends, Songsam and Tokchae, that grow apart and encounter each other by chance as enemies.
If he were to not overreact, he would’ve gone away with it. Nevertheless, this is the crucial life-changing action he decided to take, only in a negative way. A first-person narrator is vital to the plot of “Tell-Tale Heart”, and its perspective is as if the author is the main character of the story. Understanding the author’s deliberate structure of suspense helps understand the story in depth, and the internal conflict synchronizes well with the author’s clockwork. The narrator’s sanity is questioned, as the irony takes over until the end of the story.
Antithetical as they sound, these two statements betray the deceitful nature of Pakistani politics. A former gambler and infamous womanizer, Harappa now puts on the mantle of the pious in order to mislead the masses. Rushdie’s sharp critique of the Harappa political edifice finds its metaphorical expression in his wife’s handicraft. Embittered by her husband’s vicious nature Rani Harappa uses her domestic space as a site
According to Lessing, historical drama is “a creation of fiction woven around the Historical characters.”(134) A pertinent question that arises is the relevance of history in a work of art. The factual and informational values of history illuminate the subject and increasingly whet the reader’s curiosity. History imposes limitations on the author. The writer is not free to distort history; factual accuracy has to be strictly adhered to. Many of works in India have been written in response to historical movements such as the Gandhian movement, imperial rule, partition of the country and the emergence of the New India.