One literary critic I chose to display my similarities and differences in the play is written by the Encyclopedia of Word Writer 's, Beginnings to 20th. The analysis begins by stating the characteristic of Renard saying that he is a “trickster”(Lodge 1). Indeed he is! Renard proves to everyone in the courtroom, and himself that he simply does not care about the future and only the present. The actions that have taken place are not easy to ignore.
The dialectic between the fictional narrator and fictional readers is what makes the fundamental dynamics of the text. These two figures in a fatalist Jacques play a significant role, but they, as well as Jacques and master, neither morally nor physically rounded person, unlike some of the minor characters. The relationship of the narrator and the reader is in every respect a very complex. There is no safety reason pripovjedačevog withholding information. Maybe it seems to encourage the reader to participate or does not know.
Despite his groundbreaking theory in postcolonial studies, Bhabha, as a controversial postcolonial theorist, has received a number of criticisms since the appearance of his seminal work The Location of Culture. I would like to illuminate this part mainly drawing from the book, Postcolonial Theory: Context, Practices, Politics, in which Bart Moore-Gilbert has, relatively, at large, criticized Bhabha’s theory, from his writing style to his application of theories. Among those criticisms, the obvious one, to which almost all the people who have read his book has reached a consensus, is his “characteristically teasing, evasive, even quasi-mystical mode of expression” (Moore-Gilbert 114). His poetic language became well known after he won the second place of Philosophy and Literature Bad Writing Contest in 1998. For his complex and fragmented language which “seems designed to appeal primarily to the reader’s intuition,” the most well-intentioned explanation is that Bhabha uses this style of writing in purpose of making a strange feeling, avoiding the familiar “parameters of Western knowledge” (Huddart 10).
There are real-life situations so hopeless that no relief is imaginable.” Vonnegut chose dark or black humor to describe a reality that goes beyond human imagination. Postmodern humor is often characterized as rebelling against the norms of literature and trying to subvert them with no motivation other than pleasure. In the first chapter of Slaughterhouse-Five makes a promise to Mary, O’Hare’s wife that the book he is going to write this book, if he actually finishes it that there “won’t be a part for Frank Sinatra or John Wayne” (15). Vonnegut portrays a very different kind of war hero from what we are used to watch in movies. Through Billy, Vonnegut makes fun and at the same condemns American society about the kind of soldiers they sent into the war.
The notion of challenging the state and more importantly, those in authority has not been a prevalent form of action in society. The principal reason can be attributed to the complex theme of “civic versus personal loyalties” (Editors of Encyclopedia Britannica). This theme has been an essential part of human civilization and Sophocles illuminates this in his renowned play, Antigone. Within the play, Antigone as a representative of the private persons comes into direct conflict with public power. Her audacity to correct the irrationalities that violate her moral code displays those in society who are willing to feud with the state.
Through his first person storytelling he comes upon a revelation and portrays to the audience the vulnerability and sensitivity Said has endured because of his lack of identity. He says “What I watched required no translation: it was an enactment of a homecoming expressed through defiance and loss.” This directly appeals to the readers emotion in recognizing the experience exile has left on Said. He connects with the audience in conveying exile in not only a personal experience but a common human experience of not
This upset leads Rashid to believe that, without his stories, he has no way to support himself or to justify his life. In this way Rushdie suggests that a person’s stories create them, composing their identity and maintaining their dignity. Using a work of fiction to defend the utility of fictional stories is a clever move by Rushdie. The action and adventure in the story is sparked by the conflict concerning the importance of
It is an irony or quiet paradox to apply, as this dissertation does, postcolonial theory to the postcolonial novels, or those novels depicting ex-colonial subject resistance to colonial traditions while living in the very heart of the colonial center, i.e., London; nevertheless, such an application reveals the conflicting sides of the characters’ identity, which has grown in part from attempting to fit in: "The mimic is a contradictory figure who simultaneously reinforces colonial authority and disturbs it"  Keywords: Post colonialism, Identity, Exile Introduction Exile as an awful experience, must be considered as a separate idea. This is the incurable enforced separation of the self from its native place and culture. The indispensable sadness of the separation persists forever. While history and literature depict romantic, heroic, glorious, even successful episodes during an
It was a nationalist movement where foreign goods were to be boycotted and there was promotion of buying domestic goods. Initially, it started as a non-violent and peaceful movement but it soon turned out ugly and violent. Even though the whole novel revolves around the Swadeshi Movement, Tagore does not support it but instead he gives the readers two radically contrasting approaches of nationalism by Nikhil and Sandip. Sandip is a passionate man who will do anything in order to get India its freedom and doesn’t care about what it takes to achieve that. He has a maternal view
Chitra Banerjee Divakaruni’s The Palace of Illusions retells the Mahabharata through the eyes of Draupadi. The title itself serves as a general metaphor for life. “Maya” is an illusion that we humans continue to sustain with much efforts and pains, through conflicts, meanness, and humiliation, while we certainly lack understanding about the laws that govern our lives. This novel positions its readers even more completely in a world that is old and new, magical and real at the same time. Its importance for studies lies partly in what it tells us of the epic’s popular reception and partly for its potential to enliven our reading of the original.