In the story, “2BR02B” by Kurt Vonnegut, uses person vs society conflict to make the reader question the tradition of population control. Authors demonstrate purpose in their writing with tone/mood, person vs person conflict, and person vs society conflict. To begin with, authors use tone
Like the biographical object, it offers us a world that is ultimately unattainable: “The observer is offered a transcendent and simultaneous view of the miniature, yet is trapped outside the possibility of a lived reality of the miniature” . Whether it is a past self through memory or a fictive narrative we have constructed for escapism, we still stand outside the object as another material entity, unable to live the imagined reality we desire. This idea is present in the work of Boltanski, ‘Trois Tiroirs’ discussed earlier, where he constructs a reference to the miniature object in tableau like form. The drawers containing the miniature objects remind us that ultimately we are always shut out of these imagined realities, despite our urge to connect with them. ‘Hence the miniature is often a material allusion to a text which is no longer available to us, or which, because of its fictiveness, never was available to us except through a second- order fictive world’ .
As captivating as it sounds, a world without these qualities seems flavorless to me. Restricted to the extent that they isolate a single person to bear all the memories of the past, including the gruesome ones. This selected person is called the Receiver of Memory. In due course, after Jonas (the main protagonist in The Giver) becomes the Receiver of Memory, his eyes are opened to the opportunities he could have with these aspects as
Reflexivity creates a hole, so to speak, in the texture of the fiction through which the viewer is directly connected to the aesthetic apparatus of the fiction […] The ultimate goal of reflexive procedures is to create a direct discursive relationship between the auteur and the audience, whereby the auteur may say something not only according to the aesthetic rules of a genre but also about the rules themselves according to which the work of art in question was made”. (A. B. Kovas, 2007. P.225)
One of the functions of The Sandman, to explore the interrelationship between rationality and irrationality especially in conjunction with dreams and delirium, is to bend space and time. Dream undertakes this in dreamland while Delirium accomplishes this is wakeland. In his 1999 essay “Reflections on Myth,” Gaiman approaches this interrelationship when he introduces new mythologies: urban legends, serial killers interacting with everyday people, and icons such as musicians and politicians whom modern people mythologize. From there, he meditates on the nature of mythology and its connection to dreaming, stating that the new mythologies of magic and science and numbers and fame […] have their function, all the ways we try to make sense of the world we inhabit, a world in which there are few, if any, easy answers. Every day we attempt to understand it.
One instance of foreshadowing toys with Eilis’ concept of free will, shown in Eilis’ thought process of boundaries regarding how to act to Jim in the bar: “she felt like she had no choice” (19). “No choice” stands out because it implies that Eilis has no personal rule over herself, therefore lacking free will. Similarly, in the short story Eveline by James Joyce, the younger character Eveline undergoes a similar thought process by saying “It was impossible” (6). The thought of something being “impossible” relates to having “no choice” since to a certain extent, choice has an effect on whether or not something is impossible. The polar opposites of free will and determinism aren’t initially observed until later into the book, however, Eilis experiences minor shifts between these two states to an extent where it is a spectrum rather than binary
265] and to the stratification of discourses in a narrative. Bakhtin’s theory considers that the meaning in a polyphonic novel is generated through the layering of the multiple perspectives of characters and thus through the juxtaposition of several ideologies and belief-systems unlike the ‘homophonic’ or monologic novel that delivers a narrative from a single point of view. Dialogism on the other hand consists of the functioning of polyphony. In other words, it means the interaction of the multiple voices and perspectives in a text and their mutual influence on one another.
The Secret Garden is constructed as highly idealized, fertile, and preindustrial. It provides an alternative and potentially subversive space in which children can act without supervision, even if only temporarily and certainly not without limits. This physical setting facilitates several utopian visions as theorized by Foucault. The secret garden draws heavily on features of the hortus conclusus (Borgmaier 18). Its walls are thus particularly important; they marginalize the adult characters, who, as Ang concludes, are bound to “stay on the periphery” (123).
According to Erica Fischer-Lichte, “a performance does not transmit given meanings. Rather, it is the performance itself which brings forth the meanings that comes into being during the course .” In order to do this, the performance creates “liminal situations,” where the ontological opposition between art and reality is negated . Since it shatters the rules and norms, it allows viewers to create various meanings of the performance . Bijin is indeed represented in this liminal space, where the concept is embedded in the performer’s phenomenal body. The bijin’s performance is generated on the liminal space, that is performer’s body, where viewers can negotiate to create meanings, referring to the classics, past artworks, or cultural trends, contemporary fashion, and so
The Penguin Dictionary of Theatre defines the theatre of the absurd as-”The Theatre of the Absurd diagnoses humanity’s plight as purposelessness in an existence out of harmony with its surroundings. Awareness of this lack of purpose in all we do produces a state of metaphysical anguish which is the central theme of the writers in the Theatre of the Absurd. The ideas are allowed to shape the firm as well as the content: all semblance of logical construction, of the rational linking of idea with idea in an intellectually viable argument, is abandoned, and instead the irrationality of experience is transferred to the stage”. The polarization and the lack of connectivity between the world and the self is part of the philosophical premise out of
The detachment that has permeated the region allows for the unconcerned and neglectful acts, such as Myrtle’s murder, of the East Egg inhabitants to transpire without being noticed in detail by those living there. The Valley of Ashes provides an impeccable stage for the major trials of the novel, and lacking it, the events would not have such a penetrating impression on the
The grid can also never create a “city within a city” as it spreads itself in the same pattern wherever the lines crosses and creates a city where every block is connected and homogenous in a convenient but nevertheless dull manner. Koolhaas likely is aware these deficiency in the grid’s implementation on Manhattan as he labels Manhattansim a blueprint and conjecture to justify it’s