Stasiland (2002) is a non-fiction journalistic text written by Anna Funder whereas, in 1984 (1949) written by George Orwell is a dystopian novel. Both texts look at how oppression works and what they have in common is the oppression of individualities. Anne funder is looking at what really happened, yet it is still horrific however, Orwell takes it to an extreme because it’s a novel. In addition to this, in Stasiland people’s privacy and freedom is being invaded because of the uncontrollable power that the Stasi holds. This is the same with 1984, Big Brother and how they would watch everything that happens to every single individual so they’re not going against the country.
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. Ultimately, the central purpose of an author’s novel is to engross the reader, by writing in a genre and movement that is appropriate the book. Appropriately, Kurt Dinan engages the reader with both a Mystery genre and Postmodernist elements in his novel, Don’t Get Caught. Postmodernists believe that traditional authority is false and corrupt, and the central theme of Don’t Get Caught is that the powerful students play pranks and humiliate the less influential students. There exists a social elite club known as the Chaos Club that plays pranks on the school and faculty, and nobody can figure out the leader of the club is or who the members’ are.
Mahbub Ali reassures Kim that his delivery of a key message ensured: "The game is well played. That war is done now and the evil we hope nipped before the flower, thanks to me and thee." The literature on Kim is voluminous and well-trodden.9 Critics of colonial discourse point to a range of moral flaws in Kipling's work. Edward Said, who in 2000 wrote an introduction to a reprinted edition, felt that orientalist values permeated the novel to the extent that it was "a masterwork of imperialism. "11 Agents collected information on the Russians and had no powers to make treaties.
In other words, metanarratives like religion and science had been unable to prevent the horrors of WWII, or create a better society afterwards, and these philosophies appealed to the sense of failure and confusion that this induced, justifying the chaos by declaring it meaningless. Cold War texts reflect this crisis, using their respective mediums to explore, in a range of highly effective ways, the changing ideologies, values and concerns that complement this uncertain period. John Le Carre’s novel ‘The Spy Who Came in From the Cold’ (‘The Spy’) and Kurt Vonnegut’s novel ‘Slaughterhouse Five,’ challenge the validity of dominant Cold War ideologies and explore the search for alternatives.
Both Remarque and Greene use their protagonists, Baumer and Fowler respectively, to exemplify the vulnerability of innocence and how leads to poor decision-making. Through the use of the protagonists in their novels, both authors would agree with Hemingway’s theory that “All things truly wicked start from innocence.” Although innocence usually receives a positive connotation, it supplies the garden to which wickedness can flourish. Innocence is often the culprit to poor decisions, due to a lack of personal development and experience. Remarque and Greene both illustrate that bad choices can result in the transformation to wickedness. In All Quiet On The Western Front, main character Paul Baumer declares “I am young, I am
The Great Gatsby is a novel by F. Scott Fitzgerald that highlights the American Experiment, which depicts the power that the individual’s choice over their lives. Gatsby does a good job at showing us a story archetype that reminds one of the ancient Greek tragedies, such as Antigone, or the more recent Romeo and Juliet. Star-crossed mortals, doomed to die. But oh, do they leave such a good story for those with a bit more time left on our clocks. Romance, mystery, death, murder, wealth, power, and more.
In The Cask of Amontillado and The Tell-Tale Heart, Poe showcases a unique style of writing, rendering exceptional pieces of literature. Both stories are within the genres of horror and romanticism, however, Poe does not conform to these genres, as they were in the 19th century. Poe branches out of romanticism, and with horror, he developed gothic romanticism and pioneered psychological horror. Poe believed that art and literature were the most realistic and accurate depiction of individual human nature. Deviating from romanticism, which would have focused on external depictions of horror, he concentrated on internal depictions of the human mind which reveal a character’s internal struggle and therefore make his depictions more realistic and stylishly accurate.
He is the master of American horror yet with close examination he writing style is not so different from Wilde’s, just like Wilde he was partial to using aestheticism, his writing style is so often referred to his ‘addiction to adjectives’. Interestingly for Poe unlike so many of his contemporise, such as Ralph Waldo Emerson he wasn’t a ‘great American dream story writer’, whereas Emerson belonged to the mainstream national narrative, who saw American as new, full of potential and belonged to the transcendentalist movement, Poe illustrated America through a counter narrative. Emerson’s American offered hope, while Poe’s America offered death, decay and despair, not a new land but a decaying one; if Emerson looked outwards Poe most certainly looked inward. Poe’s narrative style can be seen as the great narrative of death and decay in America, but it is essential to examine why? Firstly modern readers can assume that a primary reason for Poe’s obsession with all things dead and decaying was because Poe suffered great death and loss in his life, described by Killis Campbell as “the saddest and strangest figure in American literary history”.
Postmodernism is a self-reflexive vehicle of modernism that explores ideologies around concepts of popular culture, high and low art, and the state of the world after the modernist movement. In this essay I will explain how postmodernism, through review and re-conceptualizing, is able to celebrate modernist ideology by using the platform modernism has set up for postmodern techniques to create meaning in narrative. I will be discussing this address through the Shane Black film, Kiss Kiss Bang Bang (USA, 2005). Kiss Kiss Bang Bang (USA, 2005), is a hybrid crime-comedy film that uses the film noir detective narrative style in a postmodern mode. The film reflects a number of stylistic elements portrayed in the James Bond franchise, with a fusion
The Collector by John Fowles seems to adhere more to the taste of the contemporary reading public who had become accustomed to the stark and often grim realism of British fiction. The novel is written as a reinterpretation of realism, with postmodern elements as well, as Fowles himself admits that his purpose was suggesting that a surface realism only hints at the reality that lies beneath it. The author’s choice of names 'Miranda' for the main female character and 'Caliban' as a nickname in her diary, make us think that Fowles’ purpose was to write the novel as a realist reinterpretation of Shakespeare's The Tempest, moreover if we take into consideration the four protagonists (Prospero, Caliban, Miranda, and Ferdinand). Excepting the absence of Ferdinand, similarities and links can be found between the play and The Collector. As a concludent example, there is the theme of double imprisonment, reiterated in both works: The Tempest and The Collector: on one