“Creo que todos tenemos un poco de esa bella locura que nos mantiene andando cuando todo alrededor es tan insanamente cuerdo.” – Julio Cortázar (1). It was this ‘beautiful madness’ which stemmed from within Cortázar that resulted in many of his greatest works. The main feature of his writing is the use of the ‘fantastic’. According to Cortázar, this is the most fictional of all literature. It is demonstrated in the book of short stories ‘Final del juego’ (1956) including the three stories that will be outlined here: ‘La noche boca arriba’, ‘Final del juego’ and ‘Continuidad de los parques’.
1) Those with power attempt to silence individuals similar to Roark. "And you'll set out from your house with this drawing, to have it erected, because you won't have any doubt that it will be erected by the first man to see it. But you won't get very far from your house. Because you'll be stopped at the door ... he'll say that he's very sorry, only the commission has just been given to Guy Francon." (65) Shortly after just cracking open "The Fountainhead" by Ayn Rand I was able to see Roark as a bold non-conformist who believes in the purity of his work over a check.
Another compelling argument in "Civil Disobedience" is when Thoreau uses logos as a tool to compare his idea to an acclaimed scholar of the time, Paley. Instead of avoiding Paley 's popular argument altogether, he takes advantage of his argument and flips it to support his point. Not only does he provide sound reasoning for his opposing views, but he provides an example for which most people can relate: "If I have unjustly wrested a plank from a drowning man, I must restore it to him though I drown myself. This, according to Paley, would be inconvenient" (Thoreau). The simplicity of Thoreau 's words here serve to his advantage, as those with less political experience can connect with this straightforward, concise
In readers mind, they may think this writing technique will appear in the article very obviously. That’s not the case, the basic expression of the lottery as something, which in our normal life is generally a good thing, but evil is the main irony of the story. Author is in order to keep the reader from catching onto the basic thinking of the story. About two men were discussing stopped the lottery, this point of being uncivilized because they won’t perform the act so that the readers may certainly discover uncivilized is vital to the basic thinking of the article. Then the meaning of the Summer people in the readers mind which is someone is very worm-heart at helping others, but after reading the story readers will find that the villagers are all cold-blooded to the old couples.
Similarly, after Cassio hears Iago’s advice to seek out Othello and beg for forgiveness, he bids a “good night [to] honest Iago” (Shakespeare, 2.3.313), who is none other than the man that diminishes his reputation and causes him to lose his title. Cassio not only does not see who causes him this strife but thanks him for it and bids him a good night. Additionally, Iago is able to completely change Lodovico 's opinion of Othello in four short words. Lodovico witnesses Othello hit Desdemona, and all Iago needs to say is that “[Othello] is much chang’d” (Shakespeare, 4.1.266). With these few words, Lodovico is completely swayed, and immediately believes Iago’s assertion that Othello is
In “The Cast of Amontillado” written by Edgar Allan Poe and in “A Good Man Is Hard to Find” written by Flannery O’Conner, there are some similarities within the characterization and within the plot of these two short stories. Let us begin with “The Cast of Amontillado”. Edgar Allan Poe used characterization to show us the narrator’s personality. In his story, the narrator is the unreliable, egotistical protagonist. At the carnival where Montresor found Fortunato dressed in a jester outfit, Montresor says, “My dear Fortunato, you are luckily met (Poe 165).” I don’t believe they met on accident, rather Montresor knew that Fortunato was bound to attend and made sure that he also attended.
Edgar Allan Poe, one of history’s most terrifying and demented authors, is famous for his multitude of stories perfectly crafted to haunt readers for years after they finish reading the final words. To achieve this, Poe uses many suspense techniques such as imagery, vocabulary, psychological insights and unreliable narrators to heighten the power of his tales and truly chill readers to the bone. His use of these tactics is no more apparent than in his most morbid and haunting tale, “The Masque Of Red The Death”. In this story, Poe uses three main literary devices: Imagery, symbolism and themes. Poe’s use of imagery is something that makes this tale captivate the audience and truly resonate within readers’ minds.
Every novel or play usually has a climax, which is where the adversity is the biggest. Some adversity may be in fact relatively self-made, meaning the character made their own trouble and are at their own fault for their suffering. All three pieces of literature contain many examples of conflict, literary devices and suffering. Throughout each novel or play, a recurring theme is none other than the theme of conflict. In Life of Pi, written by Yann Martel, are many examples of this theme.
That being said, it is ignorant to say that his fatal flaw is the sole reason for his downfall, as there were many contributing factors such as his jealousy and insecurity that factored into it. Nevertheless, his gullibility is ultimately the root cause as it enabled for these factors to come into effect. His fatal flaw is first pointed out by Iago, who comments that “The Moor is of a free and open nature/ That thinks men honest that but seem to be so” (1.3, 392-393). As the play progresses, Iago capitalizes on this weakness to plant seeds of doubt in his mind of Desdemona. Iago points out that “[Desdemona] did deceive her father, marrying you” (3.3,204), and thus brings to Othello’s attention that Desdemona is capable of lying.
Before the story begins, it states ‘except for a few details regarding the author's own life, all the incidents, names, and characters are imaginary’ (O’Brien, P8). However, on the following page it claims ‘this book is lovingly dedicated to the men of Alpha Company, and in particular to Jimmy Cross, Norman Bowker, Rat Kiley, Mitchell Sanders, Henry Dobbins, and Kiowa’ (O’Brien, P9). Silbergleid believes that this statement ‘elevates these imaginary characters to the level of real people worthy of a dedication’ (Silbergleid, P129), therefore, blurring the line between what is fact and what is fiction. This is evident in ‘How to Tell a True War Story’ when the reader discovers that the men Curt, Rat and Mitchell are in fact fictional characters. ‘No Mitchell Sanders, you tell her.