Men struggle with anger, yet anger is a vital part of a man 's emotional life. When anger gushes like a geyser from the place of a man 's wounds, and the pain is potent enough to send him into rage, although he may feel it, he may remain oblivious to what sparked his anger. In spite of anger 's destructiveness, it is valuable for men to consider the healing side of anger as it tends to point to their deeper wounds. Many men are unaware of their emotional wounds and struggle with the allusive mystery of why they are so angry. Robert Bly, the author of Iron John, wrote, "The savage man is wounded and prefers not to examine it," which says a lot about how men, starting from early boyhood, compartmentalize or stuff away their painful experiences and negative feelings into some forgotten realm of their unconscious minds.
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.
The Tell-Tale Heart was told in the first person point of view. The narrator (also the main character) was paranoid and admitting he is nervous yet still sane creating a sad and sinister, slightly intense mood for the reader. This foreshadows that the narrator must have done something deviant and that others attribute him to have gotten insane. The narrator then tells the whole story to justify his sanity. The different conflicts in the story can already be determined—both internal and external: firstly, that the protagonist’s own conscience is haunting him (man vs. self); secondly, that the protagonist needs to prove his sanity (man vs. society); and that the protagonist wants to get rid of the eye of the old man (man vs. eye).
The analysis of the two stories will attempt to generalize what elements of real and fantastic are in most, if not all of “lo real maravilloso.” Before we analyse how magical and real elements are used in short stories, we first need to point out the definition of this literary style. Magical realism was first coined by German Franz Roh in 1925 to refer to a style of painting. Later, Alejo Carpentier took the term and expanded on it thanks to his early influences of surrealism. Carpentier was in fact was not satisfied by his poor contribution to surrealism, so he took ideas from the literary approach. The South American termed the new literary style as “lo real maravilloso.” Even up to now, there is still no agreement on a clear definition of what exactly defines a story as magical realism.
While creating the graphic novel, Karasik and Mazzucchelli chose to keep it in black in white instead of using all hues of color. The City of Glass is a detective novel; anything that is connected to a detective will also be associated with to the various tones of black and grays because of the old detective movies. In the Power of Comics: History, Form and Culture the author claims,” Using Black and white instead of color can also affect the meaning of a story. Because many of the most ambitious and critically acclaimed comics works have told their stories without using primary colors, black and white, or at least subtle colors, has become emblematic of serious comic books” (Duncan and Smith, 142). The City of Glass is story of Quinn slowly descending into madness, using colors would have taken away the seriousness
Not only can one piece of writing be understood differently by its audience, but an author can interpret a certain topic in a completely unique way from another writer. This phenomenon can be seen in the two distinct pieces Superman and Me from The Most Wonderful Books: Writers on Discovering the Pleasures of Reading by Sherman Alexie and “Books are Dangerous” by Frank Furedi. Although Alexie’s short story is a personal narrative and Furedi’s article is essentially the opposite:
Comparing to The Picture of Dorian Gray, it also illustrates the refusal of the return when Dorian is intrigued by “The Yellow Book” which symbolizes the poisonous influence Lord Henry has on him. After the death of Sibyl, Dorian feels responsible for her death knowing that his horrible words towards her was the cause of it. Lord Henry then lends Dorian “The Yellow Book” which is about a character who is beautiful with an immoral life of sin that reminds Dorian of himself. However, the character in the book suddenly loses his beauty which terrifies Dorian thinking that the same thing would happen to him as he thought the character’s sudden change was “remarkable” (138). The Yellow Book started to influence Dorian and still continued to have a
He was very much influenced by musicals and fairground performers. He also used comedy to distant his audience from the depicted situations. Stanislavski theatre is called dramatic theatre which has plot, involve the spectator in a stage situation and one scene after another whereas in epic theatre it is called narrative theatre, turn the spectator into an observer and each scene for itself. Brecht encouraged his audience to discuss things during a performance and they could enter and leave during a performance at their will. Sometimes he even masked actors face to draw the attention away from the actor’s faces, in comparison Stanislavski says that audience must involve in the performance and audience can’t enter between the play.
This is in conjunction with the notion of faultline stories, a conception by Alan Sinfield. Faultine stories, according to Sinfield, “address the awkward, unresolved issues; they acquire the most assiduous and continuous reworking; they hinge upon a fundamental, unresolved ideological complication that finds its way, nilly-willy into texts. […] Authors and readers want writing to be interesting, and these unresolved issues are the most promising for that” (Cultural Politics 4). For Sinfield, these issues are found in real life, but for fan fiction authors these issues are found in the textual world. This may not necessarily be true for all fan fiction, but certainly for some.
The style of writing which an author uses is a key determinant in how the reader will receive and interpret the work. The literary element of style is present in Bao Ninh’s “The Sorrow of War”, particularly a sensuous style, in order to connect to the reader. The sensuous style is created through Bao Ninh’s use of imagery and immerses the reader into the incredibly detailed world he has created, making it easier for the author to relay his themes to the reader as he determines what exactly the reader feels in the novel. Writing style is a literary element present in all forms of literary works. Style is an author’s unique use of diction, structure and vocabulary in order to elicit a particular response from the reader.