French designer Philippe Starck once claims: “I like to open the doors to people’s brain.” Nathaniel Hawthorne 's short story “The Minister’s Black Veil” reflects this principle in which the author advertently creates ambiguities and opens the possibilities of interpretation to the readers. Nathaniel Hawthorne employs commonplace symbols to present the ambiguity of sin and secrecy through a psychological lens in “The Minister’s Black Veil”. This short story also reflected the principle of Puritanism as well, such as the idea of manifest destiny represented by Mr. Hooper in the story. Nathaniel Hawthorne was born in Salem, Massachusetts.
“The Fall of the House of Usher,” a gothic fiction short story written by Edgar Allan Poe, is pervaded by multiple examples of post-structuralist philosopher Jacques Derrida’s philosophy of trace. A close examination of the narrative reveals a distinct trace between incestual conception and the current condition of the Usher siblings through the physical and mental hinders which oppress them; a relationship between the occupants of the Usher estate and the trace of themselves which they inflict on the outside of it; and the traces of the author’s personal life within the storyline through the motif of live entombment. Articulated by philosopher Jacques Derrida, the philosophy of trace identifies the relationship between the absent and the presence
Having eliminated all bonds of human connection between individuals, the Party intended that ‘the sex instinct will be eradicated… neurologists shall abolish the orgasm’ where the high modal declaration depicts the frightening measures imposed by the administration to prevent revolution. Thus, the relationship between Winston and Julia serves as an outlet of instinct but is also an expression of rebellion against the status quo: ‘their embrace had been a battle… It was a political act.’ Further, the ‘glass paper weight’ motif serves as a reminder of the past, a beacon of hope but in the arrest shatters, signifying defeat to the state. Ultimately, as Winston falls short of liberation, he disintegrates into a shell of his former self: betraying Julia and becomes a mindless vehicle of the Party’s propaganda for Big Brother.
That was me. That was the author of this book”. Vonnegut begins his novel with himself as the narrator, keeping the promise he gave to Mary. Vonnegut’s own appearance in his novel also allows for its metafictional attributes, meaning that the novel draws attention to its own structure and telling. Harold Bloom in his book Bloom’s Modern Critical Interpretations on Kurt Vonnegut’s
Knowles notes that “the omniscient narration [that has] a singleness of focus and sparkling sarcasm that are the strengths of the story” (xv). Conrad’s use of two narrators highlights the modernist themes of the novel such as Marlow’s alienation as well as his hope for ascent from the darkness of colonisation. Marlow has some characteristics that are similar to those of the speaker in T. S Eliot’s poem The Preludes, he is alienated and his narrative holds on to the hope of progress and an end to colonisation. Hope that promises that positive change will occur as shown through Marlow’s explanation of Kurtz’s last words, “The Horror” (179).
The Fake Nihility in Hemingway’s “A Clean, Well-Lighted Place” In Hemingway’s “A Clean, Well-Lighted Place”, the story is constructed in the several contrasts: young and old, light and dark, asleep and sleepless, live and death, religion and nihilism. The outer world’s contrasts form the contradictory meanings of the central word “nothing”, and reflect the psychological struggle in older waiter’s mind. The essay will include three supporting literary terms: irony, symbol and denouement. Irony means the words which remain the root sense and dissemble or hide the real meaning of the case in order to achieve special rhetorical or artistic effects (Abrams 135).
Tainted Crown is inspired by my most renowned creation, The Humument – a collection of blackout poetry, which comprises of isolated words and short phrases from an existing text, surrounded by visual elements to convey a hidden meaning. The Globe Theatre has cordially invited me to create a blackout poem using an extract from Shakespeare’s Macbeth, to be put exhibition. Derived from Act I, Scene 5, this piece aims to provide insight into the key ideas of ambition and fate, which are prominent throughout the play.
When Macbeth commits his betrayal, against Banquo, Macbeth hires other people to do his dirty work, similarly to how David commits his betrayal against Uriah. After Banquo and his son depart, Macbeth says, “Banquo, thy soul’s flight, if it find heaven, must find it out tonight” (Shakespeare 843). Not only does the statement confirm that Macbeth is infected with greed, but the quote affirms that his bond with Banquo has come to an end. In simple, modern terms, Macbeth is bidding farewell to Banquo. Heaven, according to the Merriam-Webster dictionary, is a “place of the Deity and the blessed dead” (Merriam-Webster).
The last sins oozed forth, sluggish, filthy" (Joyce 150). Stephen’s confession flows out of him like water, and the priest’s words “fell like sweet rain upon his quaking parching heart” (Joyce 151), contrasting before Stephen confessed when “He could not weep” (Joyce 143), illustrating his impure and uncleansed state. Adilbek Sultanov, student at Nazarbayev University in School of Humanities and Social Sciences, notes that water
A postcolonial study usually discusses about the binary opposition between the colonized and colonizer, oppressed and oppressor, subjugated and subjugator. Using a postcolonial criticism, one can easily recognizes the ideas of polarization in literary texts. Ernest Hemingway’s Indian Camp and John Henrik Clarke’s The Boy Who Painted Christ Black are two example of literary works that show the polarization. The stories portray a vivid view on colonialism.
Dystopian texts espouse a variety of didactic messages that depend significantly upon both the context and zeitgeist of the time in which they were created. Differences can be found when comparing the techniques and perspectives the authors have chosen to represent their contextual concerns to audiences. Together both Fritz Lang’s silent black and white film ‘Metropolis’ 1927 and George Orwell’s novel ‘Nineteen Eighty-Four’ (*referred to as 1984) 1948, confront and provoke audiences to consider the impact that (abusive power + unquestionable control= insert question statement) can have not only on the characters in these two texts, but also on the cultural and political lives of the reader and viewer. By subjugating & dehumanising the lower classes, dictators are
In Charles Fishman’s this chapter of the book, “The Big Thirst,” he says that on average five thousand kids die a day because of the lack of clean water. This means that over five hundred kids in an elementary school in ten elementary schools are dying each day. In Orma, Tennessee the town ran out of water and had to have volunteer fire fighters drive to a nearby city every couple days ten times just so that the town could have water for three hours each day. The forty families that lived in the town ran out of water and was only allowed water for three hours each day. As Fishman says “water can’t be used up”.
Wallence, David Foster, “This Is Water”. Kenyon College Commencement Speech, 2005. In “This is Water”, the author David Foster Wallance introduces the idea of people being concern of what is revolving around them, causing the individual to avoid the fact they are responsible of their own actions and thoughts. In the process, Wallance claims that people live their life the way they think they should, because it has come to a point that everything they do becomes a routine.
In 'Sunset Water' the experience of water dividing is primal. My father is awkwardly here, then gone. Separation in the poem is palpable; the sentences are cut in half by rippling water. In 'As By Water', water also divides, but it concerns love of a partner, perhaps a less personal, more universal experience.
Water plays a large role in the poem “Telemachus” by Ocean Vuong. Descriptions of, or allusions to water can be found in the text in almost every stanza. I believe that the heavy use of water in the poem represents change and impermanence. The setting of the poem is established as a seashore in the first and second stanzas, by the line “I pull my father out of the water, drag him by his hair through sand”. Seashores are generally seen as ever-changing, carved by waves and the shifting of tides.