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Melanie Reyes

Literary Analysis for Henry James - 1 views

Henry James is the author to a wide variety of short novels. He is more known for writing on his own views for European and Americans' society, culture, and class status (Liukkonen). But he spices...

started by Melanie Reyes on 22 Feb 11 no follow-up yet
Sierra Chrisman

J.D. Salinger - 0 views

Argument: J.D.Salinger is not a post fruedian writer in his work. Claim: "Salinger,too, is post-freudian and to analyze him for his readers in Freudian terms is meaningless." Evidence: "I think a...

started by Sierra Chrisman on 10 Dec 10 no follow-up yet
Joyce Zhang

Literature Resource Center - Document - 0 views

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Thomas Hardy literary criticism critique Jude the Obscure

shared by Joyce Zhang on 13 Dec 10 - No Cached
  • Joyce Zhang on 13 Dec 10
     
    Argument: Thomas Hardy is a gifted writer who was able to craft a masterful novel, Jude the Obscure. The novel is plagued with only a few drawbacks, including the drab setting and the overcompensated characters that often render the novel unrealistic. Claim: Thomas Hardy is a gifted writer. Thomas Hardy could have chosen a more interesting setting (Dorsetshire) but instead chose a setting with a limited history and scenery (Wessex). Hardy's novel is overall well-done. Evidence: "Jude the Obscure is an irresistible book; it is one of those novels into which we descend and are carried on by a steady impetus to the close, when we return, dazzled, to the light of common day. The two women, in particular, are surely created by a master. Every impulse, every speech, which reveals to us the coarse and animal, but not hateful Arabella, adds to the solidity of her portrait. We may dislike her, we may hold her intrusion into our consciousness a disagreeable one, but of her reality there can be no question: Arabella lives." http://go.galegroup.com.lib.chandleraz.gov/ps/i.do?&id=GALE%7CH1420014281&v=2.1&u=chandler_main&it=r&p=LitRC&sw=w
Briauna Blezinski

The Romantic Setting of Wuthering Heights - 0 views

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Romantic Setting Wuthering Heights antihero

shared by Briauna Blezinski on 19 Jan 11 - No Cached
  • Briauna Blezinski on 19 Jan 11
     
    Throughout this literary critique, the speaker targets the similarities between Emily Bronte's Wuthering Heights with that of a Bulwer-Lytton novel, particularly the romantic setting and the character of Heathcliff. Overall the argument is very logical in the way that the author, Donald Stone, describes and portrays each of his points. The structure is set up to be more of a description of Wuthering Heights in its entirety; primarily the depiction of Heathcliff as "satanic and anarchic" and how he is judged through a moral spectrum. The critique is organized in two large paragraphs, which tend to drag on and makes it very dry to read. This organizational structure can be sort of distracting and in a sense never-ending. Which overall can weaken his argument due to disinterest among the audience. A majority of the evidence that Stone uses throughout his critique are simply just quotes from both of the books. In certain situations the quotes fit in to what he is saying, but they do not justify his argument. Instead the quotes act like "fluff" and are used just to make the point seem more convincing, when in the end its slowly deterring the audience from the actual meaning. Overall, there is not enough evidence to support Stone's argument because he flourishes off of one point and does not bring in any other perspectives. Stone's final conclusion is how Emily Bronte used the same ideas of Bulwer-Lytton, and in the end was the one who came out on top with a classical piece of literature, although the ideas and characteristics were ultimately the same. He claims that Wuthering Heights is "not the great romantic exception among English novels," particularly because he believes the origins were stolen. Throughout his entire argument it is hard to depict any source of bias, that is, until you reach the concluding paragraph. In his concluding paragraph it becomes evident that he holds a certain bias for Bulwer-Lytton. It is apparent that Stone believes Bul
Ashley Cox

My Name Was Salmon, Like the Fish': Understanding Death, Grief, and Redemption in Alice... - 0 views

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Alice Sebold lovely bones Kenneth Womack

shared by Ashley Cox on 28 Jan 11 - No Cached
  • As with so many other works of contemporary fiction and film, Alice Sebold's bestselling novel The Lovely Bones (2002) fulfills our fundamental and indelibly human desires for establishing vital interconnections with the lost friends and loved ones who adorn our personal pasts.
  • Time and time again, the most cherished works of our literary and popular culture reflect this abiding need to seek out our lost siblings, parents, and grandparents.
  • we long for the opportunity to wade back into the recesses of time in order to enjoy impossible reunions with the people who left their imprints upon our very souls
  • ...29 more annotations...
  • By narrating the events surrounding the Salmon family's tragic dislocation and heart-wrenching reunion, The Lovely Bones deftly taps into our yearnings to eclipse the laws of space and time. Even more powerfully, the novel depicts the many ways in which interpersonal tragedy possesses the capacity for tearing survivors' lives apart at the very moment in which they need familial companionship the most. The parlance of family systems therapy--with its accent upon the interpersonal dynamics that shape literary works as well as our own senses of self--provides us with a useful lens for understanding the Salmon family's trials and tribulations in The Lovely Bones.
  • as an inherently open system, the family must at once provide support for its individual members' integration into a solid family unit, as well as their differentiation, or emotional and psychological separation, into relatively autonomous selves. This mutual developmental process possesses the capacity for producing functional and dysfunctional families. In functional families, individual members evolve into fully realized selves that allow them to act, think, and feel for themselves. In dysfunctional families, however, family members develop pseudo-selves--often fostered by fear and anxiety within the system--and thus, such individuals frequently remain unable to maintain any real equilibrium between their inner feelings and their outward behavior
  • In the novel, Susie can only watch in horror as her family devolves from a functional system into a dysfunctional shadow of its former self. Family therapists describe the fashion in which the Salmons maintain their systemic dysfunctionality as a psychological state of homeostasis, which Barnard and Corrales define as a family's tendency
  • "In order to perceive change in one's life--to experience one's life as progressing--and in order to perceive oneself changing one's life, a person requires mechanisms that assist her to plot the events of her life within the context of coherent sequences across time--through the past, present, and future" (35). These mechanisms--works of narrative therapy--offer cogent methodologies that assist clients (or readers) in simultaneously identifying with and separating from the dilemmas that plague their lived experiences.
  • At the beginning of the novel, the Salmons' interpersonal relationship exists as a functional family system. Jack and Abigail Salmon enjoy a busy, albeit satisfying family life in eastern Pennsylvania, where they raise their three children--fourteen-year-old Susie, her younger sister Lindsey, and their four-year-old brother Buckley. After Susie's rape, murder, and dismemberment in December 1973, the family lapses into a dysfunctional spiral as they attempt to cope with a stultifying sense of grief. The effect of Susie's untimely death is rendered even more painful by the disappearance of her body save for a stray elbow, as well as by Jack's suspicions that a reclusive neighbor, George Harvey, is responsible for her demise.
  • "The reflective awareness of one's personal narrative provides the realization that past events are not meaningful in themselves but are given significance by the configuration of one's narrative," Polkinghorne observes. "This realization can release people from the control of past interpretations they have attached to events and open up the possibility of renewal and freedom for change" (182-83).
  • Told entirely from Susie's perspective, the novel details the post-traumatic experiences of her family as they attempt to make their various ways among the living. Existing in a form of atemporal limbo that she describes as a kind of heaven, Susie observes her family and friends as they try to understand her loss in terms of their own survivorship. In addition to her significant role as witness, Susie must also contend with her own anxieties about her untimely separation from her family unit, as well as her severance from the young life that she was only just beginning to comprehend.
  • "There is no question," they write, "that families devote considerable energy to maintain a certain amount of order and stability. Security," they add, "seems to be tied with a certain amount of stability and predictability"
  • In The Lovely Bones, Susie composes her narrative in an explicit attempt to make sense of her family's dysfunctionality and to explode the homeostasis of her former family system, thus allowing them to effect their own "new levels of functioning." Although feelings of morphogenesis for Susie will always be tempered by the finality of her death, she intuitively realizes that the sublimation of her family's homeostasis will allow both herself and her family to continue their progress toward selfhood--although obviously in decidedly different locales and through highly disparate states of being.
  • The particular manner in which Susie sorts through the tragic events of her family's post-traumatic experiences can be usefully understood by interpreting her act of narrative therapy in terms of the five "attitudes" toward death that Kübler-Ross postulates in On Death and Dying. These attitudes--which themselves mirror the five stages of dying that terminally ill patients undergo--include denial and isolation, anger, bargaining, depression, and acceptance. "The one thing that usually persists through all these stages is hope," Kübler-Ross writes. "It is the feeling that all this must have some meaning, will pay off eventually if they can only endure it for a little while longer" (139).
  • Abigail isolates herself by delving into the workaday world of the suburban housewife. Her obsession with the preparation of the family's meals and her daily chores allows the time to pass more quickly, thus limiting her ability to reflect upon her daughter's ordeal.
  • In The Lovely Bones, the first portion of Susie's narrative highlights the narrator and her family's struggle with denial and isolation as they simultaneously come to grips with and attempt to disavow the unsettling reality of her murder.4 Their feelings of denial and isolation function as "coping mechanisms," according to Kübler-Ross, as well as the result of the "inability of [clients] to look at their situations realistically" (37, 41). Unable to make sense of Susie's sudden disappearance from their lives, the Salmons initially cleave to each other, hoping against hope that somehow she will return to their midst. After the police report to the family that Susie must be dead, given that so much blood had been found at the scene of the crime, they begin the difficult work of having to confront her fate, as well as their own. Like her family, Susie finds herself unable to accept her passing: "I hadn't yet let myself miss my mother and father, my sister and brother," she reports. "That way of missing would mean that I had accepted that I would never be with them again; it might sound silly but I didn't believe it, would not believe it" (27).
  • While her father purposefully refuses to allow himself to cry for her loss--to do so, he reasons, would make Susie's death seem all the more real--Jack copes by attempting to establish normalcy in the Salmon household within only a few scant days of her disappearance.
  • Meanwhile, Lindsey and Buckley act as their father's accomplices in his efforts to trap Susie's killer. In one particularly harrowing instance, Lindsey slips into Mr. Harvey's house in order to search for evidence. She narrowly escapes from his clutches, ultimately becoming the object of Mr. Harvey's sociopathic fantasies herself. In each instance, the family members' behaviors serve to exacerbate their ability to come to terms with their grief, rather than to sate their enduring despair.
  • In this fashion, Jack, Abigail, and Lindsey each develop pseudo-selves in order to quell their devastating senses of anxiety and pain. As the youngest member of the family, little Buckley can hardly begin to comprehend his sister's fate. He only begins to understand the extent of her absence from his life during a game of Monopoly, when he realizes that there is no one to play with the shoe, Susie's favorite game piece. Unable to cope with the significance of the moment, Buckley hides the shoe in his bedroom. As with the rest of his family, Buckley can only consider the depth of her absence in isolation from the rest of the unit. To do anymore, it seems, would force them to contend with the awful reality of a world in which Susie simply no longer exists.
  • In the second stage of their confrontation with Susie's death and the slow, almost imperceptible collapse of their family system, the Salmons experience the anger about which Kübler-Ross remarks in On Death and Dying. "When the first stage of denial cannot be maintained any longer," she writes, "it is replaced by feelings of anger, rage, envy, and resentment." According to Kübler-Ross, people in such situations often find it difficult to control their anger or to differentiate logically between the various objects of their animus. "The reason for this," Kübler-Ross observes, "is the fact that this anger is displaced in all directions and projected onto the environment at times almost random" (50).5 In The Lovely Bones, the family's anger takes many
  • forms. Susie's own anger reaches a fever-pitch when she learns the maddening extent of her killer's depravity. As she recognizes that her own death was just the latest in a series of unsolved homicides, Susie seethes as she realizes that Mr. Harvey's house exists as a "town of floating graves, cold and whipped by the wind, where the victims of murder went in the minds of the living. I could see his other victims as they occupied his house--those trace memories left behind before they fled this Earth" (182).
  • While Susie's anger rages in heaven, her father's inability to come to terms with her death pushes the Salmon household to the brink of psychological disaster. His suspicions about his daughter's killer begin to emerge after he visits Mr. Harvey's home and assists his reclusive neighbor in the construction of a backyard bridal tent. Mr. Harvey's bizarre behavior--including his odd remark that "the neighbors saw us. We're friends now"--culminates in Jack's nearly round-the-clock surveillance of the murderer's behavior. Egged on by another neighbor's advice that he should find a covert way of avenging his daughter's homicide, Jack begins casing the cornfield where his daughter died. After he mistakenly accosts a young couple in the field, an altercation ensues that nearly results in Jack's own death. "
  • I wanted my father's vigil," Susie reports, "but also I wanted him to go away and leave me be" (140).
  • Having sublimated her grief for so long and with her husband's increasingly risky behavior testing the boundaries of her patience, Abigail indulges in an extramarital affair--with the local homicide detective, no less--in order to stave off her guarded emotions.
  • Lindsey and Buckley respond to their mother's departure by rallying around their father, whose physical deterioration in the wake of his daughter's murder has rendered him into a shadow of his former, pre-trauma self. Yet by opting to become their father's protector and ally, Lindsey and Buckley also succeed in erecting complicated emotional walls between themselves and their estranged mother.
  • In the third stage of their post-traumatic experiences, the Salmons engage in the act of "bargaining," the grieving phenomenon that Kübler-Ross describes as the product of a given client's irrational fears about the future and his or her "attempt to postpone," if only temporarily, the inevitable processes of life and death
  • In the Salmons' case, the third stage involves very explicit efforts to delay their acceptance of the finality of Susie's death. In so doing, they postpone their capacity for achieving morphogenesis and become typecast in their familial roles.6 Such self-imposed constraints inevitably lead to identity diffusion.
  • Abigail, the overwhelming anxiety over her daughter's loss and the psychological disintegration of her surviving family prompt her to seek refuge by fleeing the Salmon household. When the first anniversary of Susie's death arrives, Abigail can simply no longer fathom the mind-numbing flow of the grieving process:
  • After spending the winter in her late father's cabin in New Hampshire, Abigail drives across the country to California, where she finds a job as a day laborer in a winery. As Denis Jonnes notes,
  • Abigail seeks to empower--or, perhaps more accurately, re-empower--herself by effecting her escape from the larger Salmon family system.7 Yet mere distance can hardly provide her with the emotional sustenance that she so desperately desires:
  • Lindsey attempts to lose herself in the business of living. Opting to go to school the first Monday after Susie's death, Lindsey begins steeling herself against the world. In class, Susie observes, "my sister did not look at Mrs. Dewitt when she speaking. She was perfecting the art of talking to someone while looking through them. That was my first clue that something would have to give" (30).
  • Buckley's youth is understandably complexified by his psychological over-identification with his father, and their intensely close relationship results in Abigail's triangulation after her return from the west coast.
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  • Ashley Cox on 28 Jan 11
     
    This article takes the coping mechanisms in the lovely bones and is connecting it to real life and gives more insight to why the acted the way they did and also how their different ways of coping lead to a divided family. 
Tara Toliver

Article Analysis #2 - 0 views

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shared by Tara Toliver on 25 Jan 11 - No Cached
  • Tara Toliver on 25 Jan 11
     
    The "Killers" In Margaret Atwood's novel, The Blind Assassin, there are many struggles that the main narrator addresses to represent the "killers" in the novel. The "killers" are all of the characters in the novel because they are blinded by love, family, duty, jealousy, vengeance, and other inescapable, socially defined tyrannies that comprise the fabric of life. These represent human nature and how much simple emotions can affect that fabric of life. J. Brooks Bouson criticized that Iris, the main narrator in the novel, had "linear but interrupted installments of her family and married history with her comments on her present daily life as an octogenarian" (Bouson). Iris's comments about family throughout the novel about her life are crucial to the fact that she is blinded by her duties to her family. When she was young, she was forced to marry a wealthy man in hopes that the union would save her father's factory. In fact, it did not, but Iris let herself be blinded to the fact that she would be miserable and that it would make her life more stressful. Also, within society, human norm is to "carry ourselves perfected--ourselves at the best age, and in the best light as well" (Atwood 311). Iris's comment shows that in society, even she keeps a shield on reality and that this bliss is an inescapable tyranny that keeps others from accepting who they are. Another societal tyranny shown in this novel was jealousy. "Iris's guilt stems partly from jealousy and partly from conventionality" (Watkins). She found it hard to find reason on why it had to be her that had to watch over her younger sister, Laura. In the confines of her relationship with Richard, Iris finds herself not actively participating. She was blinded to the fact that Richard was the one who progressed Laura's illness because she was jealous of Laura during their sibling rivalry throughout the beginning of the novel. "The nove
Kyle Myers

Article Analysis 3 - 0 views

www.gotterdammerung.org/...taiko.html

criticism

shared by Kyle Myers on 23 Jan 11 - No Cached
  • historical reality, and yet fictionalized enough to give readers a taste of the spirit of the times.
    • Kyle Myers
      Kyle Myers on 23 Jan 11
       
      Extremely similar to Musashi.
  • narrative is extremely engaging, with much attention paid to battles (not surprising for that day and age), but also to Hideyoshi's preference for diplomacy over war, and his grandiose plans to build a new nation.
    • Kyle Myers
      Kyle Myers on 23 Jan 11
       
      Once again, much like Musashi. Attention to histotical accuracy along with detail to fighting.
  • one step ahead of his most cunning enemies, he is loyal to a fault, and able to generate faith and goodwill in himself
    • Kyle Myers
      Kyle Myers on 23 Jan 11
       
      Characteristics
  • ...6 more annotations...
  • Monkey face
  • only fault of this novel: Hideyoshi is so likable, he appears terribly one-dimensional
  • conveniently ends before his disastrous latter years
  • weakness is for gallivanting with the opposite sex.
  • author manages to "approve" the slaughter of the warrior monks at Mount Hiei
  • it manages to make comprehensible the Way of the Samurai to the extent that few other works do. Such a complex mixture of loyalty, honor, calculation, and greed is bound to baffle the foreigner
  • Kyle Myers on 24 Jan 11
     
    Branislav L. Slantchev's purpose of discussing Eiji Yoshikawa's, Taiko, is to relate this work to Yoshikawa's more popular title, Musashi, and to also show the few faults Yoshikawa has made in his writing. Slantchev's opinion is that since so few people know of Yoshikawa, those who are familiar will become enthralled and find his work flawless. Slantchev is one of the few to finally go against the majority critical opinion and voice his personal issues with Yoshikawa. The article begins with a general summary of Taiko with an explanation of the tale as one that is about bringing "prosperity to the ravaged land is an inspiring, if bloody, tale of courage, imagination, and political intrigue." This statement already sets up the beginning with the multiple literary similarities between Taiko and Musashi. The article even discusses the "historical reality" still being "fictionalized." Nevertheless, Slantchev still continues to praise Yoshikawa when speaking of the engaging narrative and attention to battles until he reaches the character development. Slantchev argues, "Hideyoshi is so likable, he appears terribly one-dimensional." This statement is supported by the fact that even though the main character, Hideyoshi, has a "monkey face" he is still able to have success when it comes to the opposite sex. Slantchev recommends many other novels that would actually contain a more balanced point of view. Ultimately, Slantchev still ties his argument back to how Yoshikawa is still a stunning author that has the ability to write a complex mixture of "loyalty, honor, calculation, and greed that is bound to baffle the foreigner." There is a perfect consistency of admiration as well as points of dissatisfaction within the article. Thorough evidence is provided for all of the arguments made. Slantchev does appear to possess a slight bias in writing his article, as he occasionally slants his writing in comparing Taiko to Musashi almost too often. Al
Shivani Bhatt

Literary Analysis #4 - 0 views

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shared by Shivani Bhatt on 21 Jan 11 - No Cached
  • Shivani Bhatt on 21 Jan 11
     
    Argument: The argument is that this book forces the reader to think a little out of the box and it can seem as a realistic story.The reader must be able to intertwine their "senses" between the fast and present, between reality and fantasy, and through the lives of yin and yang. The critic, Benzi Zhang, just summarizes the book and discusses the points in the book where the characters changes between past and present. Evidence: "Tan's novel moves toward the subversion of our rational perception of life, elaborating on "the question of life continuing beyond our ordinary senses" (Zhang). "Western rationalism and materialism have left Olivia with a limited view of life, and she cannot grasp the spiritual values embodied in Kwan's Chinese way of thinking" (Zhang). Thoughts: I think that this book just forces the reader to go deeper into the book, and makes them read beyond the words. This book may be realistic in some ways, since everyone gets confused between reality and fantasy. Tan uses symbolism and creativity to explain her life, or how shoe would have liked it to be. She views everything so open minded, and she observes every detail, and wondering how the it might portray to someone else. This book is the perfect book to describe Tan's thinking.
Angie Pena

Article Analysis #4 - 1 views

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Burgess libertarian vs authoritarian pelagian vs augustinian

shared by Angie Pena on 25 Jan 11 - No Cached
  • Angie Pena on 25 Jan 11
     
    Argument: Rubin Rabinovitz writes that Anthony Burgess reuses a motif of libertarian vs. authoritarian in many of his novels. Often times this conflict of the characters is a projection of Burgess' views on morals and ethics as well as a display of Burgess' internal struggle. Rabinovitz refers to his novels A Clockwork Orange and the Tremor of Intent, pegging characters to libertarian and authoritarian personas. Through these comparisons he observes Burgess' own inconsistencies in his writing. Evidence: "The apparent inconsistencies in Burgess's dualistic moral views are sometimes seen as the result of his utilization of the Eastern yin-yang principles" (Rabinovitz). "What the religious novelist often seems to be saying is that evil is a kind of good, since it is an aspect of Ultimate Reality; though what he is really saying is that evil is more interesting to write about than good" (Burgess). "Very often, Burgess's use of Manichean dualism does work to reconcile differences in Eastern and Western thought; but problems arise when a choice must be made between relativism and absolutism...Absolutism seems to demand absolute fidelity, and in this sense Burgess's moral point of view appears ambiguous or inconsistent" (Rabinovitz). Thoughts: Rabinovitz focuses on conflicting ideologies that are not often recognized when reading A Clockwork Orange. He also offers a background on Anthony Burgess' location and how that contributes to his characters. Rabinovitz recognizes many of Burgess' characters as projections of Burgess himself and proposes how the clash of eastern and western philosophy influenced the author.
Matthew Richardson

Doublethink - 0 views

www.netcharles.com/...col-doublethink.htm

George; Orwell; Doublethink;

shared by Matthew Richardson on 23 Jan 11 - No Cached
  • Matthew Richardson on 23 Jan 11
     
    Argument: The idea of Doublethink allows totalitarian regimes to keep their iron grip on power without degrading its people and exposing them to thoughts which might cause them to question the regime control. Thus these types of governemnts should keep a "reality control" on its people Claim: Knowledge of Doublethink in such regimes as totalitarian ones, can lead to an instability amongst the citizens and ultimately lead to a failed state. Support: "Doublethink was a form of trained, willful blindness to contradictions in a system of beliefs. In the case of Winston Smith, Orwell's protagonist, it meant being able to work at the Ministry of Truth deleting uncomfortable facts from public records, and then believing in the new history which he himself had written" "Doublethink's self-deception allowed the Party to maintain both huge goals and realistic expectations: 'If one is to rule, and to continue ruling, one must be able to dislocate the sense of reality. For the secret of rulership is to combine a belief in one's own infallibility with the power to learn from past mistakes'" "Doublethink has grown to be synonymous with relieving cognitive dissonance by simply ignoring the contradiction between two worldviews"
Mariah Love

Religion and Happiness - 4 views

Mariah Love Ms. Jensen AP Literature - 1 2 Feb. 2011 Final Thought Paper Ahead of its time in both societal psychology and advances in technology, Aldous Huxley's Brave New World inhibits the soci...

started by Mariah Love on 03 Mar 11 no follow-up yet
alex schneider

Literary Resource Center- Ellison - 0 views

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Criticism Ellison Invisible Man Shadow and Act marxism race

shared by alex schneider on 07 Dec 10 - No Cached
  • alex schneider on 07 Dec 10
     
    Argument: Marxism in both reality and fiction typically represent African Americans as a lower class, ignorant, disrespected race. Claim: Ellison develops his characters, of dark ethnicity, as a person reaching outside of an animalistic portrayal, and exposes an intellect, developing a bridge between race. Evidence: Perhaps, Ellison's maritime experience, led him to..."took a moral responsibility for democracy" and who represented African Americans in a way that few had--"as a symbol of Man."
Madison Serrano

Jack Gantos Literary Critcism - 1 views

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Jack Gantos Literary Criticism 1

shared by Madison Serrano on 06 Dec 10 - No Cached
  • Madison Serrano on 06 Dec 10
     
    Arguement: Gantos purpose is to educate readers 1 claim: Educate about getting on the right path Evidence: "Gantos believes that his firsthand experience with crime and punishment could be a cautionary tale for teens who "have not yet made mistakes," and for those who have, it could be a reminder that "you can still pul yourself together." 2 claim: Educate about morality and hope Evidence: One of the reasons he wrote the book, he says, is that "teens growing tip in a zero-tolerance world need to know that there are consequences for foolish behavior, but there are second chances, too." 3 claim: Educate about real life realities Evidence: "Gantos strove to make his story "authenic," and refrained from censoring or softening gritty elements of prison life."
Tyler McKinney

Literary Reference Center - powered by EBSCOhost: Culture and authority - 0 views

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Crichton Reality

shared by Tyler McKinney on 06 Dec 10 - No Cached
  • Tyler McKinney on 06 Dec 10
     
    Argument: I might be mistaken, as I have not read all 80 pages of this magazine, but the argument for pages 79-80 is certainly that people enjoy literature they perceive to be real. Good writers give their plots 'Authority'.
    Claim 1: Crichton demands 'moral attention' by using scientific facts.
    Evidence: The Velociraptor of "Jurassic Park" is considered an accurate representation of a predator, and after the publication of the novel, the dinosaur entered popular culture.
tylerga78

Article Analysis #2 - 0 views

www.thepequod.org.uk/...lop_ym.htm

criticism literary critique

shared by tylerga78 on 20 Jan 11 - Cached
  • tylerga78 on 20 Jan 11
     
    Argument: The author aims to demonstrate that the conspicuous insertion of Yann Martel's religious beliefs in "life of Pi" is destructive to Martel's attempts to encourage his readers to believe in GOD and religion. However, the author quickly asserts that the problem is simply not very relevant! He even goes as far as admitting that he - a firm atheist - began to affirm a faith in god after reading the novel, under the pretense that the impossibility of the tale encourages the growth of the reader's imagination and therefore his/her faith in God. Evidence: "...the fiction...reveals a truth by explicit sermonising rather than as a natural conclusion drawn from the relationships and events it presents, [and] is displeasing, even 'immoral'" "As he travels through the pages...the reader[s]...atheist or already committed follower[s], experience some major revelation to the spirit, coming to, or restoring, a belied in GOD." "...the simple narrative may reveal virtues and ethics, yet is primarily concerned with entertaining the reader...in magical ways which powerfully invoke the active imagination." "...the novel occupies too perfectly 100 chapters. Yet the miraculous outcomes of this definite structure...defy explanation, logic, reality. This is magic realism in its most subversive form..." Thoughts: the author successfully uses significant support to lend credibility to his argument and does a good job of doing so. He did a fantastic job of explaining and defining his view point and overall I thoroughly agree with his criticism of "Life of Pi".
Carlos Caraveo

Critical Analysis #2 The Temple of My Familiar - 0 views

www.animalsandsociety.org/...441_s934.pdf

shared by Carlos Caraveo on 20 Jan 11 - No Cached
  • Carlos Caraveo on 20 Jan 11
     
    Robert McKay, author of the criticism on human-animal relationships that are described in The Temple of My Familiar by Alice Walker, believes in two arguments. One begin that Robert believes that the ability in which humans use language sets the difference between humans and animals. Secondly, he critiques about how Walker has "anti-oppressive" political views towards race and gender. In the story Walker "re- writes" the book of Genesis and she makes many references that are mythological and biblical. Robert McKay believes that humans and animals are very distinct and even though many people believe that there is communication between an animal and a human…well they are wrong according to McKay. In the novel Walker wrote about past lives and how humans came from animals, well according to McKay that's impossible and that's is why he critiques Walker on her comparisons between a human and an animal. The second argument he brought up was how political references were made to gender and race. These references were made when the young boy and the young girl were together and they realized that they were different due to the color of their skin. It is like an allusion to the bible says McKay because the boy lost his sexual innocence due to the temptation. Also, Walker makes an animal intertwine in a way between humans. For example, she puts the woman, followed by the familiar and then the man when in reality the animal is external in this human relationship. In the story when the boy and girl were together as it was stated above the boy kills the girl's familiar which was a serpent and it represents the serpent from the bible according to McKay, but that event (the boy killing the serpent) represents how men (white men) had the power over women and animals.
Lauren Regester

Literary Analysis Behind a Mask - 0 views

go.galegroup.com.lib.chandleraz.gov/...retrieve.do

Alcott 19th Century Feminism

shared by Lauren Regester on 20 Jan 11 - No Cached
  • Lauren Regester on 20 Jan 11
     
    The critism attached by Fetterley depicts the true steps a women had to take in the late 19th century to get by. Alcott was a clever writer and Fetterley gave her all the praise she deserved. Alcott struggled in her life both with health and wealth. The sharp contrast between her two books Little Women and Behind a Mask is evident and the author of this critism, Fetterley, forms a solid argument of women's rights and how they are highlighted in these novels. The critism hits key points and uses contextual evidence to support its claims. At the very beginning of the novel Jean Muir is epitomized as the perfect women. Fetterley is quick to jump on the fact that Louisa Alcott strives to be this perfect women but is bound by reality and realizes such roles aren't possible for her. Fetterley hits the key issues that Alcott presents by saying, "radical critique of the cultural constructs of 'femininity' and 'little womanhood,' exposing them as roles women must play, masks they must put on, in order to survive." There is a common denominator in Little Women and Behind a Mask and Fetterley discovered the pattern and exploited it. Jean Muir, who was far from fair, had to take on the character of one of the "Little Women" in order to survive economically. She was sneaky. She was sly. However, she did what she needed ot survive. Fetterley used evidence from both books when forming her high opinion of Alcott.
Erica Jensen

Literary Analysis #3 The Glass Menagerie - 2 views

Can you link to the original text?

started by Elizabeth Tuttle on 25 Jan 11 1 follow-up, last by Erica Jensen on 15 Feb 11
Trey Sherwood

How to Tell a True War Story: Metafiction in the Things They Carried - 0 views

www.questia.com/TgfnyXjJ9!281629418!1850919211

shared by Trey Sherwood on 21 Jan 11 - No Cached
  • Trey Sherwood on 21 Jan 11
     
    Argument: The argument is that TIm O'Brien, the author of "The Things They Carried", Creates a both fictional and non-fictional story which creates confusion in interpreting the books stories. Stories are jumbled up and not told in sequence or by the same people, or even interupted because of the stroytellers death. Because of this the reader may struggle with having a clear understanidng of the novel. Evidence:"'Patrol went up the mountain. One man came back. He died before he could tell us what happened,'"(6) -- many are in their own way as enigmatic. The tales included in O'Brien's twenty-two chapters range from several lines to many pages and demonstrate well the impossibility of knowing the reality of the war in absolute terms." "Tim Obrien terms TheThings They Carried "'fiction. . . a novel. . . (Mehren El), but in an interview with Martin Naparsteck, he refers to the work as a "sort of half novel, half group of stories. It's part nonfiction, too," he insists" Thoughts: I agree with the argument of this essay. I often become confused or lost within the stories of Tim O;Briens "The Things They Carried" because the stories are so damn unorganized! One story may begin than abruptly end, only to be finished by another soldier farther along in the novel. I will admit it is a challenge to understand, but I do enjoy this novel, and must admit the stories are interesting......well, when understood at least.
Shivani Bhatt

Literary Analysis #3 - 0 views

www.shvoong.com/...2068352-secret-senses

The Hundred Secret Senses

shared by Shivani Bhatt on 21 Jan 11 - No Cached
  • Shivani Bhatt on 21 Jan 11
     
    Argument: The critic argues that The Hundred Secret Senses was a book that left her thinking about if what we as humans always see can be perceived as real, or just our imagination. She also asked which part of the world would be best to actually live your life. Evidence: "In this novel, two sisters, (the father's sisters), are responsible for calling into question both the world of reality, like fantasy" (unknown). "And after reading the book. I wonder: Which of the two sets is most appropriate for us to settle not only survive but try to live?" (unknown). Thoughts: This critic seems to have thoroughly enjoyed this book just because it caused her to actually think. This critic gave such high praise of this book, and after reading The Hundred Secret Senses i have to agree.
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