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Matt McLaughlin

Literary Reference Center - H. G. Wells - 0 views

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Wells Socialist Race

shared by Matt McLaughlin on 07 Dec 10 - No Cached
  • Matt McLaughlin on 07 Dec 10
     
    Argument: H.G. Wells writes about science fiction, more specifically, a higher power or a powerful controller in his books War of the Worlds and The Time Machine. Claim: His Socialistic views rely heavily on his thoughts about the human race Evidence: "Wells felt that the (Socialist) party should take on a morea ctive role in changing the world". " (Wells) was an inventive futurist and was deeply concerned for the human race."
Jeffrey Kirkman

War of the Worlds - 0 views

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War of the Worlds #2

shared by Jeffrey Kirkman on 26 Jan 11 - No Cached
  • Jeffrey Kirkman on 26 Jan 11
     
    The author calls H.G. Wells' novel a science fiction but focus' on the social aspects of the novel. The novel shows the social issues of the time and Wells' views on them. The novel focuses on the social issues of Wells' time, but is not a science fiction. The science behind his books is well thought, but it provided a setting for his novel and was a different way to portray his social views.
Matt McLaughlin

Literary Reference Center - The Time Machine: An Invention: A Critical Text of the 1895... - 2 views

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Wells Totalitarianism Critique

shared by Matt McLaughlin on 07 Dec 10 - No Cached
  • Matt McLaughlin on 07 Dec 10
     
    Argument: H.G. Wells writes about science fiction, more specifically, a higher power or a powerful controller in his books War of the Worlds and The Time Machine. Claim: Wells was a Totalitarianist who beleived one ruler would benefit mankind. And also during the Industrial Revolution, the world was changing more than ever. Evidence: "(Wells) eagerly awaited the global catastrophe that would destroy civilization as we know it and allow...technocrats to enslace hapless humanity."
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. 
Matt McLaughlin

Literature Resource Center - Document - 1 views

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Wells Socialist humans

shared by Matt McLaughlin on 23 Jan 11 - No Cached
  • Matt McLaughlin on 23 Jan 11
     
    Argument: H.G. Wells writes about science fiction, more specifically, a higher power or a powerful controller in his books War of the Worlds and The Time Machine. Claim: Wells socialist views show his concern for the future of the world. Evidence:"Since the Morlocks on one level stand for the late nineteenth century proletariat, the Traveller's attitude towards them symbolizes a contemporary bourgeois fear of the working class."
Tyler McKinney

Literary Reference Center - powered by EBSCOhost: Michael Crichton - 0 views

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Crichton Jurassic Andromeda Hubris

shared by Tyler McKinney on 06 Dec 10 - No Cached
  • Tyler McKinney on 06 Dec 10
     
    Argument: Crichton is superior storyteller, but not a creator.
    Claim 1: Crichton uses old plots and themes.
    Evidence: "Terminal Man", "Next", "Andromeda Strain", "Jurassic Park" are all based off of works by other authors.
    Claim 2: Crichton uses literary elements in tandem with "hard" science to write well.
    Evidence: He integrated Chaos Theory into "Jurassic Park". Archetypes are prevalent in his works, as well as allusions. The Greek notion of Hubris-extreme pride-manages to work its way into most of his stories.
Scott Boisvert

Literary Reference Center - powered by EBSCOhost: Introduction - 3 views

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literary criticism; 1984; George Orwell; Societal Relevance

shared by Scott Boisvert on 08 Dec 10 - No Cached
  • Scott Boisvert on 08 Dec 10
     
    Argument: 1984 is a bad book, but will survive because it will always have relevance to society. Claims: 1984 has moral force as an early political warning; it is the Uncle Tom's Cabin of our time. Overall though, the book is poorly written with only the parody of the political slogans being decent aspects. Evidence: -1984's biggest reason for success is because society is moving towards the society portrayed in the book. -"Uncle Tom is a more interesting martyr than Orwell's failed martyr, the drab Winston Smith" -"Wyndham Lewis sensibly compared Orwell as a writer to H.G. Wells, but Wells was consistently more inventive and entertaining" -"A great pamphleteer, like Jonathan Swift, is a master of irony and satire. Here again, Orwell plainly is deficient. His literalness defeats his wit" -"He was a moral and political essayist who had the instincts of a pamphleteer" http://search.ebscohost.com.lib.chandleraz.gov/login.aspx?direct=true&db=lfh&AN=16405585&site=lrc-live
Colleen Quinn

Literary Analysis #3-The Tenth Circle - 2 views

Throughout the literary critic of The Tenth Circle by Jodi Picoult, the main argument supported by author Lourdes Orive was the point that Picoult's writing opens up a new way to telling the story ...

criticism literary critique

started by Colleen Quinn on 25 Jan 11 no follow-up yet
Jeffrey Kirkman

"The War of the Worlds" Criticism - 0 views

www.novelexplorer.com/...the-war-of-the-worlds

War of the Worlds Criticism

shared by Jeffrey Kirkman on 25 Jan 11 - No Cached
  • Jeffrey Kirkman on 25 Jan 11
     
    Wells uses science once again to reflect some of his social concerns, however it is not a critical as The Time Machine is. Wells doesn't write a science fiction, but more of a science romance. Science is used as a literary device to create a setting for his novel. The destruction of the Martians by microbes has seemed like an anticlimactic ending to his novel, but the martians portrayed Wells' view, that when a creature evolves, it has gained something, but also something else has to be lost in the process. The novel contradicts the idea that technology makes life better, by showing the defeat of the martians, who are more technologically advanced than the humans, were ignorant and were defeated by a bacteria. The technological advances by humans could lead to the defeat of humans by forces of nature. Wells uses science to mock the human race, in this case the technological advances of mankind.
Taylor Collins

Walkley on "Man and Superman" by Shaw - 0 views

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Shaw Man and Superman Shakespeare

shared by Taylor Collins on 20 Jan 11 - No Cached
  • Walkley was an English drama critic for the London Star, the Speaker, and the Times from 1888 through 1902, and a major contributor to the Times Literary Supplement after it was founded in 1902. He has been noted for his disciplined, urbane literary tastes; in fact, his criticism is generally considered to have primarily a literary, and not a theatrical, basis. In the following excerpt from a review of Man and Superman—the play that Shaw dedicated to Walkley and claimed was inspired by his suggestion —Walkley regrets that while the play serves as an effective vehicle for “the Shavian philosophy and the Shavian talent,” it is imperfect as a theatrical work.
    • Taylor Collins
      Taylor Collins on 20 Jan 11
       
      Shaw wrote a letter to Walkley, describing his take on a suggestion Walkley made for Shaw to write a 'Don Juan'. Shaw ultimately flips the whole concept of a 'Cassinova' on its head with a modern, feminist twist, but still credits Walkley as providing him with the challenge. In the letter Shaw expresses his 'lukewarm admiration' of Shakespeare for the strength of his female characters in a maternalistic world. In this regard Shaw finds a fresh opinion of Shakespeare as a playwrite, and a connection to the women in his own plays. Though Shaw sees Shakespeare as having put his own 'tissue' around the plots and ideas of earlier, successful works (which, we can all admit, was true-) it seems that he could still have a respect for the unique and insightfulness played out in the roles of his female characters.
  • For Mr. Shaw and Shakespeare have at least one conspicuous bond of fraternal relationship; they both use the same stage technique.
  • liaison des scènes
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      Roughly, the idea that the stage should never be empty during an act or a scene.
  • ...18 more annotations...
  • Thus for the sake of something which may be very fine, but certainly is not drama, both dramatists cheerfully let the quintessential drama go hang.
  • We want a play that shall be a vehicle for the Shavian philosophy and the Shavian talent and, at the same time, a perfect play. Shall we ever get it? Probably not, in this imperfect world. We certainly do not get it in Man and Superman.
  • he is perpetually energizing outside the bounds of drama,
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      Since when does drama have bounds? Drama is not a formula, it is an art. Walkley says that there is a distinct form of art that he, and every other theater goer looks for in a play. Why, since Shaw's plays are entertaining, does it matter if this 'perfect' construction is not apparent? Is not a play perfect (as possible) if it is both entertaining and insightful? Literature is MEANT to convey ideas. No one creates works work taking note of unless he (or she) has something he (or she) wants to convey.
  • raison d'être
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      'reason for existence'
  • nexus
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      "1. a means of connection; tie; link. 2. a connected series or group. 3. the core or center, as of a matter or situation." -- Dictionary.com
  • the action-plot is well-nigh meaningless without the key of the idea-plot; that regarded as an independent entity it is often trivial and sometimes null; and that it is because of this parasitic nature of the action-plot, because of its weakness, its haphazardness, its unnaturalness, considered as a “thing in itself, ” that we find the play as a play unsatisfying.
  • We use the term action, of course, in its widest sense, so as to cover not merely the external incident but the psychologic and, more particularly, the emotional movement and “counterpoint” of the play.
  • The idea-plot we are not called upon to criticize. In the playhouse a dramatist's ideas are postulates not to be called in question. Theories of Schopenhauer about woman and the sex-instinct or of Nietzsche about a revised system of conduct are most assuredly open to discussion, but not by the dramatic critic. His business is, first and foremost, with the action-plot.
  • à propos de bottes
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      'For no apparent reason'
  • dans cette galère
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      'In this mess'
  • For Miss Ann is the new Don Juan, the huntress of men—no, of one man (that is to say, no Don Juan at all, but for the moment let that pass)
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      In the previously mentioned letter from Shaw to Walkley, Shaw begins by telling him that he has taken up his challenge- to write a 'Don Juan story'. But, in Shaw's terms, the Don Juan is the one being pursued, rather than the pursuer. Walkley knows very well what Don Juan is doing 'in this mess'.
  • Tanner lectures poor mild milksopish Octavius about the devastating egoism of the “artist man”—how the “artist man” is (apparently) the masculine of the “mother woman,” how they are twin creators, she of children, he of mind, and how they live only for that act of creation, so that there is the devil to pay (examples from literary history) when they happen to become man and wife.
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      These ideas are also included in the letter, noted by Shaw as being his "character's, and for a time, also [his] own".
  • The properly dramatic development would have thrown all the onus upon Ann—we should have seen Ann energizing as the “mother woman,” and nothing else—and would have kept Tanner's mouth shut.
  • If Mr. Shaw's play were a real play we should have no need to explain the action-plot by laborious reference to the idea-plot. The one would be the natural garment of the other; or rather the one would be the flesh of which the other was the bones.
  • Ann would exhibit Mr. Shaw 's thesis “on her own,” instead of by the help of Mr. Jack Tanner's lecture wand and gift of the gab.
  • the action-plot, being as we have said a mere parasite of the other, is bound very rapidly to give out.
  • We must not forget two subordinate characters —Ann's mother, middle-aged, querulous, helpless in her daughter 's hands, and the cockney chauffeur, the fine fleur of Board school education, Henry Straker. These two small parts, from the point of view of genuine and fresh observation, are among the best things in the play. In them Mr. Shaw has been content to reproduce, instead of deducing.
  • Mr. Shaw, as we have tried to show, has conceived Ann not as a character, but as a pure idea, a walking theory;
  • Taylor Collins on 21 Jan 11
     
    I'm having some issues with the website, but I do have the analysis saved if you end up needing a hard copy :)
Amber Henry

No sympathy for Miss Wyoming characters - 0 views

www.thebookbag.co.uk/...index.php

shared by Amber Henry on 19 Jan 11 - No Cached
  • Amber Henry on 19 Jan 11
     
    The author's purpose for writing an analysis which discussed the solitude related states that the characters undergo throughout Miss Wyoming, was mainly to emphasize the personalities of the characters within this novel as well as portray certain aspects in life that Douglas Coupland symbolizes. The structure in which the argument is presented is effectively organized because the first few paragraphs summarize the significant scenes in the text as well as the importance of the individuals and their roles. The author writes background information in order to refer back to it once the author makes a valid point. In other words, the author utilizes the summary of the novel as proof toward the opinions the author addresses as the analysis continues. After the summary of the novel, the author organizes his ideas by stating one opinion of the text itself and sticking to that one topic throughout; therefore, the reader does not become confused. The author uses clear and simple organization skills in order to bring forth the argument and the organization forces the argument to become convincing. Although, the argument presented forces the reader to make assumptions of the opinions one may hold toward the meaning of the novel. The argument that the author defends pertains to the meaning of the novel and tries to depict what Douglas Coupland is attempting to voice about the society as a whole. Therefore, the author uses his opinions for others to make their own opinion of the society and Coupland's ideas. The author could have provided evidence from the text in order to support his claims. Exact quotes from Miss Wyoming would have made the author's opinions more believable and the reader would have had more proof and reasoning. But the author of the analysis states that, "I don't have much sympathy with the feeling of "tiredness of being me." In other words, the author believes that there is no reason as to why someone feels sorry for individuals who
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
Maria McGilton

Article Analysis - Wuthering Heights - 0 views

usf.usfca.edu/...wuthering.html

shared by Maria McGilton on 25 Jan 11 - No Cached
  • Maria McGilton on 25 Jan 11
     
    Joyce Carol Oats is the author of this critical analysis of Wuthering Heights. Oats explains how Emily Bronte's writing is unique and anticipated, but still brings in the basics of a romantic novel. She feels that it evolves well through loss and love. The novel also uses the time period it was written in very well through many examples. The purpose of this critical analysis is to prove Bronte's writing and show how well she can fit everything together. Wuthering Heights has a storyline to it, where it could seem like there are two tales in one. One tale would be of the romance and the second would be of maturing through life's challenges. Oats determines that Bronte includes nature into society, which makes up the theme of the novel. Passion is also incorporated into this romantic, gothic novel through various generations of people falling in love. The purpose of this was to prove the theme, in Oats' eyes. Joyce Oats feels that Wuthering Heights has to be understood on two levels to obtain the entire meaning. Emily Bronte has a writing style that gets her point across, but most of the time has an underlying meaning pertaining to the historical aspect and also the romantic aspect.
Mariah Love

Mythology Criticism - 0 views

www.textetc.com/...myth-criticism.html

shared by Mariah Love on 25 Jan 11 - No Cached
  • Mariah Love on 25 Jan 11
     
    Mythology Genre Criticism Mythology, as being associated with belief and religion, is probably one of the oldest genres known to man. Because it is defined as stories all based upon a particular religion it can in fact encompass any religion and in doing so mythology has become a diverse and often utilized tool for writers especially. One of the more famous types of mythology is that of Greek Mythology. During the time of Ancient Greece most entertainment and even history were all based upon mythology. Homer, a well-known writer of that era encompassed and surrounded both The Odyssey and The Iliad with countless mythology references. Author John Holcombe argues in his unnamed article that mythology was utilized as more than just a past time, but it was in fact a way for people to connect and bond. "Myths are collective and communal, and so bring a sense of wholeness and togetherness to social life," (Holcombe). In times of limited resources of connection people would rely on word of mouth. Not only does Holcombe argue it as a way to connect but he also attempts to state that it is psychological and even a necessity for people to have created myths. He states that with the limited amount of knowledge possessed in ancient times people naturally concocted their own ideas and explanations for the unexplained. The overall organization of Holcombe's article is well thought out. It begins with history and background and then proceeds to his own views as to give his readers a sense of unbiased opinion. His focus is clear and is even stated in his thesis. He is clear in his assertion that mythology is more than just literature from the past, it is science and psychology as well.
Aubrey Arrowood

Henrik Ibsen Literary Analysis - 3 views

Aubrey Arrowood Mrs. Sejkora AP Literature-0 20 February 2011 Henrik Ibsen Views on Societal Issues throughout His Plays The Norwegian play writer, Henrik Ibsen, illustrated societal flaws as the ...

started by Aubrey Arrowood on 23 Feb 11 no follow-up yet
Rizchel Dayao

Shakespeare's Twelfth Night - 0 views

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Shakespeare literary criticism conflict emotion reason

shared by Rizchel Dayao on 09 Dec 10 - No Cached
  • Rizchel Dayao on 09 Dec 10
     
    Argument: Shakespeare's characters struggle with the conflict in human nature between reason and emotions. Claim: - Shakespeare's characters used overindulgence in pleasre and self indulgence to attack the Puritans.- He influences the moral value of freedom vs. restraint. Evidence: "Of the two extremes, the course of life that would banish all indulgence is emphasized as more objectionable." "Shakespeare composed in praise of the much - needed, well balanced nature, to extoll that happy union of judgement and of feeling which is the basis of higher sanity."
Amanda Beinlich

Literary Reference Center - powered by EBSCOhost: The Kite Runner - 1 views

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literary criticism

shared by Amanda Beinlich on 15 Dec 10 - No Cached
  • Amanda Beinlich on 15 Dec 10
     
    Source#2 Argument: The Kite Runner it a novel of conflict. Claim: The conflicts range from warring armies, factions, worldviews, ethnic groups; as well as individual conflicts and gender. Evidence: Throughout the novel Amir constantly runs into a problem. If the conflict isn't obvious there is always an underlying conflict. For example, the relationship between him and his father and the judgement he recieves from being friends with Hassan.
Rachel Kaemmerer

Literature Resource Center - Document - 1 views

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

literary criticism steinbeck

shared by Rachel Kaemmerer on 14 Dec 10 - No Cached
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  • Rachel Kaemmerer on 14 Dec 10
     
    Argument: Although the subject of Steinbeck's novels change overtime, he maintains a view of certain fundamental values and attitudes such as naturalism and romanticism. Claim: Steinbeck's obsessiveness with science/biology as well as the relationship between man and his environment appear throughout his novels. However, he often strays from science and writes off an emotional bias by writing fondly of those that live natural lives and behave naturally. Evidence: In "Sea of Cortez", he states "There would seem to be only one commandment for living things: Survive!" (Sea of Cortez). A majority of this book is about a group of boys who focus on what is occurring during the present time and handle issues with their reactions instead of with 'teleological thinking' (2). In addition, he touches on the subject of the scientific viewpoint that everyone is fighting to stay alive and make it in this world. http://go.galegroup.com.lib.chandleraz.gov/ps/retrieve.do?sgHitCountType=None&sort=RELEVANCE&inPS=true&prodId=LitRC&userGroupName=chandler_main&tabID=T001&searchId=R1&resultListType=RESULT_LIST&contentSegment=&searchType=BasicSearchForm&currentPosition=1&contentSet=GALE%7CH1420074523&&docId=GALE|H1420074523&docType=GALE&role=LitRC
Joyce Zhang

Literature Resource Center - Document - 0 views

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

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
Colleen Quinn

Literary Analysis #2-Nineteen Minutes by Jodi Picoult - 0 views

calitreview.com/240

criticism literary critique

shared by Colleen Quinn on 20 Jan 11 - No Cached
  • Colleen Quinn on 20 Jan 11
     
    Literary Analysis #2-Nineteen Minutes Throughout the literary critic of Nineteen Minutes by Jodi Picoult, the main argument given by author Julie Ellam is based upon the fact that Picoult's work lacks depth. Throughout the critic, she gives examples such as the fact that one of the main characters Peter lacks characterization, as well as the fact that the author shies away from the central concern of the novel which is based upon the violence developed in schools. Ellam goes on to explain the way in which Picoult uses over description of her characters and hence lacks insight from the main focus once again. "These parts feels bolted on and overdone, and have the effect of making the reader even more impatient for a greater insight into the thought processes of the bullies and victims." (Ellam) This passage is significant to the work as a whole because it describes the way in which Picoult over analyzes characterization throughout her novel as well as the way in which she uses subplots to carry her story as a whole. Ellam goes on to discuss the way in which Picoult uses excessive description on main characters and background information that is unnecessary to the whole of the novel. She states that the reader tends to feel impatient throughout the reading and is frequently distracted from the main theme attempting to be expressed. "It is possible that the subplots that diverge from the massacre are used to give light as a contrast to the shade, but they appear instead as elements from a soapy romance." (Ellam) The way in which Ellam uses specific descriptions and examples from the novel give to the overall effectiveness of the critic by justifying her argument. This gives to the overall significance as the text as a whole by questioning the way in which the novel is written and taking in the novel from a diverse perspective.
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