APLit2010

Argument: The argument of the critism on the language of Jane Austen, and the women of the time period, is that language and speech was used as a weapon. The critic also claims that although Austen speaks out about language as a manipulative tool, her female characters often use it that way. Language was used as a weapon by women because they were seen lower than men in the society of Austen's time. Language and speech were the only way to counteract male dominance, and allowed the women to have some influence. Not only speech was used, but also silence. The Critic claims that women used Language to manipulate and get their way. Evidence: "Female speech "veiled Warfare" " the female characters in Sense and Sensibility language- or the absence of it to manipulate those around them, as well as Austen's clear commentary on such manipulations of power." "Play games with language." The critic gives many examples of when Austen's characters in Sense and Sensibility use language to manipulate, and get what they want. He also shows the power Austen has with language. Thoughts: Michal Beth Dinkler, makes a strong argument, with good examples, on Austen's use of language. His critism also shows the social standing and mind set of women in Austen's day. Her books make women seem more intelligent and stronger than the men of that time period. This is because of Austen's masterful use of the English language.

Argument: The character's process of maturing creates the motivating force of the novel. Evidence: Each story has one narrator whom all have an idealized view of the world. All three stories mentioned play on the imagery of darkness. Own Thoughts: Galloway has indeed made an interesting observation from reading Conrad's works. She does a great job staying on topic along with tying the three novels together. Quotes: "These contrasting doubles all "pull" on the narrators; the narrators are either attracted by certain positive qualities or repelled by their double's lack of "moral restraint" or both." "All three stories deal with a process of maturing that involves the loss of youthful illusions, a process usually precipitated by an actual "trial" that challenges the protagonist's professional skills as well as his assumptions about his identity and sanity."

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

Arguement: Steinbeck choose his characters based on having two people in every story to juxtapose eachother. Claim: Having these opposing characters keeps the readers more interested in the story with more drama/excitment. Evidence: "Every good story must have opposing forces, friends and enemies to keep the conflict moving"

Argument: Shakespeare's use of foil characters having differing traditional views concern the origin of suffering. Claim: Shakespeare purposely creates contradicting characters and their actions usually result in a tragedy of chance. The structure also has a role in his tragedy. Evidence: "The play however eludes both the 'providential' and the 'fatal' formulae and offers us an early, but fully articulated Shakespearean tragic structure."

Argument: Salinger's switches between "internal/ external focalization" as a tool to limit the reader from delving into the fictional world of the character.
Claim: The writing creates a sense of urgency for the reader for internal focalization and the opposite for external.

Evidence: "... The Catcher in the Rye: there the use of "internal focalization" puts the reader into Holden Caulfield's mind, creating the impression of a subjective or a "figural" perspective."

Argument: Animal Farm is a modern satire. Claim: -The novel satires Russia's perversion of socialism -The animal's revolt is a symbol for any modern revolution -Any revolution is ultimately self-defeating Evidence: -"The use of multiple historical references gives a universal quality to this work." -"The rise of a ruling class of intellectual workers, the development of a leader figure, the use of scapegoats, and, above all, the rewriting of history and the misuse of language for party purposes, all figure in this satire" http://search.ebscohost.com.lib.chandleraz.gov/login.aspx?direct=true&db=lfh&AN=MOL0089900020&site=lrc-live

Argument:As Clark started developing more mystery novels in the 1970's, she became more successful and found her strength in writing.  Claim:Edward D. Hoch states that Clark's form of mystery is not simple murder or crime cases, but rather suspenseful plot lines that keep the tone of the book like something that cannot be put down. Hoch also claims that Clark's use of characters and victims that are somewhat related to real life people bring a different atmosphere to the novel. Clark's use of a heroine throughout her characters brings in an audience of women, and allows her books to be more successful with this specific audience.  Evidence: "But it is the suspense rather than the mystery that makes the book so compulsively readable."  "The idea of children in jeopardy strikes a responsive chord with women readers.." "The plot and its motivation are somewhat reminiscent of the sort of hospital thrillers Robin Cook excels at, but clark produces a few new twists of her own." "The story of a young woman who marries a man without really knowing him, and then goes off to live in an isolated house, is one of the classic themes of fiction." 

Argument: Mary Higgins Clark's novels contain similar traits that are seen within each of her mystery books.  Claim:Lisa A. Wroble claims that throughout the four books mentioned in her critical analysis, all four of them contain almost the same literary elements. Women as heroines, dramatic irony throughout the plot line, the motif of "bad guy" vs. "good guy", and  a theme of woman determination are some examples that Wroble mentions in her analysis. In addition to identical characteristics of Clark's novels, Wroble claims the effectiveness of Clark's writing in the mystery genre. Wroble goes into a little bit of depth on how Clark utilizes the specific literary elements to draw in the reader in every single piece of literature that she creates. Clark also backs up her stories with factual information, which, in Wroble's viewpoint, allows the plot to be more believable and captivating to the audience.     Evidence: "A masterful and popular storyteller, Mary Higgins Clark intricately laces suspense through tightly woven story lines to pull readers into her stories." "Clark's victims often have a friend or relative dedicated to seeing their adversary punished. This character is usually a very strong woman who puts a great deal of pressure on herself to help her loved one." "The reader never feels cheated by Clark's economical but informative and entertaining prose."

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."

Argument: Bram Stoker's relgious and cultural customs influence the characterization of the women in his novel Dracula; there are two types of women he writes about - the New Woman and 'classical' woman - and makes clear distinctions between the two. Claim: Stoker choses to salvage the only woman pure at heart - Mina - and condems the other women because of the characteristics associated with the New Woman, reflected in the Vampire character. Evidence: "The living woman is full of 'sweetness and purity,' while the un-dead vampire is associated with voluptuousness, carnality, and wicked desire." http://search.ebscohost.com.lib.chandleraz.gov/login.aspx?direct=true&db=lfh&AN=48218147&site=lrc-live.

Argument: Bram Stoker's relgious and cultural customs influence the characterization of the women in his novel Dracula; there are two types of women he writes about - the New Woman and 'classical' woman - and makes clear distinctions between the two. Claim: Bram Stoker condems the New Woman in Dracula by making the four of five women in the novel Vampires, however, he saves the 'classical' nature of Mina harker and uses her as a key factor that leads to the death of dracula. Evidence: Bram Stoker makes the vampire women out to be savage in order to exaggerate the difference between the New Woman and more traditional female. "Accustomed to seeing themselves portrayed in literature as either angels or monsters, women may wonder why Dracula is the single male vampire in the novel while four of the five women characters are portrayed as vampires - aggressive, inhuman, wildly erotic, and motivated by only an insatiable thirst for blood." http://search.ebscohost.com.lib.chandleraz.gov/login.aspx?direct=true&db=lfh&AN=6888397&site=lrc-live.

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."

Argument: Any society based on satisfying the needs of Passive Man will destroy Active Man and will itself become uncreative and unproductive Claim: collectivists diminish individual rights, and individual thought Evidence: Collectivism, she told Reader's Digest readers, is always totalitarianism; and "horrors which no man would consider for his own selfish sake are perpetuated with a clear conscience by 'altruists' who justify themselves by--the common good" ("The Only Path to Tomorrow," Reader's Digest, January 1944, 88) Source Citation Baker, James T. "Chapter 3: Ayn Rand as Public Philosopher." Ayn Rand. James T. Baker. Boston: Twayne Publishers, 1987. Twayne's United States Authors Series 501. Literature Resource Center. Web. 6 Dec. 2010. Document URL http://go.galegroup.com.lib.chandleraz.gov/ps/i.do?&id=GALE%7CH1472002608&v=2.1&u=chandler_main&it=r&p=LitRC&sw=w

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.

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.

Coupland is a unique writer who makes no point within his novel, "Girlfriend In A Coma". Teenagers would mostly be attracted to his books because his characters are carefree and he is not out to teach his readers a lesson. "Girlfriend In A Coma juxtaposes the slick confidence of youth culture with a clumsy, easy-to-ridicule search for a right-minded way of living. It provides no solutions, but sustains a plea for intellectual individuality and a rigorous reassessment of workaday assumptions."

Coupland easily attracts modern society because he knows how to please them. He could have hidden messages within his stories, but mostly does not because of his carefree personality. "Coupland's non-anxious, behind-the-beat style is, in the end, deceptive. It follows the mood and tempo of the dreamer."

Argument: Salinger's greatest struggle has been his search for right living and how to define the right path through his art. Claim: Salinger's characters have a great dissastisfaction with those around them. Evidence: "Salinger's art, especially the later fiction, is an attempt to dramatize his own version of right living. Ultimately his 'silence' becomes the culminating gesture when his life becomes the message, a testament of the values his art hitherto professed. "

Argument: Although Orwell's dystopian vision has not been born out by Soviet-style communism, the author's fears about the ability of the state to control people is still a danger in modern society Claim: The all-seeing manifestation in 1984 of the Party's power has come to stand as a warning of the insidious nature of government-centralized power, and the way that personal freedoms, once encroached upon, are easily destroyed altogether Evidence: "Winston maintains two avenues of hope for a life outside the confines of the party" "One of these possibilities is conscious, spoken: the proles. One of these possibilities is conscious, spoken: the proles. Just as Marx foresaw, in the nineteenth century, that the Revolution would come from a spontaneous uprising of the proletariat as they shook off the chains of their oppressors, so Winston writes in his diary that if there is hope, it lies in this 85 percent of Oceania's population that exists outside the confines of the Party" "The second possibility remains mostly unspoken and unconscious: desire. It is this possibility, the momentary destruction of the Party through intimate union with another person, which solidifies Winston's relationship with Julia"