Group items tagged

In the literary criticism by Louis Owens, Of Mice and Men: the Dream of Commitment, Owens portrays the American Dream with a biblical Eden. Owens claims that the people in Steinbeck's novel have the curse of Cain, or to wonder in isolation. That's where Lennie and George come into the picture, to defy their curse. Owens states how Lennie and George upon first introduction are different from the other characters in the novel. They have a joint dream that they are committed to see it become a reality. Lennie, according to Owens, resembles the loner of society. He threatens their commitment to the dream that reality fights. George's commitment rises when he kills Lennie, but when Lennie dies their dream dies with him. 2 usable quotes: "George must reenact the crime of Cain to demonstrate the depth of his commitment. It is a frank acceptance of the way things are," (Owens pg. 149). "The dream of George and Lennie represents a desire to defy the curse of Cain and fallen man-to break the pattern of wandering and loneliness imposed on the outcasts and return to the perfect garden," (Owens pg. 146). http://web.ebscohost.com.lib.chandleraz.gov/lrc/pdf?vid=3&hid=123&sid=44d44b9f-8779-4dc6-841c-0ddc9776cc45%40sessionmgr114

Argument: The author explains that though Camus was labeled as an existentialist, he rejected the title and called himself an absurdist. Claims: Camus believed that life was devoid of meaning and purpose and rejected any idea that attempted to apply meaning to life beyond physical existence and human connection. What was most important was living in consciousness of the absurdity; he criticized existentialists for merely recognizing the absurdity of life and often taking a pathetic leap of faith to apply meaning. Camus disagrees with the idea that life is not worth living simply because it has no meaning. Sysiphus is Camus's depiction of a man of full consciousness, aware of his reality. Such a life may seem torturous and worthless to many, but Camus was a staunch believer in the value of life. Evidence: "Absurdism is an off-shoot of Existentialism and shares many of its characteristics. Camus himself was labeled as an 'Existentialist' in his own life, but he rejected this title. He was not the first to present the concept of Absurd but it was owing to him that this idea gained popularity and influence, and it transformed into a proper philosophical movement of Absurdism" (Aftab). "Kierkegaard describes the Absurd as a situation in life which all thee rational and thinking abilities of a person are unable to tell him which course of action to adopt in life, but in this very uncertainty he is forced to act or make a decision. He has to do something but his reason offers him no help. He writes in one of his journals: "What is the Absurd? It is, as may quite easily be seen, that I, a rational being, must act in a case where my reason, my powers of reflection, tell me: you can just as well do the one thing as the other, that is to say where my reason and reflection say: you cannot act and yet here is where I have to act"" (Kierkegaard qtd. in Aftab) "Even in the latter case, the question arises: what is the purpose of God? And it is this question which a

In Brynie's critical analysis of Steinbeck's book, Tortilla Flat, she stated that Tortilla Flat has similar ideas found in Mice and Me. Yet, in this book Steinbeck establishes a frame that later George and Lenny are built upon. George and Lenny don't have a home or security, yet their dream involves what they do not have currently. Also Brynie comments on how Steinbeck favors the poor or natural man in his book and that Steinbeck closely ties his books to religion. From Brynie's critical analysis, the two books, Tortilla Flat and Of Mice and Men display many similar aspects but they are told in different ways to diversify the way of the American Dream. Usable Quotes: "Steinbeck exalts the natural man, untainted by civilization, unspoiled by either conventional wisdom or conventional morality," (Brynie). "It was the first of Steinbeck's novels to look at life through the eyes of those without homes, possessions, or security, and Danny and his friends foreshadow others of their kind who appear powerfully and poignantly," (Brynie).

Argument: That the problem with trying to write a literary criticism on TKAM is that there isn't anything to criticize. Claim: That TKAM is ranked as one of the most influential books in Americans' lives. Evidence: "To Kill a Mockingbird sells about a million copies per year, for a total of 30 million to date, and is consistently ranked in reader surveys as the most influential book in Americans' lives, after, of course, the Bible."

Argument In this article, author Susan Tarrow, contrary to the common belief that Meursault maintains the same passive attitude throughout the book, argues that he is instead a dynamic character who evolves through the course of the novel. She explains that Camus's clever use of language establishes a tone that forces many readers to be frustrated with Meursault. Claim Tarrow explains that Meursault is introduced as passive character whose attitude allows him to act with total disregard for others. By the end of the second part, he develops into a  staunch defender of his individuality; he maintains his right to not admit to believing in concepts that do not seem logical to him. Camus's use of passe compose, or compound past tense, maintains a passive tone and establishes the theme of absurdism. Meurasult does not make emotional connections to events which frustrates many people. His lack of language, or rationale for his action, seems insane but he simply does not feel the need for it. Evidence "If the hero Meursault has a moral message-and the reference to him as a Christ figure would suggest that he has-it is one that plays a constant role in Camus's thought; there are no absolutes to which one can adhere, only limits, and the vital nuances are played out within those limits. Total indifference and apathy allow others to act without limits. Meursault develops from an acquiescent figure who admits no limits to a combatant who claims the right to be different" (Tarrow). "When The Stranger was first published in 1942 the aspect that evoked the most interest among critics was the use of the passé composé, the compound past tense, since the traditional tense used in literary narrative is the passé simple. Sartre, in his review of the book, comments that the effect of the passé composé is to isolate each sentence, to avoid giving any impression of cause and effect" (Tarrow). "Meursault, who places no reliance on language, throws down

Argument:  Ferguson writes to partially attack the diction and characteristics used in Spark's novel "At First Site" Evidence: Ferguson uses negative connotations to describe Spark's writing such as "corny" and "knuckle-bitingly bad" which are very negative. Justifies her criticisms by allowing some slack about the ending to surprise, but does not elaborate leaving an impression that she is not a fan of the story. Claim:   "Sparks's prose has the amiable, folksy rhythm of a rocking chair on a wraparound porch" Can be used to demonstrate Spark's use of slang and jargon when writing to give a southern characteristic among his characters in all his  literature.   "incurable weakness for corny characters" Can be backed up by actions or dialogue of characters from either book. This statement more personally attacks Sparks then his characters.

Argument: Paul Marchbanks, in his three part literary criticism of Dickens novels, From Caricature to Character: The Intellectually Disabled in Dickens Novels, make the assertion that Dickens usage of intellectually and physically disabled protagonists (as well as smaller secondary and even background characters) brought these otherwise hidden character types to the forefront of the Victorian literary scene. Main Idea of Argument: -Victorian authors spun disability into a spectacle, like a freak show in a circus, but Dickens used the disabilities of the characters as a conflict that tried to hold them back, that they had to either over come, or grow to accept. Evidence: -"The physically disabled character's very distinctiveness can lead, not only to isolation from those other fictional persons who react with distancing pity or disgust, but to a kind of representational disconnect from those real-world individuals with disabilities whose numbers-recognized within the boundary of the novel or short story-would strip the character's exceptional disability of its rhetorical power" (Marchbanks 1). -"Dickens's first three novels bespeak a ready advocate for victims of many kinds of social injustice. The Pickwick Papers (1836-7), Oliver Twist (1837-9), and Nicholas Nickleby (1838-9) together establish what will become life-long, very loud sympathies for the destitute, the orphaned, the poorly educated, and the imprisoned debtor" (Marchbanks 1-2). -"Dickens appears unable, or unwilling, to present a coherent portrait of Smike's mental faculties. Here, the narrator prevents unequivocal praise of Smike's heroic intentions by mixing proof of his valor with doubt about whether the boy's scattered "thoughts" are even worth the name. Other inconsistencies emerge if one considers the former evidence of Smike's faulty memory in conjunction with his surprising ability to navigate London's winding streets, not only those walked multiple times with

Criticism

Through out the whole play, shakespeare argues the different perspectives of madness. He is vsery intrested with the idea of mad and madness within the play. He doesnt give us a vivid definition as he wants us to define it ourselves through our own view. Madness such as being insane or just very creative. He claims that he uses "madness" to simply point out the characters. " Fetch him off, I pray you; he speaks nothing but madman" (1.5.87). "Sir Toby is -- Half Drunk" (1.6.96). "Like a drowned man, a fool, and a madman" (1.5.107.10).

Eureka, for the next entry, separate the argument for the claims.

Argument: Joan Hope, in her literary criticism of "A Long Way Gone: Memoirs of a Boy Soldier", makes an assertion that Baeh highlights the complexity of human nature under strenuous conditions. Furthermore, Hope stresses the importance of political discussions on the effects of war on children. Components of Argument: 1) Hope supports her argument by highlighting Baeh's narration technique - helping the reader through story by maintaining the tone of a story teller somewhat distanced from what has happened. Hope also acknowledges the neutral tone in which the story is told which allows the reader to draw his/her own horrific conclusions. 2) Hope's secondary support lies in her recognition of the first person account by a child with little understanding of the reasons for the war. Evidence: 1) "Their conversation shows no compassion for the people they killed and no remorse for their actions" (Hope). 2) "In fact, Baeh's memoir describes a society in so much chaos that it is not clear that even the military leaders have a good understanding of what war is about" (Hope). 3) "In the end, the book gives no evidence that one side had greater moral authority than the other" (Hope). MLA Format (My choice to do this): Hope, Joan. "A Long Way Gone." Magill'S Literary Annual 2008 (2008): 1-3. Literary Reference Center. Web. 11 Dec. 2011.

Argument: Literary dystopia reveals human weakness, social problems and often criticizes or exaggerates social trends. Claims: Leisure in dystopian novels are called anti-leisure in the fact that it "perverts to achieve the perpetuation of tyranny". Instead of abolishing tyranny in this sense, dystopia does the opposite. Not only that but it also demolishes human individuality and self reliance through various compulsive activities, "such novels encourage the re-examination of theories of leisure from a humanistic standpoint". Evidence: "Such leisure regulates identity, prevents individual thought, impedes self-sufficiency, encourages immoderation, and distracts citizens from social injustice through varioius compulsory activities" "This recent term was coined for its overtones of disease and malfunction, making it an accurate label for the genre's depictions of human foibles, weaknesses and messiness that defeats attempts to create a perfect society" "Dystopias usually exaggerate contemporary social trends and in doing so, offer serious social criticism"

Argument: In his article, Wm. Laird Kleine-Ahbrandt, argues the motives behind Edmond Dante's reason for his actions as well as his motive behind his seeking revenge on all those who had hurt him. Claims: Along with a summary of the novel itself, Kleine-Ahbrandt also makes inferences that suggest that the author of the novel, Alexandre Dumas, saw him self as a version of Dantes, the main character of the novel. Kleine-Ahbrandt also gives more background as to why Dumas wrote the plot the way he did. Evidence: "Dantes is so consumed with a passion for revenge that he does not realize that he is in danger of losing his soul." "The official morality in Dumas's time was to punish the wicked and force sinners to atone for their sins" "Such satisfaction is worth a little moralizing"

In a literary criticism by Charlotte Hadella, she states that the Eden biblical allusion plays a major part in the development of characters and the American Dream. Nearing the end, the Eden myth haunts Lennie and George because of Curly's wife, a woman dictates the failure of their dream. Hadella claims that even before they enter the ranch that their dream begins doomed. While in the ranch, the fact that the land owners that he wants to buy from have to sell raises a red flag on their dream, that if they could make it off the land, how could they possible accomplish that same feat. Yet, that breaking point fact gets overlooked in the pursuit of their dream because if they think on their plan George will see that they are banished from Eden before they can enter. Usable Quotes: "When George talks about the actual farm that he intends to buy for himself and Lennie, he explains to Candy that he can get the place for a really cheap price, "for six hundred bucks. The ole people that owns it is fiat bust." Apparently, the present owners of George's dream farm are not able to live "off the fat of the land," a detail that both he and Candy conveniently overlook,"(Hadella). "The Garden of Eden myth "looms large" in Of Mice and Men, and Steinbeck appropriates Edenic elements to convey his personal interpretation of the American Dream,".

Argument: Narration to medical ethics comes in two forms: the use of stories for their content and methods of analysis. Claims: Picoult uses both forms of narration in medical ethics in her two books, "My Sisters Keeper" and "Handle With Care". She uses multiple narration in "My Sisters Keeper" to develop the story of ethical issues for Anna and the analysis of the daughters medical condition and ethical issues presented from the mother in "Handle With Care". Evidence: "The contributions of narrative to medical ethics come primarily in two ways: firstly, from the use of stories (narratives) for their mimetic content-that is, for what they say; and secondly, from the methods of literary criticism and narrative theory for their analysis of diegetic form-that is, for their understanding of how stories are told and why it matters." "During the past two decades, stories have been important to medical ethics in at least three major ways: firstly, as case examples for the teaching of principle based professional ethics, which has been the dominant form of medical ethics in the Western world; secondly, as moral guides to living a good life, not just in the practice of medicine but in all aspects of one's life; and thirdly, as narratives of witness that, with their experiential truth and passion, compel re-examination of accepted medical practices and ethical precepts." "In the past decade, scholars have begun to use the methods of literary criticism and narrative theory to examine the texts and practices of traditional medical ethics. What are now referred to as narrative approaches to medical ethics, or narrative contributions to medical ethics, use techniques of literary analysis to enhance the practice of principle based medical ethics. In contrast, what has become known as narrative ethics has reconceptualised the practice of medical ethics, seeking to replace principlism with a paradigmatically different practice."

Argument: In the literary critique Confession and Desire in L'Etranger, written by Gilbert d. Chaitin, the author argues that Meursault should not, first and foremost, be seen as a Christ figure. He argues against the belief that the main character's ability to live outside the temporal flow allows him to reach a deeper level of enlightenment at the end of the novel, suggesting that there is only a reaffirming of his previous beliefs. Chaitin dismisses claims that the bipartite structure of the novel aids in the characterization of Meursault as an absurd hero. Claims: The author claims that Meursault development as a character stems from his firm belief in the absurdity of life. While other critics notice a change in the character's persona in the second half of the novel, Chaitin claims that Meursault actually reaffirms his beliefs while waiting for execution, only becoming more vocal about his convictions. He states that Meursault only takes pleasure in remembering past events due to his desire to replace the situation he finds himself in the present. Evidence: "The only plausible conclusion to be drawn from this evidence is, therefore, that Meursault's famous 'prise de conscience' does not indicate a change of attitude, but a reconfirmation of his earlier posture" (Chaitin). "Instead of looking back on his past with the eyes of a romantic wishing to resuscitate and preserve it for posterity, Meursault takes an interest in the past only insofar as it informs or replaces his present" (Chaitin). "The actual mode of narration used in the novel corresponds to the Meursault who has become cognizant of his discourse. What matters, therefore, is not the specific nature of the events of his life, but their degree of presence for him; hence the often apparently trivial nature of many of the events that he records, especially in Part I" (Chaitin)

The criticism starts on pg. 332 about half way through starting with "Julie Anne Peters.." Argument- "A decade after M. E. Kerr's straight-up look at lesbian gender roles in Deliver Us from Evie...Peters's book may score lower on social realism than Kerr's... but it packs more heat." Claim-Peters sets another strong-willed butch lesbian in a small town in the Midwest, while maintaining constant dramatic appeal, "The parade of human drama is a bit excessive here..." Evidence-  "Peters translates this [Mike's acceptance] nicely by allowing Mike to introduce herself in the first chapter without mentioning gender at all."  " Her [Mike's] hunger for Xanadu is achingly apparent, and Peters plays this well; Xanadu knows what Mike wants and her responses are unpredictable, to both Mike and the reader."

Argument: Helena Silva, in her literary criticism of "My Sisters Keeper" argues that the advancements in biotechnology and genetic research are raising ethical questions of scope and the limits of genetic intervention. Claim: Silva argues that the advances in biotechnology and genetic research presented in Picoult's "My Sisters Keeper" are allowing doctors to intervene in the human genome preventing diseases. This intervention is raising concerns in the scientific community that might soon be able to take biological evolution into its own hands. Almost "playing God" in a sense. Evidence: "Playing God" is an expression commonly used to refer to this self-transformation of the species which, from the evidence, might soon be a reality" (Silva). "Jodi Picoult, an American novelist has been devoting her writings to several present-day events and controversial issues such as genetic engineering and the prospect of "savior siblings" with all its ethical implications" (Silva). "Anna wasconceived for a specific purpose and can't be forgotten because she is expected always to be ready for the welfare of her sister" (Silva).

Argument: Bill Delaney argues the weaknesses of Dumas's work, The Three Musketeers, and how these weaknesses contribute to the effectiveness of the novel itself. Claims: Along with a synopsis of the novel itself, Delaney establishes the importance of the main characters in the story and what it is about these characters that makes their role so effective. Delaney also establishes the idea that Dumas knew how to "please an audience", which explains why Dumas was able to create characters that had a large impact on his readers. Evidence: "He had a genius for plotting and understood that the most important element in a plot is a strongly motivated protagonist who will not stop until he or she has either achieved the goal or gone down in defeat."

Argument: Rand's creation of her characters and plot elements in such away that she illustrates her ideal world, make the Fountainhead a good novel. Claims: Roark and Dominique are ideal characters. Roark foils Toohey in the sense that his[Roark's] motives are completely selfish, in hopes of him living his life its fullest capacity, while Toohey acts in an altruistic manner to control other. Dominique helps other characters "grow" by destroying them. This is how Roark, Keating, and Wynand grow stronger. Evidence: Analyzations of character's based on their actions and behaviors in the book.

Argument: While the literary criticism by Boyl isn't that of entirely having to do with how Ishmael Beah constructs his theme, Boyd does eagerly bring up an original point that small bitter conflicts can end up affecting contemporary history far more than the "squalid reckoning that modern warfare encourages". Claim: To support his argument, Boyd highlights that Ishmael Beah was one of the first ever to give literary voice to distressing phenomena like that of pubescent or prepubescent warrior-killer. He goes on claiming that much of how a phrase becomes construed or illustrated is that dependent of the reader; such adolescent, non-seemingly affectionate lines, can end up affecting the reader in unintended consequences. Lastly, Boyd gives light to the fact that small-scale conflicts are often mirror that of an anarchy because of the unpredictability, unlike that of modern warfare tactics which a winner can be estimated nearly correct every time. Evidence: 1) "All this has the idiosyncratic ring of precisely remembered truth." 2) "Such knowledge is shocking, but it's the reader's imagination that delivers the cold sanguinary shudder, not the author's boilerplate prose. It is a vision of hell that Beah gives us, one worthy of Hieronymus Bosch, but as though depicted in primary colors by a naive artist. 3) "It was a moment of pure potential anarchy that could have gone any way. "

Argument: Both Orwell's nonfiction and fiction works deserve further attention. His novels are able to fully grasp social and political struggles while captivating the audience. Saunder's book makes a convincing argument describing the captivating authors importance. Claim: Clerke acknowledges that many academics including, Orwell himself saw the author of 1984 as a nonfiction writer. Although many of his novels have not been studied, they deserve attention because they capture a character's conflict in a unique light. Character's are brought to life as they share real-world experiences with those living in Orwell's time. His powerful voice as analyzed by Saunder's bring economic, social, and political conflicts to for front of the reader's mind. Evidence: "Orwell was acutely aware of the political connotations of such words and the complex economic and cultural structures they attempted to describe. His use of them shifted as his ideas developed, and it was always shaped by a sensitivity to context" "Saunders's emphasis on artistry enables her to engage with the texture of Orwell's prose, even in this relatively short critical study, and she is at her best in her close readings of specific passages, which expose the varied, often sophisticated methods Orwell employs to achieve particular effects. She is especially illuminating in her analyses of his use of free indirect discourse, and the dangers of identifying the narrative voice with Orwell himself" "insisting that his own voice tended to intrude in his narratives and that he was continually tempted to incorporate accounts of experiences that interested him even when they did not fit the design of a novel"