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An essay into literary devicees
Literary devices english 10
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Luisa Valenzuela’s intentions in “All about Suicide”
Why would an author want to trick a reader? What are some specific ways that Luisa tricks readers into reading the story the “wrong way”? What is motivating the author? Themes are never explicit, but authors allude to their response to an issue through images and characterization. Sometimes themes are so explicit that an author actually makes you see the story in a “wrong way” when you first read it. In “All about Suicide”, Luisa tricks the reader in several ways. In the end, authors mislead the readers so that they can be enticed and intrigued in finding the real meaning.
An author may be motivated to trick a reader for several reasons, one being that he or she may want the readers to dig deeper in their reading. Some authors live for the idea of readers exploring their work. In “All about Suicide”,
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Just by reading the title, “All about Suicide” you would expect the short story to be all about suicide. Authors also lead readers to wrong conclusions by their choice of words. In the beginning of Luisa’s story, she talks about Ismael while continuously using the adjective “his”. Since the adjective is so often repeated, the reader believes that Ismael is actually “gently rubbing” the gun across his own face. Not only does Luisa make the reader see the events in a “wrong way” through the title or word usage, but she also begins the story with action. When the readers read “All about Suicide”, he or she isn’t given background information in the beginning of the story. The reader is forced to imagine the action taking place and connect the pieces together. Since Luisa doesn’t clarify the situation until later, the readers tend to understand the story the “wrong
There are many times in which a reader will interpret a piece of literature in a way that was completely unintended by the author. In her article, “In the Canon, for All the Wrong Reasons”, Amy Tan discusses people telling her the meaning behind her own stories, her experiences with criticism, and how this has affected her approach to writing moving forward. While this may seem ironic, considering the topic, I have my own interpretations of this article. Firstly, Amy Tan addresses how people will often tell her what her own work means and the symbolism in her writing.
In Judith Ortiz Cofer’s “The Story of My Body” Ortiz Cofer represents herself narrative story when she were young. Her autobiography has four headlines these parts are skin, color, size, and looks. Every headline has it is own stories underneath it. Ortiz Cofer’s is expressing her life story about her physical and psychological struggle with her body. Heilbrun’s narrative, “Writing a Woman’s Life” shows that, a woman’s does not have to be an ideal to write a self-autobiography to tell the world something about herself and her life. Ortiz Cofer’s facing a body struggle that is not made by herself, but by people around her. Therefore, every woman is able to write can write an autobiography with no exception.
When inditing, authors incline to tell their own personal story through their literature work, sometimes done unknowingly or deliberately. Albeit some components of the author’s work are fabricated and do not connect with their own personal lives whatsoever, this is sometimes what causes a reader to do their own research about the author and their background of the story. Upon researching Wallace Stegner’s novel Crossing to Safety, one may discover that he did indeed, reveal bits and pieces of his own experiences in his novel. “You break experience up into pieces and you put them together in different amalgamations, incipient cumulations, and some are authentic and some are not… It takes a pedestrian and literal mind to be apprehensive about
It is certainly true that the characters of ‘The Great Gatsby’, ‘Ethan Frome’, and ‘Howl and Other Poems’ turn to illusions in order to escape from the harsh realities of their lives. Becoming increasingly impuissant at coping in the process. The question is whether it is the act of turning to illusions for comfort, that is ultimately responsible for their inability to cope and ultimate downfalls; or if the characters themselves bear ultimate responsibility and are merely hiding behind their immersion in fantasy in attempt to remove any culpability for their actions, of lack thereof, from themselves.
Stress Induced Suicide Julie Scelfo’s “Suicide on Campus and the Pressure of Perfection” first appeared in The New York Times magazine on July 27, 2015. Scelfo discusses the pressure that family, society, and the individual places on themselves to be perfect. This stress ultimately results in college- age students taking their own lives. “Nationally, the suicide rate among 15- to 24-year-olds has increased modestly but steadily since 2007: from 9.6 deaths per 100,000 to 11.1 in 2013.” Scelfo uses an anecdote, statistics, and expert’s observations to successfully portray her stance on this issue.
After her diagnosis of chronic kidney failure in 2004, psychiatrist Sally Satel lingered in the uncertainty of transplant lists for an entire year, until she finally fell into luck, and received her long-awaited kidney. “Death’s Waiting List”, published on the 5th of May 2006, was the aftermath of Satel’s dreadful experience. The article presents a crucial argument against the current transplant list systems and offers alternative solutions that may or may not be of practicality and reason. Satel’s text handles such a topic at a time where organ availability has never been more demanded, due to the continuous deterioration of the public health. With novel epidemics surfacing everyday, endless carcinogens closing in on our everyday lives, leaving no organ uninflected, and to that, many are suffering, and many more are in desperate request for a new organ, for a renewed chance. Overall, “Death’s Waiting List” follows a slightly bias line of reasoning, with several underlying presumptions that are not necessarily well substantiated.
Many times in life things are not as they seem. What may look simple on the surface may be more complicated deeper within. Countless authors of short stories go on a journey to intricately craft the ultimate revelation as well as the subtle clues meant for the readers as they attempt to figure out the complete “truth” of the story. The various authors of these stories often use different literary techniques to help uncover the revelation their main characters undergo. Through the process of carefully developing their unique characters and through point of view, both Edith Wharton and Ernest Hemingway ultimately convey the significant revelation in the short stories, “Roman Fever” and “Hills Like White Elephants” respectively. The use of these two literary techniques is essential because they provide the readers with the necessary clues to realize the ultimate revelations.
Death and Grieving Imagine that the person you love most in the world dies. How would you cope with the loss? Death and grieving is an agonizing and inevitable part of life. No one is immune from death’s insidious and frigid grip. Individuals vary in their emotional reactions to loss.
A narrative is constructed to elicit a particular response from its audience. In the form of a written story, authors use specific narrative strategies to position the ‘ideal reader’ to attain the intended understanding of the meanings in the text. Oliver Sacks’ short story The Man Who Mistook His Wife for a Hat is an unusual short story because it does not display conventional plot development; the story does not contain conflict or resolution of conflict. The genre of the story is also difficult to define because it reads as an autobiographical account of an experience Sacks had with a patient while working as a neurologist. Although it is arguable that the narrative is a work of non-fiction, it is nevertheless a representation, distinct from a reflection of the real events. It is a construction, Sacks chose the elements that were included and omitted in the narrative and used narrative strategies to position readers to process the signs in the text and produce reach the dominant understanding. This blurring of truth and fiction is similar to that in the genre of ‘new journalism’. Although, rather than being a journalist writing a fictional piece of journalism, Sacks is a doctor writing a fictional medical analysis. To influence readers’ comprehension of the narrative, Sacks utilised the point of view strategy of subjective narration, atypical in this short story in that a characterisation or representation of Oliver Sacks is the narrator and Oliver Sacks the person is the real author. The story is character-driven rather than plot-driven and regardless of how accurate a depiction of the real people the characters are, they are constructions. Sacks gave the characters of Doctor P. and his namesake admirable and sympathetic trait...
Last but not least, O’Connor confirms that even a short story is a multi-layer compound that on the surface may deter even the most enthusiastic reader, but when handled with more care, it conveys universal truths by means of straightforward or violent situations. She herself wished her message to appeal to the readers who, if careful enough, “(…)will come to see it as something more than an account of a family murdered on the way to Florida.”
...it up to each reader to draw their own conclusions and search their own feelings. At the false climax, the reader was surprised to learn that the quite, well-liked, polite, little convent girl was colored. Now the reader had to evaluate how the forces within their society might have driven such an innocent to commit suicide.
As a literal deathbed revelation, William Wilson begins the short story by informing the readers about the end of his own personal struggle by introducing and immediately acknowledging his guilt and inevitable death, directly foreshadowing the protagonist’s eventual downward spiral into vice. The exhortative and confession-like nature of the opening piece stems from the liberal use of the first person pronoun “I”, combined with legal and crime related jargon such as, “ crime”, “guilt”, and “victim” found on page 1. Poe infuses this meticulous word choice into the concretization of abstract ideas where the protagonist’s “virtue dropped bodily as a mantle” (Poe 1), leading him to cloak his “nakedness in triple guilt” (Poe 1). In these two examples, not only are virtue and guilt transformed into physical clothing that can be worn by the narrator, but the reader is also introduced to the protagonist’s propensity to externalize the internal, hinting at the inevitable conclusion and revelation that the second William Wilson is not truly a physical being, but the manifestation of something
Psychoanalysis is the method of psychological therapy originated by Sigmund Freud in which free association, dream interpretation, and analysis of resistance and transference are used to explore repressed or unconscious impulses, anxieties, and internal conflicts (“Psychoanalysis”). This transfers to analyzing writing in order to obtain a meaning behind the text. There are two types of people who read stories and articles. The first type attempts to understand the plot or topic while the second type reads to understand the meaning behind the text. Baldick is the second type who analyzes everything. Since his article, “Allure, Authority and Psychoanalysis” discusses the meaning behind everything that happens in Mary Shelley’s “Frankenstein” we can also examine “The Ones Who Walk Away from Omelas” in the same manner.
In a late afternoon seminar in the department of politics of a Scottish university, a student was talking on about an essay that he wrote, and Professor Laidlaw tried to cut him short twice with one of his most characteristic phrases: 'Quite so. Quite so.' On the second time, Laidlaw heard a tiny noise, and he realized that it was one of the other students. Alicia Anna Davie had got the giggles.
The writer uses pathetic fallacy well to create tension and uses it to add to the mysterious mood.