Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Sociological view on crime
Sociological view on crime
Theory of crime
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Sociological view on crime
In both Akutagawa Ryunosuke’s “In a Bamboo Grove” and Joaquim Maria Machado de Assis’ “The Rod of Justice” it is the reader’s job to interpret the truth. To become a believer in what is happening in these stories and the motives of the characters. Ryunosuke’s story is about a man running from being a priest and Assis’s story is about connecting the dots of murder from different perspectives. Each story is complex in portraying content in what is happening with each character and how they affect the story. Specifically, to make you attached to a character and realize they may not be who they seem as the story progresses. The goal is to connect these two stories showing their similarities and differences in regard to who you trust.
The main leading role is Kanazawa “In a Bamboo Grove” and Damiao in “The Rod of Justice” who both are going through complications in their lives. Damiao is dealing with running away from the seminary while Kanazawa is killed at the beginning of the story. Both stories are started in the wee hours in the morning. Damiao run away from his home at eleven o’clock in the morning (Assis 839). Then, Kanazawa body was found by a woodcutter who went out to cut cedar in the hills
…show more content…
For example, during her testimony she described Kanazawa as a very kind man and could not believe anyone would kill him. Further, she explained that Kanazawa was the only man her daughter has ever known. Next, the court would show the concern she had for the well-being of her daughter and after that she could not continue to talk about what happened. To clarify this painted the picture of Masago as being the victim and her hatred for the bandit for what he did. After what her mother said about her daughter you would believe that Masago had no part in the murder of her husband. Her testimony would come later to reveal what she seen from her
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 most stories we enjoy, may it be from childhood or something more recent there is many times a theme that shows a clear hero and a clear villain. But ordinarily this is not the case in real life, there are few times that this is quite that simple. There are many sides to each story, and sometimes people turn a blind eye to, or ignore the opposing side’s argument. But if we look at both sides of a situation in the stories we can more clearly understand what is going on, moreover the villains in the book or play would seem more real, instead of a horrible person being evil for no reason, these two people have their own agenda may it be a ruthless vengeance or misplaced trust.
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.”
Often, when a story is told, it follows the events of the protagonist. It is told in a way that justifies the reasons and emotions behind the protagonist actions and reactions. While listening to the story being cited, one tends to forget about the other side of the story, about the antagonist motivations, about all the reasons that justify the antagonist actions.
...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.
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.
This shows that she is filling guilty of the incident and thoughts of the crime keep
Much about Kogawa's novel makes it difficult not only to read but also to classify or categorize. First, Obasan blurs the line between nonfiction and fiction. Kogawa draws from actual letters and newspaper accounts, autobiographical details, and historical facts throughout the novel, but she artistically incorporates this material into a clearly fictional work. In addition, Kogawa's narrative operates on multiple levels, from the individual and familial to the communal, national, political, and spiritual. Stylistically, the novel moves easily between the language of documentary reportage and a richly metaphorical language, and between straightforward narrative and stream-ofconsciousness exposition. This astonishing variety in Kogawa's novel can, at times, become bewildering and unsettling to the reader. But as many readers and critics have noted, Kogawa's style and method in Obasan also constitute the novel's unique strength. Kogawa writes in such a way that ambiguity, uncertainty, irony, and paradox do not weaken her story but instead paradoxically become the keys to understanding it.
'Young Goodman Brown,' by Hawthorne, and 'The Tell Tale Heart,' by Poe, offer readers the chance to embark on figurative and literal journeys, through our minds and our hearts. Hawthorne is interested in developing a sense of guilt in his story, an allegory warning against losing one's faith. The point of view and the shift in point of view are symbolic of the darkening, increasingly isolated heart of the main character, Goodman Brown, an everyman figure in an everyman tale. Poe, however, is concerned with capturing a sense of dread in his work, taking a look at the motivations behind the perverseness of human nature. Identifying and understanding the point of view is essential, since it affects a reader's relationship to the protagonist, but also offers perspective in situations where characters are blinded and deceived by their own faults. The main character of Poe?s story embarks on an emotional roller coaster, experiencing everything from terror to triumph. Both authors offer an interpretation of humans as sinful, through the use of foreshadowing, repetition, symbolism and, most importantly, point of view. Hawthorne teaches the reader an explicit moral lesson through the third person omniscient point of view, whereas Poe sidesteps morality in favor of thoroughly developing his characters in the first person point of view.
There are many meanings inside stories; “Gregory” by Panos Ioannides is a heart-wrenching short story that follows the protagonist through the execution of his friend. E.M. Forster explains a want to keep friendships strong even at the expense of one’s relation to one’s country. The main character in “Gregory”' has multiple thoughts showing a tie to what Foster explained, as well as the internal fight that happens when one has two forces pulling at one. The Narrator wants to follow his gut and skirt tragedy, but in the end he wants to save himself from his superiors.
With the typical mystery novel falling between the common outline of victims and an unknown criminal that is painted in a dull and consistent palette of predictability, every single character in this storyline is a criminal but also a victim of their own guilt. Rather than exploring the mere surface of leveled justice, a deeper meaning of the concept is reached as death is doled out in an order of increasing guilt; those who are less guilty die towards the beginning of the purge to evade the anxiety and panic that haunts one as they continue their trek and witness their fate. Evading the governmental justice system before, the characters are emotionally tortured as they succumb to their thoughts and mortality, but because humans are innately imperfect, the justice system is also flawed.
In conclusion, it is hard to grasp the true meaning of the story unless the story is read a second time because of the author's style of writing.
So Far from the Bamboo Grove written by Yoko Kawashima Watkins, is a story based on the author’s childhood as an eleven year old girl trying to survive her escape to Kyoto, Japan during World War II. Yoko, the little girl, tells the story from her point of view. She describes everything that she, her mother and sixteen year old sister, Ko, battled through as she saw it from the eyes of an adolescent. Yoko was only able to mention what little she knew about her brother, Hideyo. At the time, they were living in the Japanese territory of northern Korea named Nanam, near the border of Manchuria.
For any educator that is searching for a poem to arouse the interest of students enlisted in upper level literature classes, the poem “In the Orchard” by Muriel Stuart, written in the early twentieth century, conveys the ageless theme of unrequited love. The poem has all the elements of making students understand how far back the feeling of unrequited love has been around. We can understand these elements better through the rhetorical strategies.
It is a story that provides the ultimate explanation of how two different people who are witnesses to a crime give completely different psychological recollections of the same event. The author reminds us that truth depends on the telling. Someone must step forward and tell that truth.