The role of the Gogolian narrator is an unassuming revealer of what is hidden in the world. Revelations can be the world’s evils, morality, or a nation’s ultimate purpose. Gogol’s narrator is merely a puppet of his imagination and is kept within certain boundaries. Sometimes the narrator’s lack of transparency can make a story seem like a parable or folk tale like in “The Nose” and “Nevsky Prospect.” We can see this in what limited information the narrator is allowed to reveal to the reader and I will examine this theme in Gogol’s “Nevsky Prospect,” “The Nose,” and Dead Souls. In “Nevsky Prospect,” the third person narrator pulls double duty by describing two stories that parallel each other in time. After describing the seemingly harmless bustling avenue, mustaches, and clothing of Nevsky Prospect, the narrator happens to come upon two different characters: an artist and an officer. First, he follows the artist and right away, the narrator seems to be absorbed in the world of the artist. We see this occur when it is often hard to tell when the artist is dreaming or awake. The narrat...
In order to understand the “center” of the Iliad, one must first recognize that the Iliad started as a “Lyrical,” or oral poem and was written down much later in history, becoming a “Narrative,” or literate poem. The Iliad began as a poem that was strictly part of an oral culture, its transition into a written work for a literate culture brought complexities and complications that are often overlooked when examining this poem on its surface. Walter J. Ong explained this phenomenon best when he described the psychodynamics of an oral society. His explanations concerning these particular societies’ psychologies and social dynamics are often times lost on the Iliad’s modern-day reader. Therefore, when reading a piece of literature, one must first take into account how the text has arrived to him through the passage of time and history. So, before we are to examine the modern critics’ interpretations and analyses of Homer’s Iliad, we must first look to Ong’s claims concerning oral societies.
Ludwig Tieck’s novella, Eckbert the Fair, presents a certain ambiguity of moral values. The story meets a tragic ending where the main couple of the fairytale, Eckbert and Bertha, die as punishment for their crimes of betrayal, theft, and murder. However, an uneasy feeling of injustice remains about the punishment despite the clarity of their guilt. The tale itself strongly resembles a tragic play defined by Aristotle, but the narrative deviates from the structure of standard tragedy. In effect, the unique set-up of the narrative makes the evil deeds seem ultimately inevitable. The structure of the novella helps justifying the crimes, causing the distinction between the good and the bad to become unclear. In this paper, I will discuss this unique structure of the tale to analyze how this uneasy feeling about the ending emerges.
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.
There he makes this identity of himself to try to totally forget his parents’ cultural identity. He changes his name to Nikhil and later ends up moving to New York with a girl by the name of Maxine. “He is overly aware that they are not used to passing things around the table, or to chewing food with their mouths completely closed. They avert their eyes when Maxine accidentally leans over to run her hand through her hair” (Lahiri 277). This quote is describing Maxine and Gogol having a meal with his parents. This whole scene is very awkward for both because Gogol’s parents aren’t used to doing things the American way. When the two are leaving his parents’ house Gogol’s father says to him “Drive safely, Gogol” (Lahiri 279). This confuses Maxine because she is not familiar with his real name. He doesn’t want to be reminded of who he was before. By chapter 8 Maxine and Gogol are no longer together due to
“In literature the double is a result of the author's conscious or unconscious desire for a wider range of action, possibilities of behavior for his hero that go beyond the morally acceptable, and this wish will create itself in the form of a double, or anti-hero” writes Joyce Carol Oates in her piece “Tragic and Comic Visions in The Brothers Karamazov.” Just as Oates suggests that doubles are created in order for an author to extend a character's range of believable actions, doubles exist to bring about change in their original forms. Citing Mikhail Bakhtin's criticism of Dostoyevsky's creation technique, I intend to align the author's intentions with the intentions of his characters, and explain that due to the author's need for a wider range of motion within a character, the character themselves creates a double. Through an understanding of this, one can view my theory through a psychological viewpoint of the original, non-duplicated, character. I also aim to present the idea of the double as an authorial tool. The latter viewpoint intends to examine doubles through in purely literal light.
Alexander Solzhenitsyn carefully and tediously depicted what life is like in a prison. Ivans monotonous life prompts the reader initially to think that Ivans day is a living death of tedious details. Yet, in truth, Ivan i...
see a short story about a poor man wishing to survive in a cruel world. However,
I am the editor-in-cheif of The GOLIARD Literary Magazine. I took charge of this position after our previous editors, who were graduating, informed staff that the magazine was in danger of ceasing to exist without an editor to take their place. I very much enjoyed the opportunities the literary magazine had to offer me, so naturally I couldn't stand by and watch it dissipate. Towards the end of the 2015-16 school year, I contacted a handful of students I knew that were just as passionate about the magazine and arts as me, and we discussed our interest in keeping it running. We established that The GOLIARD was going to continue next year, as well as a game plan to continue our work the following year.
The narrator is the person telling the story and can range from one to several, within a single story. How the author develops the narration will direct how their work is perceived by the reader. The narrator can present the story reliably or dishonestly, from a compelling view to an ironic view. The author can lose or gain pertinent information simply by changing the narration. Narration is a guide for the reader “…it requires the invention of a narrator,” Diane Middlebook said, “who serves as a contemporary guide to the materials of the book…” (Middlebrook). The narrator of a story is fundamental to the reader’s understanding and, any changes to the narration can change the stories understanding entirely.
Plato’s “Myth of the Cave” and Carver’s Cathedral provide insight into parallel words. The protagonists in each story are trapped in a world of ignorance because each is comfortable in the dark, and fearful of what knowledge a light might bring. They are reluctant to venture into unfamiliar territory. Fortunately the narrator in the Cathedral is forced by circumstances to take a risk. This risk leads him into new world of insight and understanding.
Throughout his story, Nabokov emphasizes a negative association with time and its brevity. It can be argued, however, that by writing his memories down on paper, he comes to terms with time’s constant presence. He uses his story to recall notable moments of the past in a somewhat cathartic manner. His vivid, loving descriptions suggest a deep nostalgia for his earlier memories. This nostalgia ultimately allows him to keep the past with him while coming to terms with the idea of time’s inevitable passage.
Gordimer also utilizes allegories, which is a word meaning anything that can be perceived beyond its literal meaning. Commonly in short stories of fantasy have allegorical characters, settings, colors, etc. which all have deeper meanings which need to be inferred. This is related to the story’s theme because Gordimer perceives her entire life as a story, and especially in her bedtime story it is very much a fairytale. Gordimer is fighting against and contrasting the normal themes and skeleton outline of traditional children’s stories, which are generally not similar to real life at all.
The story is told from a limited third person point of view, by showing Aksionov’s actions and personal thoughts. Aksionov has traveled twenty five miles before stopping to feed his horses in the passage of the inn. While he is resting and playing his guitar, a troika (a russian horse drawn carriage) arrives with soldiers. An official begins to question Ak...
Bakhtin, Mikhail. Epic and Novel: Toward a Methodology for the Study of the Novel. The
One of the characters by which Gogol satirizes Russian noblemen and their manner is none other than the protagonist himself. Pavel Invanovitch T...