Firstly, it is important to understand what supernatural literature is. According to the Oxford dictionary, the supernatural is defined as “a manifestation or event attributed to some force beyond scientific understanding or the laws of nature” such as ghosts (2014). According to Jackson, supernatural literature in many ways is seductive to its readers as it contains many escapist qualities which include the attraction of fear, transgressions and disturbing imagines which many readers find pleasure in imagining (Jackson 1981, p9). Additionally supernatural literature is appealing as it challenges our thoughts of the world as we know it, making the impossible seem plausible with socio, cultural and political ... ... middle of paper ... ...rd dictionary (British & World English). 2014. mimesis: definition of mimesis in Oxford dictionary (British & World English).
This is due in part to the huge importance that is given to the use of language in contemporary descriptions and estimations of literature. Ironies and paradoxes seem to reflect and embody the sorts of linguistic rebellion, innovation, deviation, and play, that have throughout this century become the dominant criteria of literary value. The explicit association of irony with paradox, and of both with literature, is often ascribed to the New Criticism, and more specifically to Cleanth Brooks. Brooks, however, used the two terms in a manner that was unconventional, even eccentric. He seemed to think of irony as a principle of order and unity: not so much a feature of language or meaning as a sort of coherence yoking disparate elements together, rather like Aristotle's conception of wholeness and integrity in Poetics 8 (Brooks 1951).
There seems to be a worrying pattern for the genre fiction authors that have gained mainstream appeal but lost control of their craft afterwards. But if anything, the forms of popular fiction have become the place for the more serious scholarly questions where the boundaries becomes increasingly endless to the writers. Despite the fact that “fantasy fiction is an alternative to realist fiction, not the alternative, they are nonetheless viewed as opposites, if not opponents” (Wilkins, 273). An author is the “meaning maker”, that recognises the purpose of writing and to construct and communicate a specific message between the author and the reader. For the author, popular fiction offers a wide range of freedom in style of writing that the literary fiction simply no longer does.
The important words here are "purely literary". The novel cannot be studied in isolation, but must be seen against the broader backdrop of Tolkien's literary philosophy and the entire mythic tradition. For the writing of The Hobbit both influenced and was influenced by the profound intellectual change its author was undergoing, namely t... ... middle of paper ... ...teaching its author the immense possibilities of fantasy. It itself does not exhaust these possibilities, but merely begins to explore them. It starts unambitiously, but in drawing from the rich store of world folklore and the author's imagination, soon develops into a myth that, like all good fantasy, speaks as clearly to the mythopoetic imagination today as it did in Tolkien's time.
The criticism is less obvious compared to the more foreboding warning presented through the implementation of novelistic elements. Still, some may argue that the exaggerated nature of the work is itself satiric, but one can’t necessarily draw a distinction between that and warning. Thus lies the murkiness that makes works such as Nineteen Eighty-Four effective. Prevalent novelistic elements combined with subtle jabs of satire, in the form of dark humor, criticism, and irony; make this particular work everlasting and truly applicable to any temporal period.
She seems to understand all too well that human beings house both virtuous and vicious impulses; our stories are infused with both the sinister and the sublime. There is a unifying, mythical or archetypal realm which exists just beyond the scope of individual consciousness. Stories are tethered to and wound around this insubstantial place, and the power of each story is firmly rooted in this connection. The novel, presented as a series of disjointed, possibly problematic, narrative frames, attempts to draw attention to this fact. "...no word exists alone, and the reason for choosing each word had to be explained with a stor... ... middle of paper ... ...toward the close of the novel that "He had only heard and seen the world as it had always was: no boundaries, only transitions through all distances and time" (246).
Frankenstein might have been one of the most monotonous texts to read. The words were outside of my vocabulary, things were dragged on and it was a lot of reading, but beside all of those things, the structure of this story is very fascinating. The very concept of it is outstanding. To have the imagination and writing skills to pull something out like this is truly amazing. I respect Shelly highly of this, even if I found the book torturous to read.
Nathaniel Hawthorne's The Scarlet Letter is, at times, a piece that seems intended to drive one beyond any hope of reasoning. Its occasionally overpowering allegorical symbolism or its seemingly eclectic mythology can certainly seem like a purist allegory designed to imbue in one the fear of eternal sin. However, when one takes the time to read beyond the simple story and to realize the true nature of Hawthorne's verbal artistry, it becomes clear that the piece is, as stated by Richard Chase, “a novel with beautifully assimilated allegorical elements” (149). With regards to Hawthorne's mythology, Chase's assertion is, perhaps, less accurate but no less reasonable. Throughout the novel one finds a rich mythology supplemented with allegorical aspects of both characters and settings that indeed encompasses all that Chase presents even as it extends beyond his ideas into a deeper, more meaningful work of art.
Asking the right questions is indeed an art form . It is however an even bigger burden to try to answer from an analytical presepective these subjective questions which inspire answers and explanations to the ultimate “why” and “how” . As readers we are obligated to carry with us an open mind, an analytical eye and room for suggestive arguments when trying to dissect a piece of writing. Joseph Conrad's novella Heart of Darkness offers the perfect platform for interpretation. With a dozen shades of foggy gray's, the short story is begging for a set of eyes that can see it through.
Though the book had many things that make it an outstanding piece, from Goldman's interruptions to its unique beginning, the thing that plays the biggest part is Goldman's use of symbolism. Every aspect of the book seems to stem from somewhere or have some deeper meaning. This could just be our own imaginations or Goldman's intent, but one thing is for sure- Goldman wrote the book to force our imaginations to take over and think for themselves in this fictional fairytale where everything you read is false. The first and most obvious uses of symbolism in The Princess Bride is Goldman's interruptions. He begins the story telling us the background of the book we are reading.