Good afternoon Miss Bolton. Throughout the many forms and language of literature, responders are able to create and visualise images within their mind. It is through the power of the images one creates, that enables reader’s understandings to be questioned and furthermore, structures meaning towards the array of experiences being evoked. This is, ‘The Distinctively Visual’. Today I will be focusing in depth of the crucial role ‘The Distinctively Visual’ has in influencing audience’s experiences through providing evidence from the text ‘The Shoe Horn Sonata’, a complex drama presentation by John Misto. Specifically, Act 2 Scene 9 and Act 2 Scene 11, raises the experiences of power relationships and the complexity that is war, demonstrated …show more content…
It is here, where the use of language communicates that the deaths of the prisoners were not in any form commemorated and how there was an inadequate response from multiple Australian Governments in not doing so. The metaphor of ”useless mouths in death as well” depicts how the survivors of the war had previously attempted to be heard although due to governmental indifference, were unable to express their experiences. ‘The Distinctively Visual’ therefor allows responders to renew their predisposed perceptions of the minimal actions taken by the Australian Government, where they have simply allowed majority of prisoners real-life stories to become forgotten, unrecognised, and silenced over the many years. It is only until texts similar to ‘The Shoe-Horn Sonata’ and the use of ‘The Distinctively Visual’ within them, that have exposed the journeys of these people, and the many who perished throughout the war, creating empathy within responders in which they sympathise for their unjust …show more content…
This report is a vivid example that captures the inhumane treatments of the prisoners of war- as those in control, dehumanised these innocent people by transporting them on boats intended for cattle. The hidden metaphor within “one completely cut off from the outside world” indicates physically being transported to a new destination however, further illustrates the harsh reality of war where these brutal handling’s were in fact, concealed from the broader society. In addition, responders are then confronted by another statement spoken by Sheila- “..The sick and the dying were left behind- uncovered- in the sun” . The imagery used within this, opens the eyes of responders where the images within their minds, enables the visualisation of raw, graphic and real-life accounts of the torture women and children were subject to during their time in the
Tim O 'Brien 's 1986 “The Things They Carried,” tells a story of how impactful war can be. It describes the struggle of overcoming grief and the struggle to deal with death; it shows the human side of war. The passage above provides an excellent example of the way O 'Brien uses first person narration to explain the complexity of war. In particular, the real meaning of “The Things They Carried” is revealed, because they show the actual burden the soldiers carried was not materialistic, but emotionally, “They carried all the emotional baggage of men who might die. Grief, terror, love,” (O’Brien 608).
“ The horizon was the color of milk. Cold and fresh. Poured out among the bodies” (Zusak 175). The device is used in the evidence of the quote by using descriptives words that create a mental image. The text gives the reader that opportunity to use their senses when reading the story. “Somehow, between the sadness and loss, Max Vandenburg, who was now a teenager with hard hands, blackened eyes, and a sore tooth, was also a little disappointed” (Zusak 188). This quote demonstrates how the author uses descriptive words to create a mental image which gives the text more of an appeal to the reader's sense such as vision. “She could see his face now, in the tired light. His mouth was open and his skin was the color of eggshells. Whisker coated his jaw and chin, and his ears were hard and flat. He had a small but misshapen nose” (Zusak 201). The quotes allows the reader to visualize what the characters facial features looked like through the use of descriptive words. Imagery helps bring the story to life and to make the text more exciting. The reader's senses can be used to determine the observations that the author is making about its characters. The literary device changes the text by letting the reader interact with the text by using their observation skills. The author is using imagery by creating images that engages the reader to know exactly what's going on in the story which allows them to
In society we are surrounded by images, immersed in a visual world with symbols and meaning created through traditional literary devices, but augmented with the influence of graphics, words, positioning and colour. The images of Peter Goldsworthy’s novel, Maestro (1989) move within these diameters and in many ways the visions of Ivan Sen’s film Beneath Clouds (2002) linger in the same way. Both these texts explore themes of appearance versus reality and influence of setting, by evoking emotion in the responder through their distinctively visual elements.
In all works about war, the element of pain is essential. Without pain, there is no real happiness. The men described in these works all endured vast amounts of physical and emotional pain on their tours serving the country and the accurate representations of their time overseas wouldn’t be able to be complete without this element.
War, no matter how long or brief, can have a tremendous impact upon a person’s life because “what happens in combat can be grotesque, absurd, senseless and transcendent, sometimes all at once” (SCOTT). Surrounded by all the blood, tragedy and loss; a true war story does not involve courage and heroism but it contains the reality of misplaced anger and the inability of the soldiers to cope with their feelings and such horrible experiences they have encountered during the war. In “How to Tell a True War Story,” Tim O’Brien applies rhetorical devices to his war stories, blurring the distinction between fact and fiction in order to effectively tell a “true war story” while portraying the treachery of war.
Primarily, the cinema poem based on “When You See Millions of the Mouthless Dead” by Charles Hamilton Sorley, conveys, utilizing an unsentimental approach, how the First World War has ultimately dehumanized and stolen the identity of its soldiers. The poem depicts a dream encounter between the survivors and the murdered soldiers during the First World War. Essentially, through his poetry, Sorley attempts to instruct readers not to honor, praise, or mourn for the dead, for the war has dehumanized the soldiers to the point in which tears and words have lost all meaning and significance in their lives. Implementing his own experience in the war during the Battle of Loos, Sorley writes his poem in a stark, infernal style, in order to demonstrate the realities of war and its brutalizing effects. For instance, when Sorley writes, “nor honour. It is easy to be dead” (line 8), he causes readers to feel shocked by his blunt word choice, as he rejects the idea of humanity. Through this line, Sorley highlights the juxtaposition between the living and the dead, with the repeated dismissal of what society may demonstrate as proper or humane in response to the dead. In order
Poetry has been used for centuries as a means to explore emotions and complex ideas through language, though individuals express similar ideas in wholly different forms. One such idea that has been explored through poetry in numerous ways is that of war and the associated loss, grief, and suffering. Two noted Australian poets shown to have accomplished this are Kenneth Slessor with his work ‘Beach Burial’ and John Schumann’s ‘I Was Only Nineteen’. Both of these works examine the complexities of conflict, but with somewhat different attitudes.
...it may help us arrive at an understanding of the war situation through the eyes of what were those of an innocent child. It is almost unique in the sense that this was perhaps the first time that a child soldier has been able to directly give literary voice to one of the most distressing phenomena of the late 20th century: the rise of the child-killer. While the book does give a glimpse of the war situation, the story should be taken with a grain of salt.
Piper’s use of imagery in this way gives the opportunity for the reader to experience “first hand” the power of words, and inspires the reader to be free from the fear of writing.
War is cruel. The Vietnam War, which lasted for 21 years from 1954 to 1975, was a horrific and tragic event in human history. The Second World War was as frightening and tragic even though it lasted for only 6 years from 1939 to 1945 comparing with the longer-lasting war in Vietnam. During both wars, thousands of millions of soldiers and civilians had been killed. Especially during the Second World War, numerous innocent people were sent into concentration camps, or some places as internment camps for no specific reasons told. Some of these people came out sound after the war, but others were never heard of again. After both wars, people that were alive experienced not only the physical damages, but also the psychic trauma by seeing the deaths and injuries of family members, friends or even just strangers. In the short story “A Marker on the Side of the Boat” by Bao Ninh about the Vietnam War, and the documentary film Barbed Wire and Mandolins directed by Nicola Zavaglia with a background of the Second World War, they both explore and convey the trauma of war. However, the short story “A Marker on the Side of the Boat” is more effective in conveying the trauma of war than the film Barbed Wire and Mandolins because of its well-developed plot with well-illustrated details, and its ability to raise emotional responses from its readers.
Image provides another way of representing information. Instead of representation through words, image provides a mental representation of an experience. These experiences m...
In The Medium is the Massage, Marshall McLuhan proposes the idea that humans see extensions of ourselves in inanimate objects. “The extension of any one sense alters the way we think and act- the way we perceive the world,” (McLuhan 41). Our identities and awareness are invested in inanimate objects on a daily basis and it can cause us to transform how we see ourselves, others, and the world. We can be more receptive to icons than to realistic and detailed drawings because of something McCloud calls amplification through simplification. “When we abstract an image through cartooning, we’re not so much eliminating details as we are focusing on specific details. By stripping down an image to its essential “meaning” an artist can amplify that meaning in a way that realistic art can’t. (McCloud 30). While we may see others’ faces in great detail, our general awareness of our own faces when we are not looking at reflections of ourselves is simple and abstracted, similar to cartoons. Thus, when we see cartoons, we can identify with them because they are extensions of ourselves in media. McCloud says, “The cartoon is a vacuum into which our identity and awareness are pulled...an empty shell that we inhabit which enables us to travel in another realm. We don’t just observe the cartoon, we become it!” (McCloud 36). The reader identification that occurs is one of the primary
Wilfred Own presents the horror and pity created by war by the use of visual and auditory techniques. These techniques help to magnify the vicious sense of war and clearly describe how the soldiers coped with the barbarity of war. He himself was in the army so we get an idea of how this influences his views; But also how horrific some of the incidents that happened to the soldiers were, as he witnessed many.
Images are like a spinning wheel that is constantly changing as individuals experience the visual world around them. Since images assist individuals in creating a visual world unique to them, they create a limitless power of their own. These powers that the images possess can truly change the life of the individual who takes on the images within his or her mind. The language of images is the meaning behind the images that surround an individual in his or her life. These powers can exist through the personal, cultural, and political form. John Berger in his essay “Ways of Seeing.” discusses how the ways of seeing influence the connection people have to each other. Karen Armstrong’s “Homo Religiosus.” looks at the arts and disciplines of various
He lived at a time when sophistication of audiences had not yet come to demand such plays without impurities, so far more had to be assigned to the domain of imagination. When there were battles, the battles are shown in isolated parts of the conflicts. The suggestive powers of the actor demanded a far greater burden then they do today, for time and space ha...