James Joyce often portrays women as insignificant background characters because of the role of women during the period he wrote, but there are a few instances when a woman is essential to the story. “Araby”, “Eveline,” and “The Death” all are those cases where a woman is indispensable to the story. In “Araby”, there is only one female character. As the love interest, Mangan’s sister Mangan’s sister prompts the narrator to travel to the Bazaar. She symbolizes the familiarity of Dublin, as well as the hope of love and the mysterious allure of new places.
However, they all share common characteristics with other women in their time period. In Beowulf, there are two main categories of women. The first category is women who are bound by arranged marriages. This was often used in an attempt to create peace -- although this approach often failed, it is no fault of the women. Beowulf's own parents had an arranged marriage, although it was not an attempt to make peace.
Barber explains in the statement below how a community's involvement in history plays a role in their narration of their history. “Wh... ... middle of paper ... ...s about their 'imagined community' and 'imagined image' make up their identity. These differences would not exist without their narcissistic imaginations that inevitably form fictions from history. But, because of their refusal to recognize the other group's relational differences, major differences rise from their actions. Nationalism's depends on these imaginations; it uses the group's self-love to stake their claim in history, narrate it in their narcissistic discourse, and blind members from relational differences that would weaken their identity as a group.
In conclusion, there isn’t another author like Craig Santos Perez; the author’s addresses the idea point by the end of the book that it’s important to embrace recreation. The importance of historical facts, cultural values, and stories from your culture will always be important but is it not set up already to eventually fall and recreate? Perez’s unique writing and unique culture today is a prime example to answer yes to all the questions in this essay. This book did make me believe even more how wrong colonialism is but I still stand by my opinion even though it’s very two sided. I must say for Perez to re-map the way you could look at colonialism is very unique in an author.
Whereas in traditional novels, the fictitious characters are assumed to be real in some imaginary world, Kundera almost immediately admits that ?it would be senseless for the author to try convince the reader that his characters once actually lived?they were born of a stimulating phrase or two from a basic situation? (39). His characters were created in light of the author?s contemplations. However, this does not automatically make the characters flat ?types?, as some have argued. To the contrary, the author?s admittance of the characters as fictional creations whom he has pondered very deeply lend ... ... middle of paper ... ...ly ignored, it is important to understand Kundera?s purposes outside of this historical context.
LeBlanc clarifies that Edna is a “metaphorical lesbian” who “creates a narrative or textual space in which she interrogates accepted norms of textuality and sexuality and constitutes herself as subject” (238). The use of the word “trapped” connotes a state of being cornered, with few choices and at the mercy of someone else. At first, Edna does seem trapped to a drone existence of bourgeois Creole society. But once she was “initiat[ed] into the world of female love and ritual,” (247) she began “seeking fulfillment and selfhood” outside of marriage and motherhood (244). Her gravitation toward a woman-centered existence, outside of culturally defined spaces, is an act of self-reconstruction.
She also discusses how the concept of authenticity was not only important to Aboriginal and non Aboriginal relationships in the late nineteenth century but also to these same relationships in the present. Raibmon’s book focuses on stories of the people of the Northwest Coast in late nineteenth century United States and Canada. She has two main reasons for doing so. The first is because the area was the focus of much of the work being done by early American anthropology. Early Anthropology was focused on preserving as much as possible of the “vanishing Indian.” By doing so they provided copious examples of what “authentic” Indians should look like with photographs as well as artifacts of “traditional” Indian culture.
Barth redefines this relationship as one of inherent, but not defined, meaning by entering into self-reflexivity and consciousness as the novel progresses. Barth furthers the deconstructive project by asserting LF’s fictionality to engage the reader in play, rather than a passive consumption of authorial intent. (Worthington) As Lost in the Funhouse is constitutive of many stories that are about the inability of traditional narrative meeting contemporary needs, “the old analogy between Author and God…can no longer be employed” (LF 125). The novel begs the question of what literature can do if the medium is “moribund..if not already dead.” (LF... ... middle of paper ... ...y of Autobiography in John Barth's Lost in the Funhouse." Studies in Short Fiction 34.2 (1997): 151.
Norman Bryson, author of, “Hawthorne’s Illegible Letter,” critiques Nathaniel Hawthorne’s The Scarlet Letter by attacking the ambiguity of the story and the destruction of meaning he believes the vagueness creates. Bryson’s title in itself shrewdly criticizes the veil over legitimacy in Hawthorne’s piece by altering part of the original name. For a man with such clever word play, is it possible that even he fears the unknown at times? Although he doesn’t quite portray apprehension in his writing, it does seem as though he found solace in counter-acting previous judgments with much disregard for the possibility that the constant changes in the novel allow the reader infinite leg room for interpretation were written for a positive reason reason. Bryson’s claim that the overwhelming uncertainty of the fictional tale cloaks the novel’s supposed purpose is invalid for the likelihood that Hawthorne wrote The Scarlet Letter to successfully portray his appreciation of the ambiguity that surrounded both the Puritan community and... ... middle of paper ... ...gible, understood image of a person known to embody a certain trait, Hawthorne’s vague description of his characters’ outward actions allow the reader to string together their own rope between the several inner and outer dimensions that in reality form an identity; alas, making indulging The Scarlet Letter a more active experience than it already is.
There are many literary devices used in the novel that develop different literary elements. The use of symbolism in the novel is evident and used effectively but some may argue that irony and foreshadowing is the most importa... ... middle of paper ... ...quote reveals his feelings after he legally changed his name and shows how he still can’t truly find his identity. This was a milestone in his life, changing his name to try and fit in but it still didn’t work out for Gogol. This develops the theme of identity, having both names to try and find his identity, to find where he belongs. It also reveals his character, his ignorance towards the namesake of his birth name.