Although the text may become derivative as it is translated from author to text, the inability to conquer the true meaning of the authors is solely left up to the subjectivity of the reader. The birth of the reader is sacrificed at the author’s death. “Perception without reason is mere experience, but reason without perception is nothing.” The theories presented in Barthes’s literature promote the reader’s perception with reason. The text promotes independent thinking knowing the reader may posses a subjective bias. The birth of the reader through reading texts similar to Barthes’s consciously challenges the reader’s perception and reason of experience to connect to novellas such as Balthazar’s Marvelous Afternoon.
This shapes Holden in a sense to know how to act responsibly and to being thoughtful of others as he is trying to protect children from the adult word, which he sees as “phony”. In J.D Salinger’s novel, Catcher in the Rye, alienation is used to portray and shape characters in the novel. Each character has a different role in showing the importance of alienation in understanding Holden’s character. Alienation is the act of isolating ones self and that is what shape characters in the novel. Holden’s alienation is a coping and self protection mechanism from being hurt and rejected from Allies death where as Ackley’s self alienation is due to not following accepted norms such as being clean.
Whether or not this story occurred is unimportant, as O’Brien said, “happeningness is irrelevant.” The important factor is that a lesson is displayed. O’Connor, through her fiction, exposes significant flaws in humanity, using the waiting room as a mirror for who we are. Mrs. Turpin is a mimesis of mankind; just as all good literature should do, our downfalls are displayed in order to teach and improve. As Flannery O’Connor said, “In Good Fiction, certain of the details will tend to accumulate meaning from the action of the story itself, and when this happens they become symbolic in the way they work.” (487) Though her story is more happeningness than true, it was strategically written in order to reveal God’s grace to all believers in the end.
Woolf has set up the essay so that the argument is presented in the essay but conveyed to the reader through the subtle messages hidden in the stylistic and the structural set up of the essay. And perhaps she has one more intention for setting up her essay in such a way; perhaps she wants to remind women that they can turn their disadvantages into advantages, as she did with the presumably awful style in her essay. Since women have not had a voice in this make dominated would for so long, it is almost certain that they will have a different voice from the men. This different voice, that has been oppressed for so long, is bound to carry novel ideas, and women, the source of this hidden voice, are the only ones capable of sharing these new views with the world. Works Cited: Woolf, Virginia.
Writers who set up a story line that allow readers to take away from it what they wish, such as Proust and Kafka, make for the best writers (in my opinion), providing readers to take away from the novel and characters what they wish. Below I provide an argument based on personal perspective, interpretations, and critical evaluations as to why Albertine can be seen in a different light quite the opposite of the biased assumptions the narrator has provided to readers and an in depth analysis of why Josef K. is an innocent victim of the Court. Marcel Proust writes his novel Within A Budding Grove through the lense of the narrator. The narrators perceptions make Albertine seem like an obnoxious, jealous, unpredictable, ‘plump’, annoying girl, comparing her to a “fugitive, and no expression of her value can be complete unless preceded by some such symbol as that which physics denotes speed” (WABG, 39). To readers Albertine is a mystery, we never really get an idea Marcel’s true feelings for her, he exposes his inner thoughts and distress to readers but it is unclear whether Marcel’s true feelings are motivated by obsession of her lesbian tastes, jealou... ... middle of paper ... ...nt, sinner or saint-it is all up to the reader and how we decide to analyze the information the author provides.
By decentralising the notion of authorship, Nicol suggests that Spark generates a complementary model of reading. Once the author becomes a suspicious figure, then the reader’s role needs to alter in response. The reader is invited, required, to become a kind of detective-figure, trying to make sense of the inconsistencies, gaps, and contradictions in the narrative (123). While Nicol only comments upon the author as an unreliable figure, his observations can be applied to the roles of the reader and the critic as well, whose provisionality as literary conventions are foregrounded by the self-reflexivity of metacommentary. The framing narratives, which seem unproblematic at the start of the text, gradually intersect in a way that eludes the neat closure of a “Russian-doll” hierarchy of authority.
The elements of the “betraying ally” and the “trusted friend” incorporate a sense of the impossibility to escape the corruption of innocence. Authors use these elements in order for readers to connect with these characters in hope of an actual figure of ultimate morals only to pull the rug under the readers’ feet to explain that, even in the world of fiction, there will always be a shadow of sleaze to creep over pleasantry.
This is highlighted by J. Hillis Miller when he states: “This act of interpretation always leaves something over, something just at the edge of the circle of theoretical vision which that vision does not encompass. This something left out is clearly a significant detail” (369). By deceiving the average reader with these scenarios, Emily Bronte mirrors some of her own characters. The similarity between the author’s interaction with her readers and the deceptive interactions between characters are crucial attributes to the novel’s brilliance. In this way, Emily Bronte controls her audience in the same way Heathcliff control’s his... ... middle of paper ... ...ss in the end.
Do the characters of "Howards End" understand the importance of `knowing oneself'? It was Rose Macauley who wrote in The Writings of E. M. Forster- Howards End (1938) that one meaning of the novel might be "about the importance of knowing oneself, of learning to say "I."." Those that can say "I" are those who can also see the `unseen' and accept the `inner'. Those that cannot only see the `seen' and the `outer'. The novel argues that a lack of knowing oneself leads to life's ills and no sense of personal responsibility for your actions.
This leaves the reader to find his own theme in the novel. If the author desires a stronger direction, omniscient narration overcomes this hurdle by obviously showing intentions and motives. However, this power to manipulate characters often tempts the author to editorialize; many modern critics have argued "that the author should be less in evidence and more willing to let us interpret the story ourselves." (Burnet, 88) This leaves us with first-person narrative, which is easiest for the author to write, yet as in essay writing, use of the word "I" tends to allow the reader to dismiss the character’s feelings. It allows for total insight into the character, yet this reliance on one individual for information will likely result in a biased view.