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Literary devices metafiction
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Recommended: Literary devices metafiction
Katie Philyaw
Mrs. Mastin
IB HL English
15 April 2016
Latin American Literary Movements in Relation to Assis’s Style Dom Casmurro, by Machado de Assis, was published in Brazil in 1899 and later translated from Portuguese to English. In observing the characteristics of the novel, Dom Casmurro does not easily fit into the literary movements popular in Latin America: like romanticism, realism, and naturalism. Many commentators have criticized Assis for not incorporating the principle, nineteenth century Brazilian literary characteristics. In addition, many characterized Assis as a “romanticized realist” (Schwarz). The novel consists of the literary technique of metafiction, where the author and narrator are directly polar, which makes the reader question the narrator’s reliability. In understanding the style and tone of Dom Casmurro, the analysis of how Assis uses the characteristics from the prevalent literary movements of Latin America help the reader develop
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The differences in Bento’s father, a former plantation owner, and Capitu’s father, a “man who spent his whole hoard of hopes on a single lottery ticket”, show the acceptance of the younger generations intermixing among the upper and lower classes. In focusing on the mundane, realistic everyday life, Assis’s chapter, “Capitu’s curiosity”, portrays the limitations that females faced in Brazil during the 1800’s. Bento was able to learn Latin and go to seminary, when Capitu was forced to stay within the boundaries of the home and garden. Assis emphasizes the psychology of the protagonist, Bento, by expressing his inner conflict with his mind versus body that occurred when around Capitu. Capitu, who had tied-like eyes, had the persuasive power over Bento, and often he had “an idea without tongue” and “words that deserted
If you are studying the colonization of the America’s, the majority of the stories you will hear are about the great Spanish conquistadors. These explorers acted more so as military leaders, but are shown in a light of heroism when looking at history. When the conquistadors came across new lands in the America’s the only thing they were concerned about was their own fame and accomplishments. If anything or anyone got in their way of achieving greatness they would often destroy it. The indigenous people living in the Americas already are included in this statement. The time when someone finally stood up to these Spaniards and told them what they were doing was ethically wrong did not arive for nearly 25 years. This man was Fray Bartolome de Las Casas (Gonzalez, 11). Fray Bartolome
His execution of imagery, diction, and dialogue throughout the text were very prominent regarding these three factors. The authors use of pathos, sickly diction, and humanistic dialogue were very important agents to bring this piece altogether and alive. Especially with the subject of poverty and how it effects not only Flavio’s family, but as the text says “Pockets of poverty in New York's Harlem, on Chicago's south side, in Puerto Rico's infamous El Fungito seemed pale by comparison. None of them had prepared me for this one in the favela o[ Catacumba.” Poverty effects a lot of people, and awareness needs to be brought up through messages like
One way Dom Casmurro fails to meet expectations is that the main character, Bento, is an unreliable protagonist. For example, Bento shows time and time again that he is a biased narrator. The entire novel is written in his perspective with little recognition if any, of Capitu’s side of the story. Bento perceives Capitu as a “capricious [creature]” with “undertow eyes” and spends much of the latter half of the book trying to undermine her credibility (244). This is because Bento is incredibly jealous of Capitu, so he perceives the most insignificant of gestures as an act of adultery. Keep in mind, Bento admits to having a terrible memory, claiming that he “can’t remember the color of [the trousers he] put on yesterday”, so the reader must question his statements often—especially when discussing Capitu (111). Another shortcoming of his is that he is neither hero nor antihero. He acts as if he has uncovered Capitu as a lying harl...
“The Cask of Amontillado” is a dark piece, much like other works of Edgar Allan Poe, and features the classic unreliable narrator, identified by himself only as Montresor. This sinister central character is a cold ruthless killer that is particularly fearsome because he views murder as a necessity and kills without remorse. Montresor is a character who personifies wickedness. Poe uses this character and his morally wrong thoughts and actions to help the reader identify with aspects of the extreme personage, allowing them to examine the less savory aspects of their own. The character of Montresor detailing the glorious murder he committed is a means of communicating to the reader that vengeance and pride are moral motivators that lead to treacherous deeds and dark thoughts.
With assertive shouts and short tempers, the prominent character, Ricardo, is characterized as a feisty townsman, doing nothing except trying to protect his town and its members from the judgments of the western world. For example, the characterization of the “‘…quaint’” man is exemplified through the simplicity of his life and the fact that he is “‘…employed’” and is full of knowledge, not a “‘cow in the forest’” (55, 29, 32). Ricardo desperately wants to establish the notion that he is not a heartless, feebleminded man, only an indigent, simple man striving to protect his friends and family from the criticisms of callous cultures. Incessantly Ricardo attempts to make it clear to the photographer the irritation elicited by his prese...
it is unmistakable that life situations inspired Juan Rulfo to write this story. He like no other person had a greater understanding of how to portray the theme of family especially missing a father as a role model, death, survival and revenge. Moreover, through the use of local Mexican language it furthermore developed the society in which peasants had to live during the post-revolution. Additionally Juan Rulfo tries to add all five senses in the story forming magical realism and a vivid picture that the readers can understand. Overall, the readers learn a lot about peasant’s approach to life after revolution that the main drive was
Bartolome de Las Casas was an important protector of native peoples because the latter part of his life was dedicated to social reforms that called for better treatment of the natives.
The trial was used to paint Abina as a complainer since there were other young girls who worked for Quamina Eddoo who did not report him or his sister. Another way Abina’s was silenced was the fact that her perspective was not recorded. Even though the court case was documented by an observer in the court, Abina’s personal narrative was not. It is probable to assume that Abina was illiterate since she was a slave from a young age and would not have been provided the opportunity of education. Due to this fact, the audience is unaware if the represented story of Abina is an accurate depiction of her story. The documented court hearing provides the reader with a strong sense of who the powerful men are in the room since the dialog was dominated by the men. Another reason why Abina’s story was quieted was because of her
Shmoop Editoial Team. “’ the Cask of Amontillado’ Writing Style.” Shmoop. Shmoop University, Inc., 11 Nov. 2008. Web. 17 mar 2014.
In 1949, Dana Gioia reflected on the significance of Gabriel García Márquez’s narrative style when he accurately quoted, “[it] describes the matter-of-fact combination of the fantastic and everyday in Latin American literature” (Gioia). Today, García Márquez’s work is synonymous with magical realism. In “Un Señor Muy Viejo con Alas Enormes,” the tale begins with be dramatically bleak fairytale introduction:
In “The Cask of Amontillado”, the combination of the carnival and the catacomb settings contribute to the themes of revenge, and deception which the protagonist takes responsibility in. Because the story takes place during the carnival, the protagonist, Montressor, has an easier time plotting against Fortunato:
...tem. These traits are typical of what has happened throughout history when normal people become subordinate to new and oppressive bureaucracies. It seems that all a treacherous government needs in order to normalize the most disgusting violations of basic human rights is a convincing façade of efficiency. It could be said that the American Dream plays that role in current American society, that it is purely a façade to blind our eyes to the larger system. If the system succeeds in preventing people from gaining awareness of the larger picture, and indeed further compartmentalizes every aspect of life, the line between just and false laws become blurred. Gilliam uses “Brazil” to bring these often overlooked problems with government to the forefront of his viewer’s mind, making apparent that no element of human life is safe from this type of unconscious degeneration.
Ponte, Carmo. “Incest and the Female Character in Eça de Queirós’ ‘A Tragédia de Rua das
The elements at play in the novel and film are quite remarkable for their traditionally universal appeal.3 The fates of two adolescents, one jailed the other unwilling jailer, intersect and are soon bound together in a struggle for survival at the hands of unsuspecting enemies. The filmmaker's aim was to adopt a child's unadulterated point of view in referential opposition to the surrounding adult world. Given the suspenseful plot and the exploration of the young protagonists' fears at coping with a habitat they must disavow, such an aim and narrative scheme were expected to gather much attention.4 The pre-teens Michele, the novel's principal hero, and Filippo the kidnapped child are ultimately elevated from a pit of dirt and fear, the antechamber of death, chiefly by their own heroic praxis. Yet the problematic lack of any meaningful degree of depth in the novel and film seems to lie precisely with its overly schematic construction, tailored to safely weather the otherwise unpredictable market.
Poe starts out with a man, by the name of Montresor, wanting revenge on another man, named Fortunato. Most of the story takes place deep in the Montresor family catacombs. As Montresor lures Fortunato into the catacombs, he chains Fortunato up to a small hole in a wall, bricks it over, and leaves Fortunato to die. Even through the traits of anger, hatred, and revenge, as the story progresses on, Montresor, the main character in “The Cask of Amontillado”, starts to show signs of feeling guilty for wanting to murder Fortunato.