This chapter will deal with aspects of the book object of this thesis that are much more difficult to analyse and single out than linguistic aspects (which will be nontheless discussed in the following chapter), as they deal mostly with referential humour; meaning that they use language to convey meaning as a source of humour rather than the specific language used to express it. The aspect here discussed are those related to the modality of storytelling, the structure of the novel through with humour is achieved: parody and satire. Neither has been extensively studied in the context of humour translation, which tend to focus more on linguistic aspects. After all, it is harder to recreate the humorous tone of an author than it is to …show more content…
Obviously, readers will not understand all of Pratchett's allusions, but more literate readers will take great pleasure from them. The less "culturally aware" reader will still get the feeling that Pratchett has planted these ideas, and will often search them out actively. As reviewer Tom Shone stated in 1992, "what has ensured Pratchett's success is that you don't have to have read Tolkien to know what he's poking fun at. As he has happily admitted, his fiction requires no specialized knowledge on the part of the reader whatsoever" (23). Though his fiction requires no specialized knowledge, a broad knowledge base does enrich a reader's enjoyment. Even without the references, though, Pratchett produces quality writing that people enjoy and reread frequently …show more content…
For example, when the guards try to take down the dragon by shooting a lucky arrow aimed at the legendary 'voonerable' point of the beast, that everyone know must exist because this is how dragons get defeated in legends, Pratchett is obliquely referencing a scene of The Hobbit, where the dragon Smaug is taken down by the hero Bard with a single, black arrow aimed at his weak point, an area of its stomach not encrusted in a gems. Pratchett, as always, plays with realisms here. No matter how skillful the archer, taking down a flying dragon with a single arrow is an almost impossible task that can be achieved only by having fate (and narrative conventions) on one's side. And this is something that the characters of Guards! Guards! are somewhat aware of. So they reason that kind of hit is a million-to-one chance and if they play their cards right, the gods who like a well-executed narrative might make it work. But, as Pratchett puts it, while these are the sort of things gods like, “Chance, who sometimes can overrule even the gods, has 999,999 casting votes.” So while Bard, the classical hero of an epic fantasy succedes, in Pratchett's parodic fantasy universe the arrow bounces off a scale and clatters into
Thesis: Just as the characters in this novel are taught by only 2 books, doesn’t show that what they are taught is correct, especially in David’s case.
Satirical writing allows the author to express his or her opinion about a problem in society. A writing must follow three rules in order for it to be classified as satirical. First, a continuous focus on one’s subject’s faults. Secondly, instead of telling the reader directly, information must be given indirectly. Thirdly, the writing must have a variety of satirical techniques in general (Festa). With these simple guidelines, an author can demonstrate his beliefs of what he thinks needs to be changed in society.
The student may find it useful to begin the paper with the following quote from the novel:
What makes a piece of writing humourus? In “ How I got Smart” by Steve Brody and in “Salvation” by Langston Hughes, both use literary devices to tell a story from a younger perspective. Although they both use figurative language in a humourous way, Brody’s story is silly and has a happy ending and Hughes’s story is somewhat sad and does not end happily thus making Brody’s story overall funnier.
According the sweeping introduction of the book, I am already able to envision a number of entry points for the investigation of this
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
2nd ed. of the book. New York: St. James Press, 1995. Literature Resource Center -. Web.
Harmon, William, and C. Hugh Holman. A Handbook to Literature. 8th ed. Upper Saddle River, NJ: Prentice Hall, 1999.
This paper will illustrate a brief summary of two chapters and give a critical analysis of the readings. In addition I would conclude the paper by briefly discussing my opinion on the readings.
The rest will be presented further on in my essay. But before presenting my points id like to give you a brief idea of the two books and their writers.
Diction plays a critical role in the development of the tone in a story. The type of words the author uses directly leads to the tone of the entire literary work. If ...
Stylistically, the book is arranged in rotating chapters. Every fourth chapter is devoted to each individual character and their continuation alo...
Harmon, William, and C. Hugh Holman. A Handbook to Literature. New Jersey: Prentice Hall, 1996.
In the first part of this review, I shall endeavour to summarise the book, focusing
settings in the story, the point of view, the tone, the dialogue, most forms of irony, and