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Narrative techniques
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Sandy Tolan took a narrative approach to tell the story of Bashir Khairi and Dalia Eshkenazi. This approach helped the audience feel more in tune to the story for better moments of drama and action. The split perspective that was shown helped show how two different religions interacted with each other throughout the many different territorial wars that ensued. This strategy was effective because it helped readers interpret the story easier. The strategy was ineffective because it could’ve provoked readers to choose one side of the struggle without trying to relate to the other side of the story. The narrative approach that Sandy Tolan used helped the audience feel more in tune for better moments of drama and action. Such examples would include the Six Day War that took place between the Palestinians and the Israelis. Another example would include the Jordanian Civil War that occurred between the Palestinians. In these prime examples, Tolan emotionally appealed to the audience by describing the many different moments of warfare and turmoil that happened to innocent families. …show more content…
Bashir personally felt cheated because of the fact that he was exiled from his homeland without condolences or opportunity to return. Dalia felt as though she was owed the land of Israel because of her belief in Zionism. Controversies arose because of Dalia’s newfound home interfered with the chance of Bashir returning to his original home in al-Ramla. Throughout these controversies, relationships intertwined between Bashir and Dalia to form one of the bases for the main story of The Lemon
In conclusion, all three stories are unique in their use of culture. Each uses clashes in culture or a unique cultural setting to convey a message. In each story, this culture gives us a unique perspective into other people's lives and the conflicts they face. The way the conflict is handled is a decision left to the individual, who is guided by his cultural upbringing. Each culture handles the problem differently giving us a multitude of different points of view. Three of such perspectives are examined by Everyday Use, A & P, and Blue Winds Dancing.
For years Western scholars and novelists have been drawn to the story, yet until now there has been no documentary. Ric Burns's film is a first.
Khaled Hosseini, author of A Thousand Splendid Suns, is indisputably a master narrator. His refreshingly distinctive style is rampant throughout the work, as he integrates diverse character perspectives as well as verb tenses to form a temperament of storytelling that is quite inimitably his own. In his novel, A Thousand Splendid Suns, he explores the intertwining lives of two drastically different Afghani women, Lailia and Mariam, who come together in a surprising twist of fate during the Soviet takeover and Taliban rule. After returning to his native Afghanistan to observe the nation’s current state amidst decades of mayhem, Hosseini wrote the novel with a specific fiery emotion to communicate a chilling, yet historically accurate account
It is clear for me to distinguish who is the good and who is the evil, who is the victim and who is the perpetrator before. But now, I recognize that the shift in the movie from the trauma suffered by victims to that suffered perpetrators is more complicated than I thought before. The movie seeks to find answers to the question that who is the victim of the war and the answer is also in the movie. As for me, the victims probably have more right to use the event for their personal narrative, but in the Waltz with Bashir, the story teller is an aggressor who kills people and stands there and sees the massacre happen. This narrative shift between victim and perpetrator is one of the most striking moments for me to see the movie and read the book. Because we often read the memory of victims of a war and the way we see the war is through the eyes of them, like the people who survived the massacre or people witness their loved one’ dying. And this story teller is the perpetrator—the soldier of the
The men and the women of A Tale of Two Cites are violent, loving, cowardly, brave, and ruthless. Some people are weak and spoiled, while others are badly treated and vindictive. Many contrasts between men and women can be found within this story.
The emplacement of cultural elements and themes may have restricted the speaker’s audience and lengthened the distance between the speaker and western audiences, but through the use of a first person narrative and universal ideologies a connection is still established. The use of a first person narrative may not be able to fully transcend the cultural barriers that exist in the story, but is able to shorten the distance between the speaker and the reader and create a sense of authenticity and truthfulness.
Everyone has the tendency to think or act immaturely when something does not happen the way they wanted it to. How people behave and develop in such situations can uncover hidden sides and the true inner self of their character. The changes that occur to them through conflict can depict how mature they really are. Nazneen Sadiq’s story “Shonar Arches” shows the impact on a character’s maturity as a result of the main conflict. The happy resolution of Amit’s conflict shows how through time, even a rude little boy can mature into becoming a gentleman.
Enderwitz, Susanne. “Shahrazad Is One Of Us: Practical Narrative, Theoretical Discussion, And Feminist Discourse.” Marvels & Tales: Journal of Fairy-Tale Studies 18.2 (2004): 187-200. MLA International Bibliography. Web. 16 Mar. 2014.
In the Lemon Tree, Tolan focused on Bashir and Dalia’s life, and a slight perspective
After all these tragic events not only in the Traore family but also in Segu there was one thing to be noted that every person had the right to practice his or her own religion and the war that took place between El-Hadj Omar and the Fulanis of Mecina and Segu was not a war of religion but a war to gain personal pride.
“Paradise Now” is a form of political cinema because much of the film has political content that emphasizes Hany Abu-Assad’s message. He communicates that violence is no way to solve the issue of oppression in the Israeli-Palestinian conflict. Violence actually makes the conflict even more difficult to deal with and therefore harder to find a solution to. The filmmaker wants his audience to understand that violence is never a solution to anything, and that these terrorists are human as well. Though they may seem heartless and immoral, they themselves do not perceive it in that way because they were taught to resist the occupation and violence is the only way they know how to fight back.
Myths and tales are commonly shared across different cultures in versions that are slightly different from each other. Minor changes are made to the story to customize the tale to a more relatable version for the people reading it. Here in this paper two versions of the Cinderella tale will be compared: the German Brothers Grimm fairy tale, “Aschenputtel”, and the Vietnamese folk version, “Tam and Cam”, retold by Vo Van Thang and Jim Larson. The two stories follow the same Cinderella framework and elements, however, the differences of the stories reflects the values of the culture who created that version of Cinderella.
When comparing the two novels, differences in the nature of the ruling and similarities in the impact it has on various social classes and generations are evident. Though historical novels are a great source, it must be kept in mind that they are novels and should not be relied upon for one hundred percent factual evidence.
Malak, Amin. "The Shahrazadic Tradition: Rohinton Mistry's Such a Long Journey and the Art of Storytelling." Journal of Commonwealth Literature 28.2 (1993): 108-118.
...shown through Lenny’s point of view. Prior the partition, Lahore was a place of tolerance that enjoyed a secular state. Tension before the partition suggested the division of India was imminent, and that this would result in a religious. 1947 is a year marked by human convulsion, as 1 million people are reported dead because of the partition. Moreover, the children of Lahore elucidate the silences Butalia seeks in her novel. The silence of survivors is rooted to the nature of the partition itself; there is no clear distinction as to who were the antagonists. The distinction is ambiguous, the victims were Sikhs, Hindus, and Muslims, and moreover these groups were the aggressors, the violent. The minority in this communal violence amongst these groups was the one out-numbered. This epiphany of blame is embarked in silence, and roots from the embodiment of violence.