This aspect of Rhys’ story can be analyzed much deeper when applying Stephen Greenblatt’s essay Culture. Applying Greenblatt’s conception of culture as a system of mobility and constraints one can better understand the relationship between Wide Sargasso Sea as a literary work and the culture in which it was written, because literary texts “are cultural by virtue of social values and contexts that they themselves successfully absorbed” (Greetblatt 227). In his essay Greenblatt explains what he means by constraints. He defines constraints as “the ensemble of beliefs and practices that form a given culture [which] function as a pervasive technology of control, a set of limits within which social behavior must be contained” (Greetblatt 225). In other words, the beliefs and practices of a culture constrain the individual’s behavior.
Their plots intersect with each other, often without clearly explaining why. I will start with a general overview of the main characters and put special attention on their identical background and misery, which each of them gives away just gradually along the chapters. Later on I will go more into detail and explore the function and the interpersonal relationship of the mysterious identity of the English patient not only as a character but a general metaphor for mankind. Finally I will draw a conclusion and present my invastigations made in this seminar paper. With this paper I hope to show clearly that the contents of this book are strongly related to the question of the self... ... middle of paper ... ...him from saving Katharine.
History and culture play a role in the ever changing status of genres, which are difficult to define because the concept encompasses so many different literary qualities and conventions that can be broken or accepted, overlapped or mixed. Rather than define genre, some theorists approach the discussion of genre using Ludwig Wittgenstein’s concept of “family resemblances'; among literary texts. Although a literary text rarely has all the characteristics of... ... middle of paper ... ... are interpreted, and expectations and emotional outlooks are the individual results of reading literature. The expectations prompted by conventions in a literary text play a large role in the discussion of genre. For example, Mavis Gallant’s “From the Fifteenth District'; cheats the expectation that arises from the first sentence, “[a]lthough an epidemic of haunting...'; (Gallant 115), and surprises readers with the discovery that the story is a reversal of the ghost story.
The researches found out the languages present in the world are affiliated to different worldviews in regions within which they are applied. This means that languages are believed to affect human thoughts based on the differences and the cultural affiliations in different parts of the world. Language is therefore one of the best tools that can be used to develop identity among members of certain community and it is this relationship that defines worldview. Whorf’s assertion is based on the argument of an existing relationship between cognitive development and linguistic developments (Blum 35). After studying different languages, the researcher found a connection between linguistic and cognitive values, with the former being regarded as important in promoting the latter.
And over the period of times these ideologies are unquestionably canonized in the form of discourse. The relationship between these three issues may help people understand better how language contributes to the domination of some people by other. Like other acts of writing, translation is also a form of communication, which belongs to a world of roles, values and ideas. This is especially true because translation is in itself an intently relational act, one which establishes connections between text and culture, between author and reader. Moreover translations, unlike the original works are always governed by ideological compulsions: “Creative art might owe its origin to purely aesthetic reason (the aesthetic principles may however be indirectly linked to social praxis), but the need of translation is more ideological than aesthetic.” (Dash, 2005: 149).
Additionally, he keeps the use of vibrant and vivid detail that is set in a pragmatic each day place (Bloom 54). King was born in Portland Maine in 1947 (Schweitzer 9). Commonly known as the master of horror, his books have been published in over 35 countries and translated into 33 different languages (Schweitzer 25). He adds a dazzling effect in his work more than the standard easy-to-read bestsellers thus making his books fly off the shelves. I choose to nominate Stephen King, an established author as one of the Today’s Literacy Cannons for several reasons.
Two Canadians in the villa Hana and Caravaggio, the Greek Almasy and the Indian Kip meet and form a relationship. In the personal recounts of the four occupants of the villa, Ondaatje ingeniously asserts the notion that all people are creatures of the past and tries to define future events accordingly by incorporating a variety of nationalistic themes into the novel. While depicting the last stages of the war, Ondaatje investigates the perception
Notions of power and class can be presented in different ways in literary texts. Some texts seem to pride themselves on the use of such ideas and ideologies, while others somehow subtly absorb the impressions and build them into the work. Nevertheless, conceptions of power and class can still play a huge part in the detailed understanding of a piece of work. Not only this, but they can also portray an author's own feelings and thoughts on things such as the class system and stratification of society. Two highly acclaimed literary texts which address the class and power ideologies are Geoffrey Chaucer's The Miller's Tale from The Canterbury Tales collection, and Maria Edgeworth's Castle Rackrent.
It is what makes writing fascinating and the critiquing of writing something more than an intellectual exercise. When we interpret a text, we bring our own hopes, fears, joys and beliefs to the forefront, despite our claims of intellectual objectivity, and what is at stake is not just an evaluation of the work itself, but often an evaluation of our political, social, psychological and emotional identities. What we see or read into a text can become a kind of experiment, a literary depiction of the way we see, or would like to see, and interpret ourselves and our world. Often, in the course of interpreting, we feel compelled to name and label both writer and text in order to talk about them in ways that make sense to us, and in order to pinpoint them in relation to ourselves. When we label anything, we attempt to control or own it; we assign values or a set of rules to that person or object.
Ironies and Paradoxes ABSTRACT: In contemporary literary culture there is a widespread belief that ironies and paradoxes are closely akin. This is due to the importance that is given to the use of language in contemporary estimations of literature. Ironies and paradoxes seem to embody the sorts of a linguistic rebellion, innovation, deviation, and play, that have throughout this century become the dominant criteria of literary value. The association of irony with paradox, and of both with literature, is often ascribed to the New Criticism, and more specifically to Cleanth Brooks. Brooks, however, used the two terms in a manner that was unconventional, even eccentric, and that differed significantly from their use in figurative theory.