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The things they carried theme summary essay
The things they carried essay introduction
Analytical essay on the Vietnam war
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In his short story, Tim O’Brien employs the use of rhetorical questions. The author uses these questions to emphasize key events or emotions he experiences along his journey. “Was it a civil war? A war of national liberation or simple aggression? Who started it, and when, and why?” The purpose of O’Brien’s rhetorical questions is to stress the lack of concrete evidence during the Vietnam War. Basic information such as why the war was initiated was shrouded in uncertainty. The lack of information contributes to the author’s reluctance to serve America and fight in the Vietnam War. Tim O’Brien also uses rhetorical questions to relate to the reader. “What would you do? Would you jump? Would you feel pity for yourself? Would you think
Tim O’Brien begins his journey as a young “politically naive” man and has recently graduated out of Macalester College in the United States of America. O’Brien’s plan for the future is steady, but this quickly changes as a call to an adventure ruins his expected path in life. In June of 1968, he receives a draft notice, sharing details about his eventual service in the Vietnam War. He is not against war, but this certain war seemed immoral and insignificant to Tim O’Brien. The “very facts were shrouded in uncertainty”, which indicates that the basis of the war isn’t well known and perceived
To write a true war story that causes the readers to feel the way the author felt during the war, one must utilize happening-truth as well as story-truth. The chapter “Good Form” begins with Tim O’Brien telling the audience that he’s forty-three years old, and he was once a soldier in the Vietnam War. He continues by informing the readers that everything else within The Things They Carried is made up, but immediately after this declaration he tells the readers that even that statement is false. As the chapter continues O’Brien further describes the difference between happening-truth and story-truth and why he chooses to utilize story-truth throughout the novel. He utilizes logical, ethical, and emotional appeals throughout the novel to demonstrate the importance of each type of truth. By focusing on the use of emotional appeals, O’Brien highlights the differences between story-truth and happening-truth and how story-truth can be more important and truer than the happening-truth.
In 102 Minutes, Chapter 7, authors Dwyer and Flynn use ethos, logos, and pathos to appeal to the readers’ consciences, minds and hearts regarding what happened to the people inside the Twin Towers on 9/11. Of particular interest are the following uses of the three appeals.
Schroeder, Eric James. "Tim O'Brien: Maybe So." Vietnam, We've All Been There: Interviews with American Writers. Ed. Eric James Schroeder. Westport, Conn: Praeger, 1992. 125-43.
In the book Into the Wild, Jon Krakauer wrote about Christopher McCandless, a nature lover in search for independence, in a mysterious and hopeful experience. Even though Krakauer tells us McCandless was going to die from the beginning, he still gave him a chance for survival. As a reader I wanted McCandless to survive. In Into the Wild, Krakauer gave McCandless a unique perspective. He was a smart and unique person that wanted to be completely free from society. Krakauer included comments from people that said McCandless was crazy, and his death was his own mistake. However, Krakauer is able to make him seem like a brave person. The connections between other hikers and himself helped in the explanation of McCandless’s rational actions. Krakauer is able to make McCandless look like a normal person, but unique from this generation. In order for Krakauer to make Christopher McCandless not look like a crazy person, but a special person, I will analyze the persuading style that Krakauer used in Into the Wild that made us believe McCandless was a regular young adult.
In addressing the Wellesley High School class of 2012, David McCullough, Jr., uses rhetorical devices such as logos, pathos and literacy devices to argue the uneasy fact to the grads that every person is not special and thus should not try to accomplish everything in life.
An interesting combination of recalled events and editorial commentary, the story is not set up like a traditional short story. One of the most interesting, and perhaps troubling, aspects of the construction of “How to Tell a True War Story” is O’Brien’s choice to create a fictional, first-person narrator who might just as well be the author himself. Because “How to Tell a True War Story” is told from a first-person perspective and O’Brien is an actual Vietnam veteran, a certain authenticity to this story is added. He, as the “expert” of war leads the reader through the story. Since O’Brien has experienced the actual war from a soldier’s point of view, he should be able to present the truth about war...
In this chapter, O’Brien contrasts the lost innocence of a young Vietnamese girl who dances in grief for her slaughtered family with that of scarred, traumatized soldiers, using unique rhetorical devices
In the early stages of the story O’Brien is faced with a “moral emergency”, though the draft letter sent to him in the early summer of 1968 stirred up many more feelings than that of just a moral nature. O’Brien experienced unease within his conscience about how this particular war had no “imperative of its cause”; people were dying for reasons unknown. This news also hit him in a deeply emotional way; he became quite livid with the entire idea of
In the novel The Things They Carried, Tim O’Brien demonstrates how exposure to the atrocities of nations at war leads to the soldiers having skewed perspectives on what is right and wrong, predominantly at times when the purpose of the war itself appears elusive. The ambiguity that consumes the stories of “The Things They Carried” and “How to Tell a True War Story” is displayed with irony, for the ‘moral’ of such war stories is that there is no moral at all. O’Brien portrays the character Mitchell Sanders as an observer who seeks the morals to be found through the war fatalities; however, he depicts these morals in a manner that actually stresses the impiety of the situations above all else. The characters in this novel are at the forefront of the Vietnam War, thus blinded by carnage that soon begins to obscure any prior notions held about what is moralistic and what is not.
“The Things They Carried” by Tim O’Brien, is a short story, told by an unnamed narrator, about Lieutenant Jimmy Cross and other members of the army unit during the Vietnam War. O’Brien introduces and elucidates characters in this story by listing the tangible and intangible elements they carried with them. Although the men in this army unit are battling the enemy soldier, ironically, they are also conflicted upon their own thoughts about the Vietnam War and the true meaning of their experiences at war. To understand the war from different character’s perspectives, the ambiguous narrator plays a major role in effectively conveying the message of uncertainty and tells this fictional war story in a third person omniscient point of view. The narrator’s
The Vietnam War was not a “pretty” war. Soldiers were forced to fight guerilla troops, were in combat during horrible weather, had to live in dangerous jungles, and, worst of all, lost sight of who they were. Many soldiers may have entered with a sense of pride, but returned home desensitized. The protagonist in Louise Erdrich’s “The Red Convertible,” is testament to this. In the story, the protagonist is a young man full of life prior to the war, and is a mere shell of his former self after the war. The protagonists in Tim O’Brien’s “If I Die in a Combat Zone,” and Irene Zabytko’s “Home Soil,” are also gravely affected by war. The three characters must undergo traumatic experiences. Only those who fought in the Vietnam War understand what these men, both fictional and in real life, were subjected to. After the war, the protagonists of these stories must learn to deal with a war that was not fought with to win, rather to ensure the United States remained politically correct in handling the conflict. This in turn caused much more anguish and turmoil for the soldiers. While these three stories may have fictionalized events, they connect with factual events, even more so with the ramifications of war, whether psychological, morally emotional, or cultural. “The Red Convertible,” and “Home Soil,” give readers a glimpse into the life of soldiers once home after the war, and how they never fully return, while “If I Die in a Combat Zone,” is a protest letter before joining the war. All three protagonists must live with the aftermath of the Vietnam War: the loss of their identity.
This analysis paper will analyze one advertisement picture that was produced by the mega food chain known as McDonalds. The ad is exuberantly promoting three cheeseburgers that the fast food chain is attempting to sell. The three cheeseburgers on the advertisement are the more popular attractions of the fast food chain including the “Angus Deluxe Third pounder”, the “Double Quarter Pounder with Cheese”, and the most famous one of all, “The Big Mac”. These three cheeseburgers have been the baseline for the McDonalds fast food chain ever since the restaurant opened. The burgers are also known world wide, making this advertisement is just a way to get the public to come and buy there food.
“For most Americans today, the history of the Vietnam War Is like a play that unfolds in ways quite different from the audience's preconceptions. Ticket holders take their seats expecting a drama about American soldiers. But once the curtains go up, there are some surprises--the Vietnamese
Usually when someone is murdered, people expect the murderer to feel culpable. This though, is not the case in war. When in war, a soldier is taught that the enemy deserves to die, for no other reason than that they are the nation’s enemy. When Tim O’Brien kills a man during the Vietnam War, he is shocked that the man is not the buff, wicked, and terrifying enemy he was expecting. This realization overwhelms him in guilt. O’Brien’s guilt has him so fixated on the life of his victim that his own presence in the story—as protagonist and narrator—fades to the black. Since he doesn’t use the first person to explain his guilt and confusion, he negotiates his feelings by operating in fantasy—by imagining an entire life for his victim, from his boyhood and his family to his feeling about the war and about the Americans. In The Man I Killed, Tim O’Brien explores the truth of The Vietnam War by vividly describing the dead body and the imagined life of the man he has killed to question the morality of killing in a war that seems to have no point to him.