Very often writers, directors, and artists find it somewhat challenging to present certain characters in a way that is intended to deliver the message that they wish to convey through the sequence of events that are illustrated within that particular work of art. Usually the main goal of any writer, producer, or artist is bringing the main idea behind that particular work of art to reality in a way that will appeal to the readers and enhance their understanding of the targeted notion in the work of art presented. This process of creatively presenting the characters in a way that delivers the message requires a great deal of energy and excessive thinking, which is something not all creators of art successfully accomplish. A truly successful …show more content…
Kahf introduces a series of characters in her poem, all of which are women from Henri Matisse’s set of paintings, Les Odalisque, as a way presenting Matisse’s character indirectly. She brings the paintings to life in her poem and makes them engage in a discussion that shows their level of disappointment with the way Matisse drew them and the ignorance of the people that look at them. Through the liveliness of the characters in the poem, Kahf aimed to convey her message. She intelligently forms a rebellious discussion amongst the women in the paintings to show their dissent of the matter altogether- “We just decided enough is enough.” one of the Odalisques claimed. Given their situation, its highly expected of them to protest against their former state. Viewers of Matisse’s paintings are insensible to the women’s situation. They didn’t care about how painful it was for them to be in the painting and be judged for it and all they could say was “She must be uncomfortable in that position.” People judged them for those paintings yet they forget to judge Matisse for drawing them in the first place as one of them claims “it did no good to tell them we didn’t choose the poses we were painted in” People tend to judge the victim but never the person who brings up the matter itself, hence the idea of ignorance. “we don’t fit in anywhere it’s too late too late, with Matisse we are nothing,
Welty’s use of physical description, action, and dialogue enables Old Phoenix to become animated in the mind of the reader. By using physical description Old Phoenix becomes a dimensional figure that manifests out of the pages into ingraining herself into the reader’s mind. Pairing her physical description with Phoenix’s actions causes the reader to become emotionally invested in the character, creating a certain bond that makes Phoenix more than just a character in a story. Furthermore, with dialogue the reader is given a better understanding of Phoenix’s life, be it her present or past, making Phoenix more than just words on a page. Due to the use of these techniques Welty is able to build a relationship between the reader and the main character using understanding and emotions.
In this short, but charming story, Amy Tan uses imagery to bring the story to life. With figurative language, the reader is immersed into the Chinese culture and can better relate to the characters. Tan main use of imagery is to better explain each character. Often instead of a simple explanation, Tan uses metaphors, similes, or hyperboles to describe the person, this way they are more relatable and their feelings better understood.
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
It is the mainstay of many pieces of classic American literature, especially those that fall into the category of 'pulp', to have thin, cardboard-cutout characters with obvious emotions and intentions for which their only purpose is to drive the story to a predetermined end. The seductive and dangerous femme fatale; codgerly old men; the badgering and nagging housewife, adorned with dress and apron; and etc... These characters, and the many like them, are set into a story to play a specific role—namely as a reactor—and force the protagonist in some direction. After all, what would a hero do if there was nothing heroic to be done? Sit around? Twiddle their thumbs...? These characters are, in some degree, necessary for the purpose of advancement, and the only reason I have spent this first paragraph going into them, however briefly, is that I feel the need to distinguish between a person and a character. Ostensibly, they are the same thing, at least from an outward point of view. One might say, “A story has people,” which is practically the same thing as saying, “A story has characters.” But, the obnoxious semantics aside, these are not both the same thing—it's a case of the uncanny...Characters, though appearing to be people, are not. They are posters of people, images of people—used to meet some plot obligation and/or bring out characterization in a real person. As confusing as this could sound, it's really simple: Characters are not people. They are merely ideas or archetypes1 of a human form, used to push the story along. People are real. They react to things, sometimes stupidly, sometimes intelligently, and above all, when written into a story believably, give the verisimilar appearance of truth and correctness (even when doing...
In these essays, the authors are telling a story about the characters life. The stories are directed towards the audience to express the kind of pain and suffering the characters went through to learn and apply what they had been yearning for.
The question of whether or not an author can claim that his or her work is original has been in debate for many years now. This, compounded with the question of whether or not an author can adequately understand or express his or her own work or if the interpretation and understanding belongs in the hands of the readers or the critics, has placed the role of the author under serious scrutiny. This is especially noticeable in an age where so many works of literature are analyzed and critiqued by every reader and critique before turning the work into a movie or play, causing it to be further analyzed and discussed. Therefore, the purpose of this paper is to examine the various concepts of the author’s role, originality, and intent, using the graphic novel The Crow by James O’Barr as an example of a work of literature.
“Hope and fear are inseparable. There is no hope without fear, nor any fear without hope” (François de la Rochefoucauld). One of the many defining qualities of human existence is the ability to experience emotions. Among them, hope and fear may be two of the most commanding. The balance of the two and the influence they have on a person, as well as each other, is imperative to one’s personality, behavior, resolutions. Authors use the contrast of hope and fear to create a character out of thin air. By applying these to emotions to a flat character, he or she is sculpted into a complexly depicted person. Both Charlotte Perkins Gilman and Sandra Cisneros use this technique to create their main characters. The narrator in The Yellow Wallpaper and
What makes reader to see an feel that ? The literary elements used by author to describe and coll or this main character through his journey to find the answer to all of the question arisen in a upcoming situations.
Piper’s use of imagery in this way gives the opportunity for the reader to experience “first hand” the power of words, and inspires the reader to be free from the fear of writing.
Imagery is used by many authors as a crucial element of character development. These authors draw parallels between the imagery in their stories and the main characters' thoughts and feelings. Through intense imagery, non-human elements such as the natural environment, animals, and inanimate objects are brought to life with characteristics that match those of the characters involved.
Edna seeks occupational freedom in art, but lacks sufficient courage to become a true artist. As Edna awakens to her selfhood and sensuality, she also awakens to art. Originally, Edna “dabbled” with sketching “in an unprofessional way” (Chopin 543). She could only imitate, although poorly (Dyer 89). She attempts to sketch Adèle Ratignolle, but the picture “bore no resemblance” to its subject. After her awakening experience in Grand Isle, Edna begins to view her art as an occupation (Dyer 85). She tells Mademoiselle Reisz that she is “becoming an artist” (Chopin 584). Women traditionally viewed art as a hobby, but to Edna, it was much more important than that. Painting symbolizes Edna’s independence; through art, she breaks free from her society’s mold.
The iconography of the picture could represent art in the view of the fauvists. Fauvists wanted to be free from tradition and natural colors. They wanted to be free to explore their world of colors as they saw fit. Fauvists and expressionists did not like to be held to strict rules when it came to painting. It could be that Le Bonheur de Vivre was a state in which they where trying to reach, but in reality could get never get there. On the other hand, could it be a place where they could only reach in their dreams? Critics have struggled with the interpretation of Matisse’s painting since the first display. That may have been Matisse’s meaning after all.
Effectively using these elements in a piece of literature enhances the reader’s curiosity. One prime example of such usage of these elements is seen in Kate Chopin's writing. Her use of foreshadowing and use of emotional conflicts put into few words in the short piece "The Storm" adds an element that is alluring, holding the reader's interest. In this short piece of literature, a father and son, Bobinot and Bibi, are forced to remain in a store where they were shopping before the storm, waiting for the storm to pass over them. In the meantime, the wife and mother, Calixta, whom is still at home, receives an unexpected visit from a former lover named Alicee. The two have an affair and the story starts to come together. The story shows us how we tend to want what we beli...
7. Use imagery in order to appeal to the readers senses and help them better understand what is being described....
depictions of characters and details that capture the imagination. The plot of this novel is the