Many scenes in the book Mosquitoland, by author David Arnold, depicted great meanings. Nevertheless a particular scene stood out to me, this was because of the hidden depth the author intertwined into it. The scene portrayed in the book includes the main character, Mim, and her parents arguing over a statement the mom made. She stated,”…[I] guess when too many people like you all at once, it can sometimes make you go crazy,” (Arnold, 222). After she stated this, Mim’s father immediately interrupted, the minute he heard her say “crazy”, replying with, “What are you doing…[N]ot everyone goes crazy,” ( 222). Her father is both trying to stop the mother from continuing to talk about this topic and reassure her daughter that not all people go crazy.
William Golding, the author of Lord of the Flies, depicts a message for readers. His message states that children need guidance so their fears and savage side don’t get out of
In the first two lines, an aural image is employed to indicate a never-ending anger in the girl's father. Dawe uses onomatopoeia to create a disturbing and upsetting description of his enraged "buzz-saw whine." An annoying, upsetting sound, it gives the impression of lasting ceaselessly. His anger "rose /murderously in his throat." Because "murderously" begins on a new line, a greater emphasis is placed on it and its evil and destructive connotations. An image of a growling lion stalking its prey is evoked in the reader, as it threateningly snarls from its throat. The girl is terrified as it preys on her persistently "throughout the night." Furthermore, because there is no punctuation, these few lines are without a rest, and when reading out aloud, they cause breathlessness. This suggests that the father's "righteous" fury is ceaseless and suffocating the girl.
The tone is set in this chapter as Krakauer uses words to create an atmosphere of worry, fear, and happiness in McCandless’s mind. “The bush is an unforgiving place, however, that cares nothing for hope or longing”(4). McCandless is on the path of death, which creates worry and fear for the young boy. “He was determined. Real gung ho. The word that comes to mind is excited,” (6). Alex is very excited and care free, which Krakauer used to his advantage in making the tone of Alex’s mind happy. The author creates tones to make the reader feel the moment as if the readers were sitting there themselves. Krakauer uses dialogue and setting to create the mixed tones of this chapter. As one can see from the quotes and scenery the author uses tones that are blunt and are to the point to make the reader feel as though the emotions are their own. Krakauer uses plenty of figurative language in this chapter. He uses figurative language to support his ideas,to express the surroundings, and tone around the character. To start the chapter he uses a simile describing the landscape of the area, “…sprawls across the flats like a rumpled blanket on an unmade bed,” (9). This statement is used to make reader sense the area and set the mood for the chapter. The use of figurative language in this chapter is to make a visual representation in the readers mind. “It’s satellites surrender to the low Kantishna plain” (9).
In Fahrenheit 451, Ray Bradbury uses a lot of descriptive language and imagery in his work. On page 91, there is a description of how Guy Montag felt on the night when he met up with Faber. He was overcoming a new feeling and he was changing into a new person.
In contrast, syntax provides a new perspective to the narrator s behavior as sentence structure draws attention to her erratic behavior. By her last entry, the narrator s sentences have become short and simple. Paragraphs 227 through 238 contain few adjectives resulting in limited descriptions yet her short sentences emphasize her actions providing plenty of imagery. The syntax quickly pulls the reader through the end as the narrator reaches an end to her madness.
An assembly of young men are marooned on an island after their plane crashes. Without grown-up survivors, they make their own "micro-social order". Ralph is chosen "chief", and he orders asylum and fire. Jack, the leader of the choir, takes his young men and chases nourishment (wild pigs). A bitter competition heightens between Jack and Ralph as both need to be in control. The "hunters" come to be savage and primal, under Jack's standard, while Ralph tries to keep his assembly enlightened. The developing danger between them prompts a wicked and alarming peak. Lord of the Flies likewise investigates the dim side of humanity, the viciousness that underlies even the most acculturated human beings. Golding arranged this novel as a catastrophic satire of children trill stories, showing mankind's natural noxious nature. He gives the reader a series of events leading an assembly of adolescent men from ambition to tragedy as they attempt to survive their savage, unsupervised, separated environment until protected. Throughout the novel book lovers witness what Lord of the Flies educates about the reason for government and human nature.
For example, at the end of the short story, when the narrator is really losing touch with reality, she threatens that “no person touches [the] paper but [her]—not alive!” (Gilman 433). Essentially, what the narrator is saying here is that she will kill anyone that lays hands on the wallpaper of her room. This is disturbing to the reader because the touching of wallpaper would ordinarily be an innocent act. However, the narrator is so far into her psychosis that she is willing to commit homicide if a person touches her
Within each of us lurks a beast waiting for the first opportunity to bare its ugly fangs. A vestige of ages past, when violence and destruction was man’s only language, the beast only needs a bit of chaos to resurface. William Golding’s novel, Lord of the Flies, is hinged on this idea. In the story, a group of English schoolboys are stranded on an island without a single adult. They try initially to keep a rough semblance of civilization in place, calling assemblies and lighting signal fires, but the beast is soon awoken from its primeval slumber to wreak terror among them. Golding makes it his duty to reveal the innate evil of the human soul in Lord of the Flies by not only displaying general chaos, but detailing specific instances where the violent nature of man bleeds through. The “darkness of man’s heart” (Golding 202) is demonstrated when Roger feels the sudden urge to throw rocks toward a younger boy, when the boys’ game of mock hunting turns a little too real, and when the little savages murder Simon in a passionate frenzy.
Dismissing the detonation of an atom bomb and the possible deaths of their parents as merely an "unusual problem" (14), the schoolboys selfishly indulge in their lush jungle environs. The overwhelming "glamour [which] spread[s] over them" (25) momentarily eclipses their awakening need for domination. At first, the boys express this necessity through the seemingly innocuous heaving of rocks and the belittling of Piggy, who is physically inferior. Had these actions occurred in the boys' English homeland, they would have been accepted as ordinary,childish behavior. However, under the guise of innocent excitement, the boys derive an unimaginably "violent pleasure" (18) from "exercising control over living things" (61).
The third decade of the twentieth century brought on more explicit writers than ever before, but none were as expressive as Anne Sexton. Her style of writing, her works, the image that she created, and the crazy life that she led are all prime examples of this. Known as one of the most “confessional” poets of her time, Anne Sexton was also one of the most criticized. She was known to use images of incest, adultery, and madness to reveal the depths of her deeply troubled life, which often brought on much controversy. Despite this, Anne went on to win many awards and go down as one of the best poets of all time.
In order to understand the entirety of a society, we must first understand each part and how it contributes to the stability of the society. According to the functionalist theory, different parts of society are organized to fill discrete needs of each part, which consequently determines the form and shape of society. (Crossman). All of the individual parts of society depend on one another. This is exhibited in “A Bug’s Life” through the distinct roles the ants and grasshoppers play in their own society. The two species are stratified in such a way that they each contribute to the order and productivity of the community. In the movie, the head grasshopper states that “the sun grows the food, the ants pick the food, and the grasshoppers eat the food” (A Bug’s Life). This emphasizes social stability and reliance on one another’s roles. The grasshoppers rely on the ants for food, while the ants rely on the grasshoppers for protection. This effective role allocation and performance is what ensures that together, the ants and grasshoppers form a functioning society to guarantee their survival.
"But then they danced down the street like dingledoolies, and I shambled after as I’ve been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn, like fabulous yellow roman candles, exploding like spiders across the starts, and in the middle you see the blue centerlight pop and everybody goes ‘Awww!’" (Kerouac 9)
A Bug’s Life is an animated Disney film that tells the story of how a colony of ants fight back against and overcome the domination and oppression of the bullying grasshoppers. When looking at the movie through the lens of Ewen’s theory about identity, several connections concerning identity are found between A Bug’s Life and The Chosen People. Furthermore, by looking at identity issues in A Bug’s Life under this new light, Ewen’s theory becomes incomplete. In the Chosen People, Ewen fails to explore the positive aspects of conformity, gender in relationship to identity or the correlations between tradition and identity.
William Golding’s Lord of the Flies exemplifies man’s capacity to unveil his innate primal nature when there is a breakdown of social order and a thirst for power. The characters of his novel portray the monstrosity of evil which dwells within human beings. For instance, Kunwar’s analytical essay about Golding’s novel states, “Though the young kids are in a place which is far from corruption, a place with no outside infl...
Potter’s book is, beneath its didactic Victorian narrative, remarkably subtle and subversive in its attitudes towards childhood, and its message to its child readers. Browne’s Voices in the Park, on the other hand, dispenses with any textual narrative; by his use of the devices of postmodernism, visual intertextuality and metaphor, he creates a work of infinite interpretation, in which the active involvement of the reader is key. Although The Tale of Peter Rabbit is not a ‘modern’ picturebook, and was written to a different concept of childhood than Voices in the Park, it certainly falls within Bader’s description.... ... middle of paper ...