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Why do you consider literary analysis
Narrative techniques
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In “The Private Memoirs and Confessions of a Justified Sinner”, written by James Hogg, narrative contestation is a large part of the novel, as it is not one singular story, and rather a contest of stories played out in a contest of narrative written by both Robert Wringham and a fictitious Editor . The first section of the book, the ‘Editor’s narrative’, provides a seemingly objective historian’s editorial to the memoirs, whilst the second section of the book, the ‘Private Memoirs and Confessions of a Sinner’ is a biographical account of Robert Wringham’s life. Despite the two sections essentially retelling the same tale, the discrepancies between the two narratives leave the reader constantly unsure exactly what is true, and unable to be certain of the actual events that occured. The Editor concludes in his Editorial that “I account all the rest either dreaming or madness”, which makes the reader question the objectivity of the historian writing the Editorial, whilst Wringham’s memoirs display his continued descent into depravity and madness until such time as he takes his own life, also questioning the validity of his account of events given his deteriorating psyche. The reader has to account for the reliability of the narrator and textual evidence in order to draw a conclusion on whether the contest between the two narratives can be resolved and closure achieved.
The novel seems to have two contextual authors, the fictitious Editor and Robert Wringham, each of whom narrate the events differently, so the reader is torn in-between the two points of view and unable to make any definite conclusions in the text. In the narrative contestation evident in the novel, the Editor and Robert Wringham contest, “each trying to make their ...
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...ective historian, while Robert seeks sympathy by casting himself as a devout, but suffering, Christian, who was “born an outcast in the world” (Hogg 81). The Editor also attempts to portray the events as completely unbiased, while clearly displaying his personal opinion in the third section of the novel. While striving for this sympathy, the narrators consequentially highlight the discrepancies between the narratives and the absence of the evidence needed for closure. The lack of closure in the novel and the presence of shadow stories prevent the story from achieving general reader satisfaction. The reader can conclude however, that perhaps the true motive behind Robert’s confession was that he came to the realisation that he was not an infallible member of the Elect, with the religious justification to sin, but merely a sinning murderer facing eternal damnation.
In the true crime/sociology story, “Best Intentions: The Education and Killing of Edmund Perry” the author, Robert Sam Anson had provided an immense amount of information from reportings about Edmund Perry’s death and life before he died. Anson has developed Edmund’s character and experiences through reporting that I have related and connected to. Information reported by Anson has helped me find a deep connection towards Edmund Perry’s home environment, junior high experiences, and personality at Philips Exeter. Themes such as hopes and dreams, loyalty and betrayal, journey, and family ties are intertwined in the story and becomes blatant. The congruences between our lives have better my understanding of the story and Edmund’s life.
After our study of many accounts of the English Civil War and Charles I’s trial and execution, it is clear that discovering historical truth and writing a satisfying history are two very separate, difficult tasks, and that finding among many accounts a single “best” story is complex, if not impossible. In order to compare the job each historian did in explaining what’s important about this conflict, the following criteria can be helpful for identifying a satisfying history.
This paper will outline specific points in Saint Augustine’s Confessions that highlight religious views following the fall of Rome. Though Augustines views on religion may not reflect that of most people in his time period, it still gives valuable insight into how many, namely Neoplatonists,, viewed God and his teachings.
There are many ways to decide what makes a man guilty. In an ethical sense, there is more to guilt than just committing the crime. In Charles Brockden Browns’ Wieland, the reader is presented with a moral dilemma: is Theodore Wieland guilty of murdering his wife and children, even though he claims that the command came from God, or is Carwin guilty because of his history of using persuasive voices, even though his role in the Wieland family’s murder is questionable? To answer these questions, one must consider what determines guilt, such as responsibility, motives, consequences, and the act itself. No matter which view is taken on what determines a man’s guilt, it can be concluded that Wieland bears the fault in the murder of Catharine Wieland and her children.
The way Hester and Dimmesdale approached their sins has a direct correlation with how they lived the rest of their lives. Hester confessed her sin because she had no choice she already had incriminating evidence in the form of a child and had to confess or be expelled from the community. In this sense, Hester had no choice but to confess or leave the community and she chose to confess. Although, we may not know why she made this choice, but we know she made it and she decided to stay with it and not leave the community in order to possibly confess her sins. Arthur Dimmesdale did not confess his sins for all the wrong reasons. He didn’t confess for mostly two reasons those being: his belief that man did not judge other men but only God can do that or that he will better serve his people with a sinful heart and not a sinful appearance. Arthur had to deal with all the pressures of a life of sin but also the pressure of his own conscience to confess those sins. The pressures on his body were worse than that of Hester who had confessed her sins. One of the main reasons that Arthur was in poor physical condition was that the wise Doctor Chillingworth had poisoned him, and kept poisoning him until he had confessed of his sins at the end of the book. This and the fact that his grief and guilt had led him to totally decimate his body both spiritually and physically he had just driven himself too far. Farther than any person should take this kind of self-mutilation. His social life also suffered as a result of this physical and mental torture because he had turned into a walking zombie and had not been very responsive to anything but his terrible torment. In this way, he was degrading himself and thought it necessary to do so for repentance. Although, he had not voiced his sin publicly he had preached about himself not being pure and being a sinner. In spite of this, the unknowing congregation worshiped him all the more for his self-proclamation of sinfulness without telling what his sin was.
In Harry Mulisch’s novel The Assault, the author not only informs society of the variance in perception of good and evil, but also provides evidence on how important it is for an innocent person experiencing guilt to come to terms with their personal past. First, Mulisch uses the characters Takes, Coster, and Ploeg to express the differences in perspective on the night of the assault. Then he uses Anton to express how one cannot hide from the past because of their guilt. Both of these lessons are important to Mulisch and worth sharing with his readers.
Krakauer’s biased quickly becomes clear and many people criticize him for it. Contrary to what one might think, Krakauer’s bias gives him credibility because he openly admits to it in his authors note. He states, “I won’t claim to be an impartial biographer. McCandless’s strange tale struck a personal note that made a dispassionate rendering of the tragedy impossible.”(Author’s note). Krakauer is warning us from the start that he will include his input of Chris’s story as well because of his experience with a similar event. However, he does not do this to shine the light on himself, but rather to give the reader an insight of Chris’s experience. “ But let the reader be warned: I interrupt McCandless’s story with fragments of a narrative drawn from my own y...
St. Augustine considers his mother as a crucial factor in his conversion to Catholicism. However through the analysis of his Confessions it leads me to believe that St. Augustine’s mother was not a decisive figure. Monica was in the background keeping him in thought and prayer however Augustine’s watershed moments came as a result of his own examination of readings as well as his conversations with his friends and mentors. Therefore I argue that Monica had delayed Augustine’s baptism and it was his own experiences that allowed him to come to God.
We simultaneously believe, however, that society is disinterested in an individual’s story. One outcome of this dilemma is that public knowledge can only be built from “something real, some firm ground for action that would lead…onto the plane of history…” (507). In other words, the stories that are remembered are concrete. Individual’s stories are filled with uncertainty and emotions that continuously evolve. Society is too careless to comprehend this complexity. This leads to the other outcome, the narrator suggested, being our inability to understand one another. Our distinct experiences are critical elements in shaping our way of being; yet, they are unknown and figuratively we are
The first, the importance of personal integrity, is brought to light through John Proctor, who finds himself facing personal conflict when making the decision of whether to lie and 'confess' to the court, saving his own life, or to tell the truth and be condemned by it. Upon first deciding to confess and live, Proctor acknowledges he has given his soul to the devil, but refuses to also tarnish his name by allowing his confession to be stuck to the door of the church.
Depending on what study is read, the incidence of false confession is less than 35 per year, up to 600 per year. That is a significant variance in range, but no matter how it is evaluated or what numbers are calculated, the fact remains that false confessions are a reality. Why would an innocent person confess to a crime that she did not commit? Are personal factors, such as age, education, and mental state, the primary reason for a suspect to confess? Are law enforcement officers and their interrogation techniques to blame for eliciting false confessions? Regardless of the stimuli that lead to false confessions, society and the justice system need to find a solution to prevent the subsequent aftermath.
*the narrator is looking back on what he has once witnessed long ago, and it's haunting him, makes him feel guilty and ashamed.
In ‘unreliable narration’ the narrator’s account is at odds with the implied reader's surmises about the story’s real intentions. The story und...
...h it emotionally detached without the pleasure of living. In the end, when the narrator has his eyes closed drawing the cathedral, he is the most open he has even been to the world. The narrator’s limited point of view in the story was crucial in showing the reader that what will hold you back the most in life are your biases and judgments. If the story was told in Robert’s point of view, it would have been a joyful story about visiting a long time friend, even with the tragedy of his wife’s death. We would have never known of the prejudices that were held inside the husband, and no true theme would have come from the story. The limited point of view was used in a way that expanded upon the theme even more, and made for a stronger story structure.
As a literal deathbed revelation, William Wilson begins the short story by informing the readers about the end of his own personal struggle by introducing and immediately acknowledging his guilt and inevitable death, directly foreshadowing the protagonist’s eventual downward spiral into vice. The exhortative and confession-like nature of the opening piece stems from the liberal use of the first person pronoun “I”, combined with legal and crime related jargon such as, “ crime”, “guilt”, and “victim” found on page 1. Poe infuses this meticulous word choice into the concretization of abstract ideas where the protagonist’s “virtue dropped bodily as a mantle” (Poe 1), leading him to cloak his “nakedness in triple guilt” (Poe 1). In these two examples, not only are virtue and guilt transformed into physical clothing that can be worn by the narrator, but the reader is also introduced to the protagonist’s propensity to externalize the internal, hinting at the inevitable conclusion and revelation that the second William Wilson is not truly a physical being, but the manifestation of something