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The impact of a single story essay
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Have you ever stopped to think about the danger it can be to read a single story? Have you ever stopped to think if you and the author have the same ideas or opinions? Have you ever read something and were convinced of what you read? It happens all the time that we are convinced of something we truly know nothing about. Most times, our beliefs don’t come from experience, but what we are told. A speaker Chimimanda Ngozi Adichie explains how dangerous a single story can be because it might mislead the reader in believing exactly what he/she is reading. Adichie’s argument, “The Danger of a Single Story” is explained using her stylistic techniques which are examples and organization which correlate to pathos and logos. Adichie’s argument explains how dangerous it can be to …show more content…
The use of her repetition correlates to logos in the way the situations she had experienced gave her a reasonable way of thinking and understanding the danger of a single story. Adichie’s experience with the one image she had a Adichie’s family as poverty because all she was ever told was how poor his family and he was. In another example, Adichie states, “my roommate had a single story of Africa, a single story of catastrophe.” Adichie’s roommate had only but a negative image of African’s and of Africa that were to her poverty, because that’s all she had ever known about them. Moreover, Adichie shares when she went on her trip to Guadalajara and prior to that trip she had object immigrant in her mind. Adichie says, she would hear about “Mexicans that were fleecing the health care system, sneaking across the boarder.” Adichie shares when she went on her trip she saw Mexicans going to work, rolling up tortillas and she felt surprised and overwhelmed with shame. Since all she would hear and read were object immigrants with negative stories that were told that’s the one thing and the only thing they had
... methods that all rely on pathos. Nikiforuk’s article successfully grabs the reader’s attention and emotion from the beginning and maintains it throughout the text by his skillful use of rhetorical strategies.
Last but not least, O’Connor confirms that even a short story is a multi-layer compound that on the surface may deter even the most enthusiastic reader, but when handled with more care, it conveys universal truths by means of straightforward or violent situations. She herself wished her message to appeal to the readers who, if careful enough, “(…)will come to see it as something more than an account of a family murdered on the way to Florida.”
In the story, “The Killing Game”, Joy Williams, uses several diffenent types of writing skills to presuade the reader to see her views.
Often, when a story is told, it follows the events of the protagonist. It is told in a way that justifies the reasons and emotions behind the protagonist actions and reactions. While listening to the story being cited, one tends to forget about the other side of the story, about the antagonist motivations, about all the reasons that justify the antagonist actions.
In traditional writing styles, the main element to give the story meaning is the narrative itself. However, with more modern and distinct styles such as the short stories written where the narrative is no longer the primary stylistic device, but the use of metaphors and distinctive different narrators applies meaning to the stories. Though it is easy to judge what is different from tradition as inferior, this change is no different than the rise of cubism in the art world. Even though initially many would comment on the art not being “real,” or in this case, the stories being poorly written, this style has even more of an effect. After
Owens and Sawhill use pathos to evoke the feelings of their readers. This method establishes
By retorting with, “I had just read a novel called American Psycho … such a shame that young Americans were serial murderers.” Adichie appealed to Americans’ knowledge of themselves, showing the audience how absurd this claim was. Her sarcasm not only serves to make an absurd idea amusing, but also reverses the single story on the audience. She proves to the listener that it is through accurate knowledge and multiple stories that our opinions should be formed. In the same way, Adichie uses levity yet again when she says, “I learned, some years ago, that writers were expected to have had really unhappy childhoods to be successful, I began to think about how I could invent horrible things my parents had done to me. But the truth is that I had a very happy childhood, full of laughter and love, in a very close-knit family.” Her humor again draws attention to the danger of just one story. For instance, Adichie says, “writers were expected to have had really unhappy childhoods to be successful.”
Short stories are temporary portals to another world; there is a plethora of knowledge to learn from the scenario, and lies on top of that knowledge are simple morals. Langston Hughes writes in “Thank You Ma’m” the timeline of a single night in a slum neighborhood of an anonymous city. This “timeline” tells of the unfolding generosities that begin when a teenage boy fails an attempted robbery of Mrs. Jones. An annoyed bachelor on a British train listens to three children their aunt converse rather obnoxiously in Saki’s tale, “The Storyteller”. After a failed story attempt, the bachelor tries his hand at storytelling and gives a wonderfully satisfying, inappropriate story. These stories are laden with humor, but have, like all other stories, an underlying theme. Both themes of these stories are “implied,” and provide an excellent stage to compare and contrast a story on.
When we read any work of fiction, no matter how realistic or fabulous, as readers, we undergo a "suspension of disbelief". The fictional world creates a new set of boundaries, making possible or credible events and reactions that might not commonly occur in the "real world", but which have a logic or a plausibility to them in that fictional world. In order for this to be convincing, we trust the narrator. We take on his perspective, if not totally, then substantially. He becomes our eyes and ears in this world and we have to see him as reliable if we are to proceed with the story's development.
Some of the characteristics of Modernism are: a desire to break conventions and established traditions, reject history, experiment, remove relativity, remove any literal meaning, and create an identity that is fluid. The rejection of history sought to provide a narrative that could be completely up for interpretation. Any literal meaning no longer existed nor was it easily given; essence became synonymous. Narrative was transformed. Epic stories, like “Hills Like White Elephants”, could occur in the sequence of a day. Stories became pushed by a flow of thoughts. The narrative became skeptical of linear plots, preferring to function in fragments. These fragments often led to open unresolved inconclusive endings. This echoes in the short story’s format. The short story functions in fragmented dialogue. Focusing on subjectivity rather than objectivity. Creating characters with unfixed, mixed views to challenge readers.
...abriel Medina. "Some Mexican immigrants experience discrimination at the hands of their fellow citizens." Nebraska mosaic. Nebraska School of Journalism, 15 Nov. 2011. Web. 21 Nov. 2013.
Storytelling has a special importance in culture throughout the African continent; Anansi the spider in Ghana, is one great example of an African fable that teaches children important lessons including respect for elders, the importance of wisdom, and the importance of culture. These stories have been retained and perpetuated by oral tradition, despite the western emphasis on written records; African tribes have preserved history and culture well thorough oral historians. The translator, D.T. Niane, explains the validity of oral history well by stating that written text can contain inaccuracies as well (xv). The importance of the oral aspect of djelis method relays the information in a personal manner, as Djeli Mamoudou Kouyate states, “writing lacks the warmth of the human voice,” therefore by creating a written text of an oral story it “does violence” to it (xvi). I was raised in an African community, here in DC and was lucky enough to attend Djeli performances by family friend, Djimo Kouyate, and later his son Amadou. Although I do not speak Manding, Djeli Djimo Koyate, performed the music in such a way that I was able to relate and...
Adichie begins by confessing that she is a storyteller, and through this confession she reels in the audience and prepares them for her “few personal stories” regarding the concept she christened ‘the danger of a single story’ (1). Even in the beginning of her speech, she is able to immediately connect with the audience by shedding light on how her mother says that she “started
Watch this Ted Talk, The Danger of a Single Story: https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story?language=en (Links to an external site.)
Adichie was shocked to see the truth about Mexico since she only believed the stereotype that Mexicans were "people who were fleecing the health care system, sneaking across the border, being arrested at the border, that sort of thing." (citation) Once she visited there, she realized that they indeed had their own culture. She was given the opportunity to see them going to work, rolling up tortillas in the marketplace, smoking, and laughing. Adichie talks about how she felt surprised and then shame for being so immersed in the media coverage of Mexicans.