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Study of literature essay
Literary analysis essay
Study of literature essay
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Additionally ,Lucy Estella’s reminiscent picture book ‘Suris Wall’ epitomizes how one’s imagination liberates them from entrapment, conveying how distinctively visual elements explore the human experience.This is conveyed through Suri a young insecure female living in a war-torn city distinguished by her towering height amongst the other children.When Suri realises she is tall enough to see over the wall she becomes a symbol of hope by providing vivid imagery to Eva on what lies behind the wall.Estella heightens feelings of entrapment through the dull colour palette depicting the lack of freedom as she is trapped in this dull world losing a sense of individuality which is added through her hidden face depicting a loss of identity.Additionally,the
Kennedy, X. J., and Dana Gioia. "The Yellow Wallpaper." Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing. 2011. Print.
In Alison Bechdel’s graphic novel entitled Fun Home, the author expresses her life in a comical manner where she explains the relationship between her and her family, pointedly her father who acts as a father figure to the family as she undergoes her exhaustive search for sexuality. Furthermore, the story describes the relationship between a daughter and a father with inversed gender roles as sexuality is questioned. Throughout the novel, the author suggests that one’s identity is impacted by their environment because one’s true self is created through the ability of a person to distinguish reality from fictional despotism.
Photographs capture the essence of a moment because the truth shown in an image cannot be questioned. In her novel, The Lovely Bones, Alice Sebold uses the language of rhetoric to liberate Abigail from the façade of being a mother and spouse in a picture taken by her daughter, Susie. On the morning of her eleventh birthday, Susie, awake before the rest of the family, discovers her unwrapped birthday present, an instamatic camera, and finds her mother alone in the backyard. The significance of this scene is that it starts the author’s challenge of the false utopia of suburbia in the novel, particularly, the role of women in it.
For my breaching experiment, I decided to break the social norm of looking at someone while engaged in conversation with them. Today, it is socially unacceptable and impolite to avoid looking at someone when talking to them. The background assumption for a typical conversation is that direct eye contact will be made more often than not; otherwise social norms are being violated. Avoiding eye contact during an exchange tends to dehumanize the person that is not receiving the eye contact. It is impolite and offensive, not looking at someone who is talking makes it seem as though the topic being discussed is unimportant. For my research experiment I would constantly talk to someone without initiating eye contact, or with my back facing toward the subject, not turning around or making eye contact until I had to ring up their order or make the drink for them. This research is important because it uncovers what happens when the social norm of
Golden, Catherine, ed. The Captive Imagination: A Casebook on "The Yellow Wallpaper." New York: Feminist Press, 1992
The comparison between the reality world and the imaginary world is a present in many of the stories we have read this semester, in particular Charlotte Gilman’s “The Yellow Wallpaper”. In the Gilman’s work, the reader sees a troubled woman who has an internal struggle, but projects it onto a hideous wallpaper. It is evident that the protagonist is suffering from some form of mental illness, but she also suffers from the lack of attention ended to help her condition. Throughout the story, the protagonist’s mental health continues to deteriorate until she can no longer distinguish reality from her imagination. Living in one’s own imagination can bring disastrous results to one’s actual reality, but imagination is not the true evil one. It is
Gillman, Charlotte Perkins. “The Yellow Wallpaper.” Legacies: Fiction, Poetry, Drama, Nonfiction. 4th ed. Eds. Jan Zlotnick Schmidt, Lynne Crockett, and Carley Rees Bagarad. Boltin: Wadsworth Cengage Learning, 2009. 672-683. Print.
In both ‘Eve Green’ and ‘Wide Sargasso Sea’, the protagonists experience fear in many guises. Although traumatic events in both Eve and Antoinette’s lives do lead to moments of sudden, striking fear, fear is also presented as having the potential to be subtle and muted, and therefore, “haunting”. Fletcher and Rhys seem to suggest that this form of fear is more damaging to the psyche than fear in its more conspicuous manifestations, as it is more deeply intertwined with the characterisations of the protagonists, therefore allowing for the fear to “pervade” the novels. As a result, it could be argued that fear has an almost constant presence in each novel, particularly because fear is seemingly linked to other prominent themes in each novel.
It is very easy to agree with Moebius statement that ‘good’ picture books contain some form of invisible and intangible concepts that keeps the reader returning. In Voices in the Park it is very easy to see Moebius idea due to the ability of technology to create detailed and complex books. In contrast, Potter has produced a book that more subtle in showing this relying not on technology like Voices in the Park but working within severe limitations. Blending page turns, text, colour to create understandable concepts. Goodman comments that some would argue that these elements in pictures interfere with and detract from the text, and thus undermine the confidence of the reader. An extrapolation of this idea is that preconceived ideas and pictures of another spoil the reader’s entrance to literacy.
At the age of ten, most children are dependent on their parents for everything in their lives, needing a great deal of attention and care. However, Ellen, the main character and protagonist of the novel Ellen Foster, exemplifies a substantial amount of independence and mature, rational thought as a ten-year-old girl. The recent death of her mother sends her on a quest for the ideal family, or anywhere her father, who had shown apathy to both she and her fragile mother, was not. Kaye Gibbons’ use of simple diction, unmarked dialogue, and a unique story structure in her first novel, Ellen Foster, allows the reader to explore the emotions and thoughts of this heroic, ten-year-old girl modeled after Gibbons’ own experiences as a young girl. Kaye Gibbons’ experiences as a child are the foundations for this.
Persepolis: The Story of a Childhood is a graphic novel written by Marjane Satrapi that illustrates the issues with growing up an Iranian child during times of conflict and political unrest. Following the childhood life of Satrapi, a first-hand view of unrest is given to the audience in a simple art form and well-paced story that is easy to follow and stay interested in. Persepolis: The Story of a Childhood is a prime example of why the genre of graphic novel functions well as a vessel to convey the issues in the Middle East while still telling an entertaining story of Satrapi’s childhood. The importance of graphic novels as a genre is often lost in the association with comic books, although graphic novels offer a much more comprehensive view
...ndurance of poverty, as we witness how Walls has turned her life around and told her inspiring story with the use of pathos, imagery, and narrative coherence to inspire others around her (that if she can do it, so can others). Jeannette made a huge impact to her life once she took matters into her own hands and left her parents to find out what life has in store for her and to prove to herself that she is a better individual and that anything is possible. Despite the harsh words and wrongful actions of Walls’ appalling parents who engage her through arduous experiences, she remained optimistic and made it through the most roughest and traumatic obstacles of her life at the age of three. Walls had always kept her head held high and survived the hardships God put upon her to get to where she is today; an author with a best selling novel to tell her bittersweet story.
The Tale of Peter Rabbit and Voices in the Park were published at either end of the twentieth century, a period which witnessed the creation of the modern picturebook for children. They are both extremely prestigious examples of picturebooks of their type, the one very traditional, the other surrealist and postmodern. The definition of ‘picturebook’ used here is Bader’s: ‘an art form [which] hinges on the interdependence of pictures and words, on the simultaneous display of two facing pages, and on the drama of the turning of the page’ (Bader, quoted in Montgomery, 2009, p. 211). In contrast with a simple illustrated book, the picturebook can use all of the technology available to it to produce an indistinguishable whole, the meaning and value of which is dependent on the interplay between all or any of these aspects. Moebius’s claim that they can ‘portray the intangible and invisible[…], ideas that escape easy definition in pictures or words’ is particularly relevant to these two works. 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.
The world of comics enables comic-artists to create a whole other dimension of consciousness. The scale of emotions is enormous, allowing complete freedom for the comic-book drawer to paint a world of new understanding. As coming-of-age memoirs, Persepolis I and Persepolis II tell the story of Marjane Satrapi’s struggle to realize her true self in a world torn apart by civil unrest. Marjane Satrapi’s minimalistic drawing style enables the books Persepolis I and Persepolis II to convey the gruesome concept of death in a larger-than-life manner.
Gilman, Charlotte Perkins. "The Yellow Wallpaper" The Harbrace Anthology of Literature. Ed. Jon C. Scott, Raymond E. Jones, and Rick Bowers. Canada: Nelson Thomas Learning, 2002. 902-913.