“In what what way do nonfiction works use ideas to shape the meaning of human experiences for their readers?” Writers of nonfiction use a salient point to structure and manipulate the flow of ideas throughout their paragraphs. Successful nonfiction writers create their paragraphs to relate back to the main idea of the text, this is evident in Alain De Botton’s first and second extract from ‘The Pleasures and Sorrows of Work’. Within the first extract from ‘The Pleasures and Sorrows of Work’ the dominating idea in this text is the human need for genuine, not false hope in relation to work. reliability and engagement is an important factor in all types of writing, from then on the it’s up to the writer to present their idea or argument. In …show more content…
So strong was her enthusiasm, and so detailed were her plans (the walls were to be hung with pictures of the young shirley temple)”, this is where de botton’s point of view that this process is only fooling people into believing in a better future. A historical allusion is used as a reference to “Shirley Temple” who was a young star who was an adored sweetheart in the time of the Depression. De Botton refers to Shirley temple who during a time of depression, or the Great Depression which was a severe economic depression. This allusion can be compared to the sacked employees who were fired from their jobs therefore the twenty-five middle managers could be seen as a struggling person during the Great Depression and the seminar, much like Shirley temple brought hope to people who much like the events of the depression left an economical and financial scar to individuals. The dreams of the women in the future to decorate a much wished for tea house with pictures of shirley temple is sad and de botton mentioning this reinforces is highly delirious in the actual worth of the
In her book, Bacon speaks of E.B. White who “strongly cautions against writing that calls attention to itself” (Bacon 9). But, she thinks the opposite of this. She believes that “the best writers also seek pleasure, perhaps for themselves as they write and certainly for us as we read” (10). Seeking pleasure from writing can come in multiple forms. At Boston University, Doyle read multiple stories, all of which are true, that he felt pleasure from and a connection with. To Doyle, a story shows so much more than just what meets the eye. A story should make you feel a connection. In “Joyas Volardores,” Doyle writes with much emotion, saying in it that “So much held in a heart in a lifetime. So much held in a heart in a day, an hour, a moment” (Doyle). From his guest lecture at Boston University, one can conclude that Doyle enjoys writing for the purpose of telling an enjoyable
There are certain feelings that persuade writers to do what they do best. Of course, that feeling could be something different for each author, such as love, loss, peace, hatred, etc. The examination of these feelings is what makes an author’s work a piece of art and at the same time something humanly conceivable (since a majority of the time art is neither humanly conceivable nor understandable to those who merely observe it). And so when a writer decides to let these emotions that they have once felt, that perhaps they have felt for others, be translated into something perfectly tangible and comprehensible, an understanding is born between them and those they preach to.
Pike, David L., and Ana Acosta. "Chapter 10 "The Story Of An Hour"" Literature: A World of Writing. New York: Longman, 2009. 442-44. Print.
His style, from the overall presentation of the book to the ways in which he constructed phrases, thoughts, perspectives, were seen as fresh and interesting. The stories themselves were met with a kind of lingering uncertainty. “Of ‘stories’ in the commonly accepted sense of the word there are few,” Brickell wrote, “Most are psychological episodes, incidents, sketches.” Or as the New York Times Book Review put it, “Not so much short stories, as preludes to a mood.”
The superficial level of literature is gleaned by rendering a literal interpretation of the words on the pages. Yet, a piece of literature—like the human mind—also contains a recondite element that governs the actions contained within the work. Sigmund Freud suggested that “like the iceberg, the human mind is structured so that its great weight and density lie beneath the surface” (Guerin et al. 127). The. Similarly, the “great weight and density” of Elizabeth Bowen’s “The Demon Lover” also lies beneath the surface.
Milan Kundera contends, “A novel that does not discover a hitherto unknown segment of existence is immoral” (3). In this it is seen that the primary utility of the novel lies in its ability to explore an array of possible existences. For these possible existences to tell us something of our actual existence, they need to be populated by living beings that are both as whole, and as flawed, as those in the real world. To achieve this the author must become the object he writes of. J.M. Coetzee states, “there is no limit to the extent to which we can think ourselves into the being of another. There are no bounds to the sympathetic imagination” (35). Through this sympathetic faculty, a writer is able to give flesh, authenticity and a genuine perspective to the imagined. It is only in this manner that the goal of creating living beings may be realized. Anything short of this becomes an exercise in image and in Kundera’s words, produces an immoral novel (3).
A narrative is constructed to elicit a particular response from its audience. In the form of a written story, authors use specific narrative strategies to position the ‘ideal reader’ to attain the intended understanding of the meanings in the text. Oliver Sacks’ short story The Man Who Mistook His Wife for a Hat is an unusual short story because it does not display conventional plot development; the story does not contain conflict or resolution of conflict. The genre of the story is also difficult to define because it reads as an autobiographical account of an experience Sacks had with a patient while working as a neurologist. Although it is arguable that the narrative is a work of non-fiction, it is nevertheless a representation, distinct from a reflection of the real events. It is a construction, Sacks chose the elements that were included and omitted in the narrative and used narrative strategies to position readers to process the signs in the text and produce reach the dominant understanding. This blurring of truth and fiction is similar to that in the genre of ‘new journalism’. Although, rather than being a journalist writing a fictional piece of journalism, Sacks is a doctor writing a fictional medical analysis. To influence readers’ comprehension of the narrative, Sacks utilised the point of view strategy of subjective narration, atypical in this short story in that a characterisation or representation of Oliver Sacks is the narrator and Oliver Sacks the person is the real author. The story is character-driven rather than plot-driven and regardless of how accurate a depiction of the real people the characters are, they are constructions. Sacks gave the characters of Doctor P. and his namesake admirable and sympathetic trait...
Often times, literature has enough power for the reader to generate their own reality through the writer’s beliefs although most of the times the reality generated by the readers are not correct. In a TED talk called “the Danger of a Single Story,” Chimannda Adichie discussed about how literature affected her views on people, and then through life experience she had figured out that the reality she was creating was all false. She had grown up in Nigeria where at young age she was able to come across western literature. She was an inspired writer, and had realized all her inspirations came from British and American literature because most of her pieces were based of British and American literature such as having her characters...
Literature emerges from an amalgamation of external influence, literary form, readership, and authorial intent (Tyson 136). New Criticism asserts that only analysis of concrete and specific examples existing within the text can accurately assess literary work (135). New Criticism also discounts authorial agency and cultural force that informs construction of a text. New Critics believe sources of external evidence produce intentional fallacy, the flawed acceptance of the author’s intention as the text’s true meaning, and affective fallacy, the confusion of the text with the emotions it produces (136-37). This literary lens indicates that author’s intent, emotions prompted, and culture’s external influences result in chaos if used to assess literature (137). However, in Carol Ann Duffy’s “Little Red Cap”, these omitted factors contrarily aim to reinforce complexity and wholeness unachieved by New Criticism’s limited assessment of “formal elements” (137). Due to New Criticism’s focus on objective form and exclusion of outside influences such as authorship, readership, and culture, New Criticism fails to accurately assess Duffy’s “Little Red Cap”, thus showing the critique’s limitations as a universally applicable lens.
You get up in the morning, put on your shirt, pants, socks and shoes, and maybe some other accessory like a hat. Put some coffee on, you grab some food and then off you go to work. Work can be a rite of passage when you are young, and getting your first job, but as you get older, having a job is more of a necessity and sometimes more challenging. The daunting task of entering the doors and clocking in. Maybe you get there a little early so you wait outside for the few minutes you have left before your shift begins or you are like me and you just clock in early.
To be most clear, the arguments here have a strict ethical basis which is derived from the techniques of professional literary critics and those professed in the field of english literature. These sages of literature have taught me, and through their example, the rules of interpreting literature. It has been learned that if one is to understand the message of a story correctly, it must be something which is prevalent throughout the story; something that comes and goes with little participation in the plot can be taken as something merely to move the story along as much as it can be a medium of intellectual expression of the real world. Any proper analysis for theme must treat text as a Freud-Jungian representation of the artists opinions and sentiments, as if it were the dream of the writer, where each charact...