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Fate vs free will in literature
Fate in literature
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From the origin to his first name to the unforeseen consequences in his past romantic relationships, Gogol Ganguli’s identity is formed over the course of the novel, The Namesake. Gogol’s name derives from his father’s near death experience in a train accident and how his parents legally named him with his pet name, a name that alienates him from the rest of his American environment. Aside from his name, Gogol is unable to connect his love life with his Bengali culture; he often finds himself being separated from his Bengali family or his Western family, and he struggles to find a middle ground to bind them together without leaving another entirely.
After recently changing his name to Nikhil, Gogol is reborn, feeling that he can choose between
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However, when he discovers the origin of his birth name, Gogol starts regretting changing his name. When his father dies from a heart attack, Gogol’s life reevaluated his view on his identity, expressing regret and shame, as he loathes his birth name throughout his life. By the end of the novel, Gogol’s remorse is shown in the Christmas party, where “without people in the world to call him Gogol, no matter how long he himself lives, Gogol Ganguli will, once and for all, vanish from the lips of loved ones, and so, cease to exist. Yet the thought of this eventual demise provides no sense of victory, no solace. It provides no solace at all” (289). It seems that Gogol’s mistake of fighting for a new name results with nothing he wants, nor any sense of satisfying closure. Gogol’s captivating love life can also relate to this quote. Gogol’s relationship with Maxine causes him to move into her house and be separated by his own family. To Gogol, Maxine is an escape from his own family, but he faces a dilemma: choose to stay with his family or Maxine. When Ashoke’s unforeseen death occurs, Gogol’s heart aches with …show more content…
Throughout Gogol’s story, there is a sense of pattern to the agony suffered from Gogol; whether it’s the origins of Gogol’s namesake or it’s his past relationships, the novel shows a recurring theme of mishaps. The outlash in Gogol’s name is the basis his loss of identity and inability to connect with his heritage, which itself is an oversight. These “string of accidents” shape Gogol’s growth. In a way, these incidents are a blessing in disguise because of their lasting effect on the character, and Gogol has reacted them help establish his morals and values as he
[… The] only person who didn’t take Gogol seriously… who tormented him, the only person chronically aware of and afflicted by the embarrassment of his name, the only person who constantly questioned it and wished it were otherwise, was Gogol. (99-100)
I find many elements of this work very interesting, but a few constant threads of the story truly engaged me. I am fascinated by the recurring mention of issues surrounding his name and by the consistent application of magic in his life and the life of the Dagara people.
Throughout the novel Gogol begins to feel more compelled to his Bengali life. Towards the end of the book Gogol becomes more acquainted to his Bengali life and his family, slowly slipping away from the American identity that was once present to him. Truly inside he has a background of Bengali culture there for him when he needs it. As for Gogol’s American identity as Nikhil, something seen as fake to him, was only an experience. It was an experience Gogol, a Bengali child, had grown up to live.
Many critical interpretations of Absalom, Absalom! move towards the common conclusion that the way narrative works in the novel makes impossible the passing of meaning from one subject (teller or author) to anot...
There he makes this identity of himself to try to totally forget his parents’ cultural identity. He changes his name to Nikhil and later ends up moving to New York with a girl by the name of Maxine. “He is overly aware that they are not used to passing things around the table, or to chewing food with their mouths completely closed. They avert their eyes when Maxine accidentally leans over to run her hand through her hair” (Lahiri 277). This quote is describing Maxine and Gogol having a meal with his parents. This whole scene is very awkward for both because Gogol’s parents aren’t used to doing things the American way. When the two are leaving his parents’ house Gogol’s father says to him “Drive safely, Gogol” (Lahiri 279). This confuses Maxine because she is not familiar with his real name. He doesn’t want to be reminded of who he was before. By chapter 8 Maxine and Gogol are no longer together due to
...o assimilate into the society by entering school with a more acceptable name, but Gogol refuses. The acceptance of the society has pressured him to change his name in college, and to hide Gogol from the society. Till the day Gogol understands the reason why his father chose to name him Gogol instead of an Indian or American name, Gogol experienced a lot of changes, as a second generation American immigrant. Gogol has been assimilated to different culture than he ethnically is. At the end, through family, Gogol has come back to his roots. Gogol was not given an Indian name from his Indian family or an American name as he was born in America, to emphasize an individual try to assimilate into a different culture, but in the end, he is still bonded to his roots as the person he ethnically is.
The entire basis of this book deals with communicating from both character to character, and narrator to reader, on a very high cerebral level. Because of this analytic quality of the book, the most important events also take place on such a high level. In fact, the major theme of the novel, that of the narrator searching for his past self, as well as the cognitive change between the "...
For us it may seem naïve that he was content to be identified with his fiction, and his fictional hero, but at the time such an identification offered a new way of reading and new ways of seeing the world and the individual’s place in it, however disturbing that might be. (Maclachlan VII)
Nonetheless, this really is a tale of compelling love between the boy and his father. The actions of the boy throughout the story indicate that he really does love his father and seems very torn between his mother expectations and his father’s light heartedness. Many adults and children know this family circumstance so well that one can easily see the characters’ identities without the author even giving the boy and his father a name. Even without other surrounding verification of their lives, the plot, characters, and narrative have meshed together quite well.
Oedipus the King, written by Sophocles, is a tragic drama that portrays a great deal of irony. Oedipus, the protagonist, suffers serious misfortune that is significant in that the “misfortune is logically connected with the hero’s actions” (AbleMedia LLC). When the reader learns about the background of Greek culture and the life of Sophocles, this tragic drama is able to become more alive and valuable. It is important to familiarize oneself with the author because it allows for a greater connection to the dialogue presented. Through the character development of Oedipus, one can see how ironic circumstances can turn a prideful king into a tragic figure.
...zation leads to Gogol’s discovery of his true identity. Although he has always felt that he had to find a new, more American and ordinary identity, he has come to terms that he will always be the Gogol that is close to his family. While Gogol is coming to this understanding, Ashima has finally broken free from relying on her family, and has become “without borders” (176). No longer the isolated, unsure Bengali she was when arriving in Cambridge, Ashima has been liberated from dependent and powerless to self empowering. The passing of her husband has forced her to go through her life as a more self-reliant person, while at the same time she is able to maintain her daily Indian customs. This break-through is the final point of Ashima’s evolution into personal freedom and independency.
In this fragment, Iago uses resources like the animalización and the use of erotic language to put of relevance the savagery and the monstrous thing in Othello. These words provoked
Acknowledging Barthes’s theory allows the reader to break free of dictatorship the author may posses by promoting the reader to freely think about the pieces of literature such as Balthazar’s Marvelous Afternoon. Autonomous thinking gives the reader the advantage of discovering the duplicity of a potential underlying connotation or simply deciding not to delve deeper for hidden implications that may be sought out by the author. Barthes’s, The Death of the Author, provides the reader with knowledge and enlightenment in order to have the freedom to dive and think critically about the subject and characters written about in the narrative by Balzac. Barthes’s, The Death of the Author, proposes literary theories that can be directly related to the subjectivity of how a reader chooses to synthesis the meaning or meaninglessness of Balthazar’s Marvelous Afternoon.
In many literary works there has been a predilection for choosing themes such as family relationships as plots, because it seems that this type of topics go straight to the receptors’ heart, creating new connections and perceptions of life.
In Jhumpa Lahiri’s novel, The Namesake, the protagonist, Gogol, struggles with his cultural identity. He is an American-born Bengali struggling to define himself. He wants to fit into the typical American-lifestyle, a lifestyle his parents do not understand. This causes him tension through his adolescence and adult life, he has trouble finding a balance between America and Bengali culture. This is exemplified with his romantic relationships. These relationships directly reflect where he is in his life, what he is going through and his relationship with his parents. Each woman indicates a particular moment in time where he is trying to figure out his cultural identity. Ruth represents an initial break away from Bengali culture; Maxine represents