Every Author tends to use their own version diction and storytelling. Dillard and Hayslip are not exceptions to this theme Dillard has a personal style that manifests in the text in a variety of ways. One of the ways it appears, is as her use of repetition. For example in the text she says, “It found the door, wall, and headboard; and it swiped them, charging them with its luminous glance”. Her persistent use of the word “it” draws the reader 's attention and creates questions surrounding the creature that is haunting her. She also uses repetition in her descriptive words such as; innocence and luminous. She provides emphasise to these words to ensure the reader noticed them. Another style Dillard shows is the way she uses her point of view and voice. The story is from the point of view of Dillard as a child, however the voice is of Dillard as an adult. Readers notice this distinct difference when she uses more intelligent vocabulary and descriptive words. For instance, when Dillard says,” it was transparent, luminous oblong.”(Dillard 211), she is reliving the past from the point of view of her adolescent however, it’s her adult voice when she describing. Dillard is able to express her fear as a small child, while also using sophisticated language that …show more content…
I 'm not their child, why would they yell at me? What gives them the right? Being frozen with fear, that 's what I remember about first time being scolded by a non parental figure for the first time. It was back grade school, while visiting Florida over Thanksgiving break. My dad, stepmom, two half sisters and I were there to visit my step mom 's parents who had just retired down there. By not being related to my step mom and her parents, I thought I didn 't have to listen to them or be well behaved. Even though it was their house that we were using for the week. Throughout the vacation, I was a defiant little
10. What form of figurative language does the author use in lines 4 & 5 of page 215 to make his writing more
As we can gather from the examples, Gwen Harwood uses language to create dynamic backgrounds and images to subtly delineate the changes experienced by the persona in the poems. Sometimes the characters themselves are not aware of these changes but the readers are able to appreciate them with the aid of skill Harwood posses in using language to such great measures.
...ors to describe her life and situation. This comes primarily from the fact that in her therapy sessions that is how she is taught to deal with everything. For example, one metaphor she talks about is “… she comes up with the idea of lighting candles to symbolize my past, present, and future…I’ve noticed my past melting… my present candle has stayed pretty much the same,” (D 266). She explains them as her past is become less controlling, her present is her and concrete ideas and her future is bright and untouched. These metaphors show how much she has grown and allow the things she is learning to have more meaning. All of these combine to make the piece very effective and insightful. They help to get her point across and call people to action to help against these crimes.
When looking into works of literature, some stories seem to be similar to others. They can have a similar setting, point of view, theme, or sense of language and style. However, all of these points could be very different as well and could cover different theme or style. Flannery O’Conner’s “Good Country People” and Alice Walker’s “Everyday Use” have some contrasting elements, such as their points of view and use of symbolism, but their similarities in the underlying theme, language, and the setting of these stories reveal how these two stories are impacted by education on both the individual and their family.
In her tone, Didion remains clear, consistent, and vivid. Her choice of words remains simple as if to not alienate the readers of her essay. Her tone for the first half of the opening, primarily the first and second ...
Dillard attempts to persuade her readers to adopt her way of seeing, which is more artificial rather than natural. From one end, what we see right away tends to be the obvious. We notice these things right away because they are in plain sight and we are used to seeing them every day without thinking or analyzing what we perceive. For example, the grass is green and the sky is blue. Dillard speaks of a time where she saw a frog and because of the surroundings it was in and its appearance it was hard for her to recognize it for what it was....
Throughout the novel Dill seems to be overflowing with imagination. The role of Dill in this novel is to present the reader with a different view of the situation. Dill is an outsider and sees things differently to the others; this gives different perspective and shows the same occurrence, only in a different...
... the novel. Ranging from clothes, to birds, to the “pigeon house”, each symbol and setting provides the reader with insight into Edna’s personality, thoughts, and awakening.
In contrast, syntax provides a new perspective to the narrator s behavior as sentence structure draws attention to her erratic behavior. By her last entry, the narrator s sentences have become short and simple. Paragraphs 227 through 238 contain few adjectives resulting in limited descriptions yet her short sentences emphasize her actions providing plenty of imagery. The syntax quickly pulls the reader through the end as the narrator reaches an end to her madness.
...st person. The narrator is looking back on this story and remembering things from a child’s point of view. The reader only sees the narrator’s opinion in the story, but that allows the reader to have his own opinions as well, questioning the literary work constantly. This makes the story more complex and permits the reader to wonder what is going on inside each of the characters’ heads.
John Steinbeck must have loved using slang and natural dialect. All of his characters spoke with a very heavy accents. "Tell 'em ya dong's growed scence you los' your eye." (P. 180). Granted, this does add some realism. But sometimes, its just a little too thick. This can make the book harder to read (as if it really needs any help in that department...). That style of writing is very useful when working on something that is going to be heard, but it doesn't work quite as well when it is read, I have noticed. Slang is also another element that can both help and hinder a book. Some words change meaning in time. A good example would be "cool". 100 years ago, if someone were to say that the clothes were 'cool', people would think "I should wear those during the summer, to stay cool". Some other words just don't have any meaning now. The phrase "tom-cattin'" was used to describe Al. That term is rarely, if ever, used today. The only reason that you can tell what it means is by its use in the sentence.
Style is a literary technique that authors use to reveal information about various aspects of the narrative. Style can be utilized as a way for the audience to read between the lines and unveil key information. Pejorative language expresses criticism and bad opinions. Flannery O'Connor's pejorative style is exhibited in many of her short stories. From the dialogue of a convict in “A Good Man Is Hard To Find” to the thoughts of not so wise Hulga in “Good Country People” her pejorative style unveils the perceptions of characters.
In the history of written literature, it is difficult not to notice the authors who expand their reader's style and manner of reading. Some write in an unusual syntax which forces the reader to utilize new methods of looking at a language; others employ lengthy allusions which oblige the reader to study the same works the author drew from in order to more fully comprehend the text. Some authors use ingenious and complicated plots which warrant several readings to be understood. But few authors have used all these and still more devices to demand more of the reader. James Joyce, writer of Ulysses and Finnegans Wake, uses extraordinarily inventive and intricate plot construction, creative and often thought-provoking word constructions, allusions to works both celebrated and recondite, and complex issues and theories when challenging his readers to expand their method of reading.
The idealized reality that the narrator dreams of at each point in his life is reflected in the author’s language use. The description of childhood escape contains clichés found in children’s adventure books, such as "keep cool," "the old right hook," and "dirty dogs." As an adolescent, the descriptions are more mysterious and sexual, including references to Dracula and to rape. The descriptions as an adult are the most casual and slangy, suggesting a decline in the narrator’s intellect, the result of complete indifference. At this point he sees reality for all that it is, and finds this unfulfilling compared to his earlier idealizations.
Often, the value of a piece of literature is measured by how accurately it reflects certain contemporary social issues or recurring psychological phenomena, as understood not only by scholars, but also laymen. Literature, therefore, is collectively a study of linguistic experiments and human responses. The ability to manipulate diction and syntax to create convincing and original narratives that calculatingly evoke specific emotional reactions strikes me as a weapon as empowering as it is enthralling. Nabokov’s “Lolita”, the epitome of the unreliable narrator trope, commands poetic language that never fails to fascinate and beguile readers; its influence and effectiveness are what I hope to someday emulate in my writing.