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Literary techniques
Literature modern times
Literary elements or techniques
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Memories consist of brief moments in a person’s life, which is stored away in the mind as a picture, movie, smell or even just a sound. If it was visibly to others, it would mean nothing, but to the exact person that experienced the memory, it is a hidden treasure. A treasure chest in the back of one’s head that can be opened, and reveal one’s entire life of beautiful and untouched memories. The question is just, if it is always such a good idea, to dwell at the memories. The short story; “In the National Gallery” by Doris Lessing, is processing the three ages in ones live; past, future and presence, through the eyes of an first person narrator. Through the narrators experience we discover, that living in the past can have great consequences. As one once said, “Yesterday is gone. Tomorrow has not yet come. We have only today. Let us begin. ”
The story starts in medias res, when the narrator is explaining an introducing the setting. He or she is in
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The narrator is completely passive until the man in his sixties address himself. As if the narrator was a “fly on the wall”, he or she observes other people and narrate their story from his/her point of view. It is especially clear, when the older man follows the French girl, and the narrator comments; “Oh no, I was thinking, he simply must not try and talk to her, attract her attention, impose himself.” This type of narration is used to give the reader access to his or her mind, thoughts and emotions. It is also easily getting relatable, because nouns as “I” and “we” are used in this narration. It makes it easier for the reader to make a connection emotional connection to the character. As good as this narration is, there is also a downside. The narrator is filtering information and events through the narrator’s perspective and it is therefore not always truly
In the first chapter of the novel, the author gives the narrator’s story an informal, conversational tone by using “I” frequently, short, simple sentences, basic vocabulary and conversational phrases like “you know what I mean.” (pg. 8) The narrator seems like a nice old man: happy, brave, and compassionate. The narrator is an older, grown man working in an “office” and walking in a small town neighborhood. (pg. 8). He seems generally happy and is “walking along whistling” (pg. 8) as he walks. He does not get flustered easily because he doesn’t run away when a pack of dogs is coming at time but just “moves over the the edge of the sidewalk” (pg. 9) to let them pass. He was not too sentimental at first as he was worried about the “sanitation department [having to] pick up a dead dog” (pg. 9) instead of worrying about the poor animal and his suffering. However, when the dog reminds him of a time “when an old hound like that had given his life so that [he] might live” (pg. 10), the narrator gets emotional. His “fighting blood was boiling” (pg. 11) and he decides to intervene. It is clear that he is brave because he steps into the middle of a dog fight to save the old hound dog (pg. 11). Next, the narrator is kind and compassionate toward the dog when he “almost cried” (pg. 12) at the state of the old dog, and then baths and feeds him (pg.
The past dictates who we are in a current moment, and affects who we might become in the future. Every decision people make in lives has an influence on future, regardless of how minimal or large it is. Some decisions people decide to make can have dire consequences that will follow them for the rest of the life. Moreover, even though if someone would want to leave any memories from past behind, however it will always be by his side. Specific memories will urge emotional responses that bring mind back to the past and person have no choose but to relieve those emotions and memories again. Nonetheless, certain events change people and make them who they are, but at the same time, some wrong choices made past haunts us. This essay will discuss the role of the past in novel Maestro, that was written by Australian author Peter Goldsworthy in 1989 and also in Tan Shaun's story Stick Figures which was included in book called "Tales from outer suburbia" and published in 2008.
Man must not only remember his past, but also choose to remember it as it really happened—for, to again quote Eliot, “What might have been is an abstraction" (175). Fantasizing about an abstract, idealized past will never give success i...
Where are the memories of our pasts held? In scrapbooks full of photographs, or perhaps written on the pages of a locked diary? Picture though, something as simple and ordinary as a closet full of clothes. Think about its contents, where they have been worn, what they have been through, the stories attached to each item. The nameless protagonist of Diane Schoemperlen’s short story Red Plaid Shirt does this as she recalls a snippet of her past life with each article of clothing she picks up. Red plaid shirt, blue sweatshirt, brown cashmere sweater, yellow evening gown, black leather jacket…each item has a tale of its very own, and when combined they reveal the full story of the main character’s life.
In Robert Gober’s exhibition “The Heart Is Not a Metaphor” at MoMA, his works are full of the childhood experiences. A piece such as "happy family" this old road of old topic and the content of his own expressive suppression. Standing in front of Gober’s twisted-crib sculptures, I ask myself: What is my regret? Do I have any memories that haunt me at night? Fuzzy I saw the ceiling, my mother’s face and the edge of crib. I think most people have those images in their dreams too.
Sharon Olds’s poem, “I Go Back to May 1937,” is an emotional piece that takes the reader back to the early days as the speaker’s existence was first thought about. The speaker is a female who describes the scene when her parents first met; she does this to show her wrestling thoughts as she wishes she could prevent this first encounter. She speaks about this topic because of the horrendous future of regret and sorrow that her family would experience, and also to contemplate her own existence if her parents had never met in May of 1937. Olds uses forms of contrasting figurative language, an ironic plot, and a regretful tone to convey the conflict between the speaker and her parents while she fully comes to understanding of past actions, and how these serve as a way for her to release her feelings on the emotional subject.
The memories of an individual will give shape to their own identity and how they are able to perceive the world around them; memories allow an individual to look back at where they were and where they are now and to see the contrast of their current life. In the text “Ru”, Kim Thúy, the narrator, finds herself looking back at her memories of her life and dreaming for more. When she arrives at Mirabel airport in Quebec, she is awestruck by the peace and beauty of it compared to her past in in the refugee camps of Malaysia and war torn Vietnam. Throughout her visit, she is able to dream of her future outside of her bleak memories of her past, and imagine a future without the constant strife of living in a post war life. Kim is able to use her memories to shape who she wants to be and allows her to truly admire where she is and where she wants to go, setting a path for her to follow throughout life. In the text, “Ru”, Kim Thúy uses her own past and memories to demonstrate the idea that an individual's memories will shape who they are and show them a life they want to live, whether it is a memory they want to revisit or a memory in which they wish to leave behind. Kim’s present is influenced greatly by her past and allows her to appreciate the little things all that much
Through this short story we are taken through one of Vic Lang’s memories narrated by his wife struggling to figure out why a memory of Strawberry Alison is effecting their marriage and why she won’t give up on their relationship. Winton’s perspective of the theme memory is that even as you get older your past will follow you good, bad or ugly, you can’t always forget. E.g. “He didn’t just rattle these memories off.” (page 55) and ( I always assumed Vic’s infatuation with Strawberry Alison was all in the past, a mortifying memory.” (page 57). Memories are relevant to today’s society because it is our past, things or previous events that have happened to you in which we remembered them as good, bad, sad, angry etc. memories that you can’t forget. Winton has communicated this to his audience by sharing with us how a memory from your past if it is good or bad can still have an effect on you even as you get older. From the description of Vic’s memory being the major theme is that it just goes to show that that your past can haunt or follow you but it’s spur choice whether you chose to let it affect you in the
In the poem, Harjo portrays the importance of recalling the past to help shape one’s identity. She uses the repetition of the word “Remember” to remind that while the past may be history, it still is a defining factor in people’s lives (l. 1). This literary technique
Eva Hoffman’s memoir, Lost in Translation, is a timeline of events from her life in Cracow, Poland – Paradise – to her immigration to Vancouver, Canada – Exile – and into her college and literary life – The New World. Eva breaks up her journey into these three sections and gives her personal observations of her assimilation into a new world. The story is based on memory – Eva Hoffman gives us her first-hand perspective through flashbacks with introspective analysis of her life “lost in translation”. It is her memory that permeates through her writing and furthermore through her experiences. As the reader we are presented many examples of Eva’s memory as they appear through her interactions. All of these interactions evoke memory, ultimately through the quest of finding reality equal to that of her life in Poland. The comparison of Eva’s exile can never live up to her Paradise and therefore her memories of her past can never be replaced but instead only can be supplemented.
Since the story was written in the third person objective, it is easier for the reader to remain objective while analyzing the story. If we one were to hear the story from on of the character’s point of view, the retelling of the story would be clouded with various em...
Toni Morrison’s short story, ‘Recitatif’, tells the tale of a complex relationship between two women, Twyla and Roberta. In the story, Morrison uses the concept of memories as the foundation for the conflict between Twyla and Roberta. These two women have a strange and complicated relationship of competition and conflict, and this conflict is founded on forgotten, remembered, and shared memories. Twyla and Roberta share a long history, full of memories, and it is these memories that serve to ???
This novel is told from the first person point of view. George Walton begins narrating the story through his letter to his sister. After he rescues Victor from the ice and nurses him back to health, Victor begins to tell Walton his tale. As the story begins the perspective shifts from Walton's to Victor's point of view while still being told in first person. The first person narration really helps give the reader insight into the true state of the main character's mind, and it is indeed a dark place.
The introduction to Adrian Forty’s “The Art of Forgetting” discusses the uncertain relationship between memory and material objects, particularly regarding societal/ collective memory. Forty builds upon three distinctive points concerning objects and memory to illustrate the doubts in the Aristotelian tradition. He suggests that objects are agents to forgetting and that there is a process to remembering. With this argument Forty establishes a means of further understanding collective memory.
Thus, story and memory remove humans from the horrible brevity of mortal life by bringing existence into a realm outside of time. Humans die, but through story their fellow humans can make them immortal. Even amidst life’s tragedies, stories allow us to transform what seems an unbearable reality into something deeply beautiful. And yet their power is not merely retrospective since stories impose moral responsibility on our every action. Forgetting, therefore, is among the worst evils; not only because of the “moral perversity” it permits, but also because of the meaning it denies.