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Role of Imagination in Literature
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Recommended: Role of Imagination in Literature
Bill Bryson, author of “Neither Here Nor There: Travels in Europe,” takes his readers on a journey through the ancient streets of Luxembourg, a small European country. Bryson transports his reader to both antique and beautiful Luxembourg by using exquisite word choice and eloquent imagery. Bryson effectively gives the reader an idea, a picture in their mind, of the adventure he endured.
One of Bryson’s most effective rhetorical devices used is imagery. He uses imagery to describe Luxembourg and he does an exceptional job. The use of imagery allows the reader to be placed in Bryson’s shoes, venturing through the city. Is Luxembourg modernistic? Luxurious? Imagery tells you. In fact, it’s stated in the first three sentences, “ancient streets”. It immediately sets the mood, the vivid details that make Luxembourg, Luxembourg. “Feathered pheasant and unskinned rabbits hanging in the butcher’s window.” This screams archaic, antique, old-fashioned settings. “Pig heads smiling on a platter.” These are just a few examples, even so, the reader can immediately determine the mood and picture the historical city.
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“I had brought with me a yellow backpack so enormous that when I went through customs I half expected to be asked, “Anything to declare? Cigarette? Alcohol? Dead Horse?” The word choice of “Dead Horse?” gives off a humorous, aloof tone. Bryson has never experienced anything like Luxembourg before, if fact he said, “I felt like someone stepping out of doors for the first time.” He is realizing that there is more to life than his very own. Bryson is also opening the reader’s eyes to new discoveries as he is making new discoveries
In, “Vindictively American” Vowell does a great job of helping readers visualize the places and items that she is talking
Gilbert’s use of imagery emphasizes the wild, vibrant, energetic nature of the city of Naples. It becomes clear that, In Gilbert’s eyes, Naples is a city unlike any other. The author writes, “An anthill inside a rabbit warren, with all the exoctism of a Middle Eastern bazaar and a tough of New Orleans voodoo” (Gilbert 175). This shows us how Gilbert sees Naples better than if she had chosen to describe the city detail by painstaking detail. Gilbert combines aspects of places in other countries in a way that gives the reader a clear image of Naples overall atmosphere. Gilbert writes, “The city is all decorated with the laundry that hangs from every window and
The Rue Neuve-Sainte-Geneviève in particular is like a bronze picture frame. It is the only frame suited to our story....
...’s book accomplishes a lot in its timid three hundred pages, it lacks more examples of modern architecture and historical landmarks such as the ones discussed above. Also, the lack of chronological order is a new approach, but it might not appeal to all readers.
For example, we see clothing used as an important metaphor in the story. Victorian women's clothing was extremely confining, much like their life. The clothing can be seen as a type of "cage" which is apparent when we see Edna and Adele walking to the beach in chapter seven. Adele wore a veil, "doe skin gloves, white gauntlets ... was dressed in pure white, with a fluffiness of ruffles that became her" (478). Adele was the ideal of beauty. Edna, on the other hand, "wore a cool muslin that morning ... a white linen collar and a big straw hat" (478). We learn that "a casual and indiscriminating observer ... might not cast a second glance" (478) towards Edna. The fact that Edna was simply dressed showed her non conformity towards society's standards. When the two women get to the beach, Edna removes her collar and unbuttons her dress at the throat. Her decision not to wear all the garments is a hint at the rebellion to come.
Perhaps the first thing the viewer acknowledges in the exposition of the film is the visual aspect, that being the sunlight that is shone through a window in a darkened room. We can also see tree branches and leaves dancing in the wind outside of the window. From this we figure the film is being shot from inside some sort of building. The next shot shows the shadow of what could be the same tree on the paneling of possibly a neighboring house, which supports the idea that the film is being shot form inside of a home. It is possible that Pierce intentionally used shots from outside of the home in the exposition as opposed to inside to give the viewer the idea that the house represents the lead role in the film. By introducing the piece with shots of an empty home, the viewer might expect another role to appear. Pierce then begins to elaborate on his idea of “sensory pleasure of […] a domestic setting” in the visual facet by showing a multitude of shots of inside the home and outside from the perspective of the home. We then begin to appreciate the more insignificant features of both the inside and o...
“It’s difficult to recall the first time I went to Switzerland. The actual experience of flying across the ocean at a young age felt like journeying to a different world. That eleven-hour flight was such a tedious part of the very exciting journey ahead. I remember once looking out the window of the plane as we touched down and feeling such a deep comfort and contentment. I felt as though I was home. What awaited me were days of family and friends, hiking and exploring, and delicious food. It was always such a beautiful experience being i...
Just look at the quote I gave you earlier: “Brooklyn, New York, as the undefined, hard-to–remember the shape of a stain.” He sees it as nothing but a stain on the map. He goes on to talk about “…the sludge at the bottom of the canal causes it to bubble.” Giving us something we can see, something we can hear because you can just imagine being near the canal and hearing the sludge bubble make their popping noises as the gas is released. He “The train sounds different – lighter, quieter—in the open air,” when it comes from underground and the sight he sees on the rooftops. Although some are negative, such as the sagging of roofs and graffiti, his tone towards the moment seems to be admiration. In the second section, he talks about the smells of Brooklyn and the taste of food. He’d talk about how his daughter compares the tastes of pizzas with her “…stern judgments of pizza. Low end… New Hampshire pizza. … In the middle… zoo pizza. …very top… two blocks from our house,” and different it was where he’d grown up. He talks about the immense amount of “smells in Brooklyn: Coffee, fingernail polish, eucalyptus…” and how other might hate it, but he enjoys it. In the same section, he describes how he enjoys the Brooklyn accent and the noise and smells that other people make on the streets and at the park across from his house. “Charcoal smoke drifts into the
In the short reading, The Cunning of Cosmetics, by Jeffrey Kipnis, he begins by explaining what architecture is reacting to and how it effects the direction it is going in. As a result from explaining this, he starts to ponder on his job on Herzog & de Meuron and question, “When did my infatuation with HdM’s work begin?”(Kipnis 23) he starts to realize that buildings have the “Ability to insinuate itself into my psyche” without forcing itself upon someone. He is able to analyze this in the magazine he was reading Arch- Plus by Nikolaus Kuhnert and see how he separated the magazine into two sections – Ornament and Minimalism, through this he able to explore prime examples such as Signal Box and Ricola Europ, explaining how the use of their materiality and modern ornamentation can give a “Erotic allure…the sirens of the Odyssey”. Overall he is clarifying that
An architect’s goal is to design appropriately to the time. In the mid to late twentieth century post-modernist such as Venturi found the purism and oversimplification of modernism lacking. Venturi recognized that the world is not simple in nature, but full of complexity and contradictions. Post-modernists aim for an implicit richness of meaning through complexity and contradiction rather than an oversimplified blatant clarity of meaning. A building is basically comprised of a variety of paradoxes, such as outdoor and indoor, primary spaces and secondary space and so on. In Complexity and Contradiction in Architecture, Robert Venturi states that “Blatant simplification means bland architecture” and elaborates on the necessity of complexity and contradiction architecturally appropriate for modernity (Venturi, 25).
Jules Verne’s 19th century novel about the travels of the “eclectic” Phileas Fogg at first seems a quick read, an adventurous tale written in a light-hearted vernacular. Yet a close reading of passages, such as the paragraph at the beginning of chapter two, reveals more complex, latent themes amidst the pages of such “mass” fiction. An analysis of one passage in particular1 [1] suggests that this classic novel has little to do with travel, adventure and love, but rather that it makes a statement about the human condition. Fogg’s famous eighty-day challenge seems only a vessel, a means of transportation, to mask and guide his own inward journey.
The idea was born underground, one February morning in the Paris Metro. Weaving through tunnels the color of fluorescent light, we halted, stumbling over ourselves, before a yellowing tourism poster that was strangely symbolic amongst perfume advertisements and scrawled graffiti: a photograph of a violent fairy-tale, a photograph of a castle white and turreted, balanced upon a jagged cliff and reaching sharply towards the limits of a fierce, dark body of water, at the depths of which was inscribed once simple and mysterious word: Trieste.
Bill Bryson, in the given segment of his novel Neither Here Nor There: Travels to Europe, emphasizes the drastic differences in societies across the Atlantic. Bryson’s purpose is to inform Americans on the substantial changes in culture from the USA, especially New York, to Europe. He adopts a humorous and sincere tone in order to express his experience to the audience, being the American people.
In this essay I will discuss how concrete regionalism was presented in the work of Le Corbusier who is the most classic example of this movement, Oscar Niemeyer, and Antoine Predock . With each architect having a highly individual vision that has created unique buildings for people and their environment. These architects each has combined vernacular buildi...
illustrated my ability to further understand, and share with my students the powerful, and sometimes negative, impact that the Eurocentric education system has had, and continues to have, upon the Aboriginal community. I believe it is important that students are aware of the historical context of the piece of literate they are reading, so they are better able to connect to the text. Two First Peoples Principle of Learning that I incorporated into my lessons were: “Learning involves patience and time” and also “Learning is embedded in memory, history, and story.” During my lessons on racism, lessons with Aboriginal content, and my unit on World Religions, I successfully modelled respect and openness to other worldviews, belief systems, and point