The Dispossessed and Invisible Man
Darko Suvin defines science fiction as "a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device" (Suvin 7-8) is a fictional "novum . . . a totalizing phenomenon or relationship" (Suvin 64), "locus and/or dramatis personae . . . radically or at least significantly" alternative to the author's empirical environment "simultaneously perceived as not impossible within the cognitive (cosmological and anthropological) norms of the author's epoch" (Suvin viii). Unlike fantasy, science fiction is set in a realistic world, but one strange, alien. Only there are limits to how alien another world, another culture, can be, and it is the interface between those two realms that can give science fiction its power, by making us look back at ourselves from its skewed perspective.
The Dispossessed takes as its novum a general theory of time, illustrated by the paradox of a rock thrown at a tree, a rock that can never reach its target because "there's always half of the way left to go" (Le Guin 26). Shevek, Le Guin's protagonist and formulator of the general temporal theory, sees himself as one who "'unbuilds walls'" (Le Guin 289), as the "primal number, that [is] both unity and plurality" (Le Guin 30) crossing interfaces. Walls abound in The Dispossessed: the wall between Anarres and Urras (Le Guin 1-2), the wall that separates one individual from every other (Le Guin 6), the wall of social conscience (Le Guin 287), the wall between men and women (Le Guin 14-16), the wall of time--Zeno's paradox--the limit that prevents the rock from striking the tree (Le Guin 26).
But as Shevek knows, the rock does strike the tree; that is the joke (Le Guin 27). The wall can be crossed. He crosses it when he leaves Anarres; he crosses it in his love for Takver and Sadik; he crosses it with the Syndic of Iniative, and he crosses it with the Terrans and the Hainish. This need to "unbuild walls" is his "'cellular function,'" his "moral choice," but it is "process" and not "end," a "journey and return" and not merely a "repetitive, atemporal" cycle (Le Guin 290-291). The paradox of sequence and simultaneity is that nothing stays the same; it is not the same river going past the bank, or the same wind blowing through the same tree as last spring.
This stood out to me because it is very true. If there is a wall then there are people that have to guard it. If the guards don't do their job then people can break through the wall. If there are no guards then people can just climb over it with ease. One of the connections that I had with this poem was the Great Wall of China. When I read this
Suvin, Darko. Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre . New Haven : Yale University Press, 1979.
any other, such as "I am your own forever" and "If she be false, Oh
The Role of the Opening Act of William Shakespeare's Othello The play Othello portrays the story of the protagonist Othello (The Moor) and his loved one- Desdemona- and his struggles to overcome a racist society in 17th century Venice. In the meantime Iago, one of Othello’s closest friends’ plots revenge on him, as Othello passed him over for an important position in the army and gave it to Cassio, an outsider from Florence.
But as the plot unfolds and his plan comes to action, he is more of a
it seem as though Antony is fake and he isn't what he says he is.
the matter, and we can see how he is so deluded that he cannot see
Dramatic Tension in Act 4 Scene 3 of William Shakespeare's Othello. Shakespeare employs the use of dramatic devices to signify the approaching the climax of the play throughout “Othello”. With Act 4 Scene 3 is the final scene to involve Desdemona before her murder. The use of such dramatic devices is prevalent in order to create tension.
...this work?20 was written about the wall. Its magnitude alone inspires many people. ?Nothing stops it, nothing gets in its way, seeing it at this point, one might believe it to be eternal.?21
To conclude, it is very easy to see Shylock as a victim or a villain.
In a non-physical sense the wall is more of a line shown to separate the difference between the two types of people portrayed in the poem. Although not both sides feel and realize that they are different in many ways, it clearly shows that both men do not share the same feelings towards the same subjects. It makes a point to admit that they are not completely different and that they can get along, but on a more personal level it is best for everyone to do things their own way.
The Effectiveness of Shakespeare's Exposition of Plot, Character, Theme and Atmosphere in the First Act of Othello The action of the first scene increases the audience’s anticipation of Othello’s first appearance. The audience learn Iago’s name in the second line of the play and Roderigo’s soon afterward, but Othello is not once mentioned by his name. Rather, he is ambiguously referred to as “he” and “him.” He is also called “the Moor”, “the thick-lips” and “a Barbary horse” all names signifying that he is dark-skinned. Shakespeare’s exposition of plot is also effective, because in the very first scene there seems to be a lot of action.
The air is cool and crisp. Roosters can be heard welcoming the sun to a new day and a woman is seen, wearing a clean colorful wrap about her body and head, her shadow casting a lone silhouette on the stone wall. The woman leans over to slide a piece of paper into one of the cracks, hoping her prayer will be heard in this city of Jerusalem. Millions are inserting their prayers into the walls of Japanese temples, while an inmate in one of a hundred prisons across the United States looks past his wall toward the prayers he did not keep. Billions fall asleep each night surrounded by four walls and thousands travel to China to witness the grandest one of all. Who builds walls and who tears them down?
Identity and Invisibility in Invisible Man. It is not necessary to be a racist to impose "invisibility" upon another person. Ignoring someone or acting as if we had not seen him or her, because they make us feel uncomfortable, is the same as pretending that he or she does not exist. "Invisibility" is what the main character of Ralph Ellison's Invisible Man called it when others would not recognize or acknowledge him as a person.
In the poem "Mending Wall," Robert Frost utilizes the literary devices of imagery, meter, and symbolism to demonstrate the rational and irrational boundaries or metaphoric "walls" humans place on their relationships with others. The precise images, such as the depiction of the mending-time ritual and the dynamic description of his "old-stone savage armed" neighbor, serve to enhance our enjoyment as well as our understanding of the poem (40). The poem is written in blank verse (iambic pentameter); the form that most closely resembles everyday English. Frost deliberately employs this direct, conversational, and easy to understand style of meter which appears simple on the surface. Although symbolism is used throughout, the three most significant symbols are: the wall, his neighbor, and Frost himself as the speaker. Analyzing each of these devices as well as how they harmonize with one another is necessary in order to appreciate what Frost was revealing about human behavior.