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Purpose of transformation in literature
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“We stop looking for the monsters under our beds when we realize there inside us.”-The Joker The transformations in stories and the affect it has on its readers is what this essay is about. In stories some of the transformations that happen are supernatural activity, unknown things, and death. In some situations, there is no realization that transformation can happen in real life. My essay starts from gothic literature and transformational text. The first transformation I’m talking about is supernatural activity. For example, ghosts in house taken over, where there are unknow things going through the house and the characters in the story believe that its ghosts. “I had to shut the door to the back passage, they’ve taken over the back part,” …show more content…
An example is zombies where they are dead but alive it is unknown for which one it is unless you see it. “It’s all fun and games until someone gets bit,” is a quote were its saying that zombies are fun to certain people and exciting but when the time comes they need to be prepared. People believe that they ae normal but they don’t have any clue that they are there to eat them and are trying to kill them. The second example is a character from the story “fall of the house of usher,” Usher puts his own sister buried underneath his house without knowledge if she was dead or not. “We have put her living in the tomb,” is an example of the knowledge not shown if she was dead or not. They should have checked if she was dead but by not checking it helped create an intense moment in the story. The last is the sister from the story “fall of the house of usher,” she is one of the last relatives but soon passes and is buried underneath her own home with her other relatives that are deceased. “I tell you that she now stands without the door,” this is a quote said by usher towards his sister explain that she can’t stand without something to lean on until now. Transformation creates a dramatic setting and appearance for this situation and scene. This was the last transformation I have written and talked about even though there are more forms of this type of
The castles and mansions that provide the settings for traditional Gothic tales are full of grandeur, darkness, and decay. These settings are one of the most recognizable elements of traditional Gothic fiction. Setting is equally as important in modern Gothic literature as well. While the settings in the two stories, “Fall of the House of Usher” by Edgar Allan Poe and “Where Is Here?” by Joyce Carol Oates, are incredibly different, they are also very similar.
from sympathy to fear within the readers. However, out of all the notions and events that
Many times in our lives we are compared to our siblings. On many occasions, I am compared to my brother. People say that we have the same physique facial features, and height. Although these traits run in the family, I truly only want to be my own person. Just the other day someone called me “Michael.” The burn from my anger showed on my face. “I am NOT Michael,” I screamed; I am my own person. Just as we see similarities in family members, people also see similarities in stories written by the same author. In “The Devil and Tom Walker” and “Rip Van Winkle” we see similarities in setting, male protagonist, a female antagonist, and a mystic character.
Last but not least, O’Connor confirms that even a short story is a multi-layer compound that on the surface may deter even the most enthusiastic reader, but when handled with more care, it conveys universal truths by means of straightforward or violent situations. She herself wished her message to appeal to the readers who, if careful enough, “(…)will come to see it as something more than an account of a family murdered on the way to Florida.”
As Frank McCourt grows and develops into an adult, so too does his writing. The written text, thoughts and the relationship with the reader indeed evolves and becomes more complex as Frank matures. Examples taken from the ages of four, eleven and fourteen show these noticeable differences. Through an evolving ‘innocent-eye’ narrative technique McCourt is able to establish a powerful emotion connection with the reader.
While their work was published in their lifetimes, they could never have known that their stories would progress around the globe, and into the mind of every child’s head. as a form of entertainment. Almost every person in the world has heard at least one of the works of the Grimm brothers, and like Poe said. this kind of recognition can only happen after you are dead. ‘In the construction of plot, for example, in fictitious literature.
The analysis showed that Shirley’s and Thomas’s work matched in a way that both the stories reflect identity crises and the psyche of a killer. The notable use of typical fictional horror elements such as tragic backstories, harbingers, unseen forces causing chaos and dreadfulness, terror and above all unrealistically portrayed personality disorders makes the stories a baroque blend of supernatural fantasy and moral reality.
Sherwood Anderson depicts all the characters throughout his 24 short stories as a grotesque. He prefaces most of the stories with the old writer’s definition of what it means to be a grotesque. This definition frames how the book is to be interpreted throughout the different stories. Anderson paints every character as a grotesque. However, he does not paint them in the same light. What may make one person a grotesque may not make another person a grote...
There are several types of transformation that take place in supernatural ballads. With respect to the selected ballads, I consider the transformation by a witch1 that casts spell on humans and turns them into animals2 the most significant one. This motif often comes along with the reception of a magic object.3 Finally, the villains are sometimes punished by transformation themselves, whereas the upright, innocent characters are usually disenchanted4 and released from the power of the witch again. There are several ways in which a bewitched person can be transformed back into their human shape.5 One common motif is the prince who falls in love with the enchanted woman6 and rescues her, for instance through kisses7 or means of submission.8 However,
“The Fall of the House of Usher” by Edgar Allen Poe shows how transformation are a critical of fear in a reader. At the beginning
For a writer, stylistic devices are key to impacting a reader through one’s writing and conveying a theme. For example, Edgar Allan Poe demonstrates use of these stylistic techniques in his short stories “The Masque of the Red Death” and “The Fall of the House of Usher.” The former story is about a party held by a wealthy prince hiding from a fatal disease, known as the Red Death. However, a personified Red Death kills all of the partygoers. “The Fall of the House of Usher” is about a man who visits his mentally ill childhood companion, Roderick Usher. At the climax of the story, Roderick’s twin sister, Madeline, murders him after he buries her alive. Edgar Allan Poe’s short stories employ the stylistic decisions of symbolism, dream-like imagery, and tone to affect the reader by furthering understanding of the theme and setting and evoking emotion in readers.
Most if not all humans have a secret that resides in the shadows of their souls. These creatures of the dark are usually embarrassing, disturbing, and are just not suitable subject matter for common conversation such as obsessions or fetishes. In his review of his own book, Phil Hogan suggests just this. In the article “How I Wrote from the Villains POV”, Hogan discusses where the antagonist or villain in a story derives from, using his own and personalized characters as the perfect example of the semi-unintentional connection between character and creator.
Silko counsels that the story's potential for good or ill should not be easily discounted or dismissed. She seems to understand all too well that human beings house both virtuous and vicious impulses; our stories are infused with both the sinister and the sublime. There is a unifying, mythical or archetypal realm which exists just beyond the scope of individual consciousness. Stories are tethered to and wound around this insubstantial place, and the power of each story is firmly rooted in this connection.
Stories have an opportunity to leave the reader with many different impressions. When you look a different characters within the stories the ones that leave the greatest impressions are the ones that tend to scare us. The figures in Bob Dylar’s “Where Are You Going, Where Have you been?”, in Nathaniel Hawthorne’s “Young Goodman Brown”, and Stephen King’s “The Man in the Black Suite” all instill a bit of fear in the reader. They are symbols that represent the devil or devil like attributes in people and the uncertainties of human nature.
“There are so many different walks of life, so many different personalities in the world.” Hope Solo describes that there are many different ways to walk the paths of life, and that these paths are filled with people of dissimilar personalities. Similarly to Hope Solo’s idea of incompatible personalities, Sigmund Freud, an Austrian neurologist, developed the concepts of the id, ego and superego. As Freud described them, these concepts are the three parts of the human psyche. The id part of the brain operates on the “pleasure principle”, the superego is the moral component of the human psyche, and the ego is the balance between both the id and the superego. Freud, along with many other Americans, began to realize that people, especially characters