The Distinctively Visual’s fundamental purpose lies in its ability to forge a link between ideas and image, prompting members to challenge perceptions of their world and enhance perspectives of humanity. Henry Lawson’s “The Drover’s Wife” and “In A Dry Season” embody the distinctively visual as a way to vividly recreate life within the Australian Outback and embody notions of survival, isolation and suffering. Perceptively, Nick Ut’s photograph “The Napalm Girl” visualises the brutality of bloodshed in order to prompt audience members into critiquing the construct of war. These texts recreate aspects of their contextual era, offering a variety of perspectives on the world that drive their respective audience members to respond and ultimately …show more content…
Lawson characterises this aspect within the emotive lexicons of “loneliness and solitude” while enduring “pain and suffering” in order to overcome the obstacles to survive in the harsh Australian environment. Thus, the Drover’s Wife acts as a symbolic analogy of the landscape, presenting the uniqueness of the harsh landscape through her hardships and persistent survival. Alliteration within “No undergrowth, nothing to relieve the eye… nineteen miles to the nearest… civilisation” characteristically emphasises the isolation of their location, alienating the Drover’s Wife from the rest of civilisation. This consequently exposes the responder to a story about the mother’s hardships, which instantly provokes a sympathetic response to the plight of the individual. In addition, the experience of the drover’s wife reflects the harsh and the infertile nature of the bush. Due to the fact that living in the bush has stifled and thwarted her development as she has bluntly “no time to show” her children love. Furthermore, the use of descriptive …show more content…
Their train ride becomes symbolic of their journey of maturation, as Lawson captures their eventual disillusionment with the harsh Australian outback, capturing the eccentricity of the landscape and the unique essence of Australian bush culture. Subsequently, the figurative language within “draw a wire fence, and a few ragged gums and add some scattered sheep running away from the train” captures Lawson perspective of the harsh reality of the outback existence, portraying it as a dull environment in comparison to the Drover’s Wife. Lawson engages the reader as he forces the reader to visualise the atmosphere they are in, which is further reinforced through the high modality in “ragged”, allowing the responder to clearly visualise the isolation of the Bathurst community. This provides the reader with an insight into the Australian outback through his train ride by capturing the true nature of Australia. In addition, Lawson further implicates this point through the use of descriptive language in “there is sometimes a small, oblong weatherboard buildings unpainted”. This allows the reader to visualise the unique landscape of the outback as old and rusty, enabling them to gain a better understanding of what Lawson sees from his perspective. This is further depicted when Lawson writes of the
Motorcycles and Sweet Grass is a very rare occurrence in aboriginal literature. Most works about oppression and sadness as the aboriginal population once was. However, Drew Haydn Taylor attempts to implement humorous aspects of native culture in this novel.
The visual I have created is meant to display how the author Seven Galloway effectively used descriptive language and imagery in the novel The Cellist of Sarajevo to demonstrate character development in Dragan, one of the protagonists. For instance, in the first image moving forward from the 12’oclock section of the clock, we can see an image of Dragan in Sarajevo with the intent of setting the mood of war, where “everything around him is a peculiar shade of grey”. This imagery is meant to display not only the visual cast set upon Sarajevo in a time of war, but also to show Dragan’s internal demeanor and how he initially perceives the world around him, while the idea of a ‘grey’ world surrounding him outlines his pessimistic worldview. These ideas are also manifest in the following image, where we
Without the use of stereotypical behaviours or even language is known universally, the naming of certain places in, but not really known to, Australia in ‘Drifters’ and ‘Reverie of a Swimmer’ convoluted with the overall message of the poems. The story of ‘Drifters’ looks at a family that moves around so much, that they feel as though they don’t belong. By utilising metaphors of planting in a ‘“vegetable-patch”, Dawe is referring to the family making roots, or settling down somewhere, which the audience assumes doesn’t occur, as the “green tomatoes are picked by off the vine”. The idea of feeling secure and settling down can be applied to any country and isn’t a stereotypical Australian behaviour - unless it is, in fact, referring to the continental
‘The Drover’s Wife’ opens with a vivid visual image of the house which becomes a character in itself, the lexical word chain “round timber, slabs, and stringy bark, and floored with split slabs” shows us the poor, rough materials used to build only what is necessary to survive. Thus, we can visualise the simplistic nature of the lives the drover’s wife and her children live in their environment. Strong visual imagery is employed to depict the landscape; “Bush all round – bush with no horizon, for the country is flat. No ranges in the distance… No undergrowth”. The repetition of “no” emphasises the lack of distinguishing features, the land is monotonous and contains “nothing to relieve the eye”. The environment is isolated; they are alone “There is nothing to see, however, and not a soul to meet”. This helps the audience to develop an understanding of the isolation and loneliness of Australians living in the bush during the Colonial
Distinctively visual landscapes are portrayed to be a fundamental impact and influence on an individual’s identity, and how one’s relationship with setting highlights their personal growth and maturation. Goldsworthy’s metaphorical depiction of Darwin as being rich and changing in its abundance of nature reflects Paul’s personal growth and development. The extended metaphor “everything thing was larger than life in the steamy hothouse of Darwin, and the people were no exceptions.” Symbolically signifies the hot, humid climate that acts as a sense of normality, as the fertile environment is metaphorically allowing him to grow and mature. Goldsworthy explicitly juxtaposes Dr Crabbe’s perception of Darwin with Paul’s interpretation as he engages the readers in the differing opinions towards the country. Paul’s father acutely defines Darwin as “a ci...
This photograph, taken in 1967 in the heart of the Vietnam War Protests, depicts different ideologies about how problems can be solved. In the picture, which narrowly missed winning the Pulitzer Prize, a teen is seen poking carnations into the barrels of guns held by members of the US National Guard. This moment, captured by photographer Bernie Boston symbolizes the flower power movement. Flower power is a phrase that referred to the hippie notion of “make love not war”, and the idea that love and nonviolence, such as the growing of flowers, was a better way to heal the world than continued focus on capitalism and wars. The photograph can be analyzed through the elements of image as defined by ‘The Little Brown Handbook’ on page 86. There are a total of nine elements that contribute to the communicative quality of an image. The message that this particular image tries to convey is the strong sense of way that conflict should be handled; by way of guns or by way of flowers. The ‘way of guns’ is violence and excessive force which heavily contradicts the ‘way of flowers’ which is a more peaceful and diplomatic way of handling conflict or disagreement. This photograph depicts these ideologies through its use of emphasis, narration,point of view, arrangement, color, characterization, context and tension.
Australia as a country is commonly known by foreigners for its vast expanses of empty space. It is first entwined in the film when Lady Ashley asks the drover how long it’s going to take to get to Faraway Downs and the Drover replies, “We’ve been on it for the past 2 days.” The camera then zooms out to show the dust trail they have left through the immense empty desert. The emptiness of this remarkable land is strongly emphasised again while they are traveling through the Never Never Desert. While displaying the magnificent open land, they zoom in with the cameras to show the heat and sweat of the outback and then zoom back out to show all the dead trees and dust. The film makers also show the main characters struggling to survive through the desert without water to further illustrate how tough it is to stay alive in such an unforgiving land. Though we Aussies don’t all live in the bush, it can still reaches scorching temperatures of 40 degrees in places such as Rockhampton but we don’t give up and move to somewhere that is cooler, we stay and try our hardest to live like any other normal group of people. This same theory has been cleverly used by the directors of this film when Lady Ashley decides to stay and protect her land instead of flying back to England and selling Faraway Downs. To add to this,
An exposed and desolate house set in the untamed outback is the setting of ‘The Drover’s Wife’. Lawson describes the two-roomed house as being “built of stringy bark”. Similarly, he identifies the environment around the house, such as “bushes… of rotten native apple-trees” and a “waterless creek”. Lawson further explains the surroundings and her isolation in this quote “Bush all round- bush with no horizon…the country is flat”, here Lawson has used the word “no horizon” to state that there is nothing in the distance. This allows the reader to visualize the bush as being clear, flat and empty. These quotes demonstrate that the family is poor and lives a difficult life because the house is made of stringy bark; this offers discomfort and no protection
By using distinctively visual techniques Misto is able to assert his view on the British shame on the events of Belalau, However this view of shame is contrasted with Raising of the Flag on Iwo Jima. This image depicts six wounded United States servicemen raising the American Flag during the battle of Iwo Jima, This image is seen as patriotic unlike Shoe Horn shows the shame of the government. Rosenthal uses distinctively visual features such as monotone, gaze and salience to create a patriotic reaction from the image. Raising of the Flag on Iwo Jima was captured using a black and white camera, the use of monotone in the photograph creates timeless and powerful meanings for the responder, this is important as the monochrome is used for its simplicity and the black and white colours are symbolic of the adversarial nature of war. By using this colour hue Rosenthal creates a patriotic reaction by dividing the war into an “us or them mentality”. By placing the American flag in the centre of the frame, Rosenthal shows how flag and countries are important to individuals. As the responders gaze is drawn from the flag to the secondary figures of the wounded servicemen, Rosenthal is able to re affirm his views on patriotism towards the audience as the men are willing to die for their country. It is shown through the comparison that both Rosenthal and Misto are able to assist two conflicting views on the issue of war. Thus is because Rosenthal’s image of the Raising of the Flag on Iwo Jima is a highly decorated piece of US propaganda, whereas Show Horn tells an untold story and therefore reaffirms the sense of shame. The use of controversial topics allows for the audience to have mixed opinions about events that have been presented to
In the short story “Chickamauga,” by Ambrose Bierce, there are several examples of imagery throughout the passages that help to describe the horrors of war. Bierce sets the story with a young boy playing war in a forest, who is then approached by a “formidable enemy,” a rabbit. The sudden appearance startles the boy into fleeing, calling for his mother in “inarticulate cries,” and his skin getting “cruelly torn by brambles.” The selection of these details leaves a lucid image in the mind of the reader, allowing them to see a sobbing boy running through the forest, covered in cuts and scratches. It represents the innocence and fear of a child, lost and alone in an unknown place. The birds above his head “sang merrily” as the boy was “overcome
Lawson creates a vivid image of the desolation and isolation that the drover’s wife experiences in the bush in “bush all round – bush with no horizon, for the country is flat. No ranges in the distance…nothing to relive the eye save the darker green of a few she-oaks which are sighing…”. The desolate nature of the picture that the reader created in their mind is enhanced by the repetition of the word “bush” and “no”, which helps the responder to imagine the monotony of the landscape and the physical solation of the drover’s wife. The personified trees help us to convey a sense of weariness, adding to the overall image of desolation and allowing us to clearly imagine the harsh environment and the
‘In a Dry Season’ by Henry Lawson paints an image of the typical harsh and unforgiving Australian outback as well as it’s monotony. He attempts to illustrates its true nature and not romanticise about the sparse landscape or the difficulty of growing crops. He demonstrates the integrity of the bush characters which is heightened compared to lesser individuals. “The least horrible spot in the bush, in a dry season is where the bush isn't - where it has been cleared away and a green crop is trying to grow.” The word “horrible” reinforces that fact that the bush isn’t a hospitable place.
Authors have been known to use their writing as symbols of other things that are occurring in the world. For George Saunders, in Pastoralia, he writes about characters that reflect real-life workers that are earning a low wage. Through many elements in his story, Saunders shows his audience how the narrator goes through his daily routines in order to provide for himself and his family, how his cave mate tries to provide for her mother and son, and how they aren’t in the best of conditions. Although it seems that this is a different period, it greatly relates to...
The 19th century Australian Novelist and short story writer, Henry Lawson, uses distinctly visual techniques of writing, which allowing responders to visualize the hardships faced during . Australia’s colonial period The iconic story “The Drover’s Wife” reveals the hardships faced by women and the sacrifices and adjustments they made to survive. Lawson’s story “In a Dry Season” gives the reader an insight into the difficult lives of Australians during the colonial period. The Artwork “Sunday Evening” by Russell Drysdale stresses the hardships faced in the Australian outback. His artwork compliments Henry Lawson short stories.
Roughing it in the Bush is a story that chronicles the hardships and triumphs faced by early settlers in Northern Canada. Susanna Moodie creates vivid portraits of through the way she stresses the degradation relating her status as a gentlewoman, the necessity for manual labour in a new world, and the discrepancy between refined society and the pioneer community. Relaying a cautionary tale, Susanna Moodie uses a straightforward prose filled with hyperbolized descriptions that show a negative bias influenced by her personal hardships and way of life to inform potential emigrants about the realities of living in the bush and to forewarn readers that the pioneer life is not suited towards the upper class and rather, is detrimental to their economic and social status.