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Role of a narrator
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Through the conventional use of pathos, ethos, and logos, Janette Turner Hospital conveys the psychological and political implications of a modern terrorist attack, which ultimately results in loss and despair.
By structuring the novel into eight brief, separate books, Turner Hospital lures the reader with the idea of allowing the book to turn its own pages. In a sense, the emotions of the reader are to be virtually enthralled to the point of exhaustion by the end of the story. This particular strategy of writing involves the usage of pathos to control the emotions of the reader, while allowing the mind to flow freely. For example, the beginning of the novel begins with five italic words describing a setting. To the naked eye, the use of italics
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implemented in order to describe the initial setting creates and develops emphasis from the reader’s first impression. In the foremost moments of the story, the author uses emotional insinuations to construct bridges between the reader and the story.
With intent to evoke interest, the plot introduces the main character, Lowell, listening to a National Public Radio voice describe the horrific events of a terrorist attack. Turner Hospital establishes an emotional connection by adding details of Lowell’s father being a victim of the hijacking. She wrote, “What Lowell can hear is his own father in shadow duet, word for word and line for line…Forty thousand feet, he hears, severed fuselage…the fatal plunge…death.” The structure of introducing a main character and his father’s immediate death in the first paragraph of the novel portrays a rather thrilling sense of emotion. Because the plot lacked development at this point, little to no emotional connection between these characters exist. However, by the end of the narrative, Turner Hospital maintains her reader’s responsiveness to the effects and outcomes of each …show more content…
character. Through the visionary tactic of character development, the novelist fosters a buoyant amount of credibility and authenticity within the plot. By introducing and mounting the bonds forged between Samantha, Cassie, and Jacob because of their parent’s deaths, Turner Hospital builds the authority of these characters, plus Lowell, who was also a child of parents killed in the hijacking. By placing these children and forcing them through the act of terrorism, trustworthiness presents itself in the form of testimonials and first-hand experiences. Following the Air France Flight 64 travesty, the matured children experience overwhelming trauma due to the devastation that took place in the early years of their lives. Operation Black Death played a definitive role in haunting and traumatizing the surviving children throughout the duration of the novel. Based on the time period of the book’s release, Turner Hospital established her authority and believability by writing about a fictitious hijacking involving political factors around the same time as the terrorist attack on New York City’s World Trade Center. The parallels between the two incidents share similarities, primarily revolving around the collateral damage suffered on the national level of concern. However, the author diverges her story from ongoing political matters by causing the terrorism to lead the government into an engagement with the enemy. Throughout the time spent in captivity of their captors, the hostages face an onset of statements about their government’s decision to ignore their confinement, while hiding the truth from public news services. Because of this, the story adds a bit of curiosity and sedition when comparisons rival against conspiracy theories of the September 11th attack on America. In order to persuade her audience, Turner Hospital applied the rhetoric of logos by introducing a logical progression throughout the story in the form of character logic and reason. At the beginning of the novel, the reader claims to very little background information to the plot. However, as the storyline progresses, they learn of the shock associated behind the hostage situation. Like the attacks on the World Trade Center, safety preparations failed the victims in the end. So, it seems fitting for the author to end the novel by writing, “What possible preparations can be made?” The beginning of the novel focuses on how an attack like the one described can occur, but the end shifts its attention to preparing for what might happen tomorrow. The logical progression within the novel aids the author in controlling the mind of the reader, while allowing it to flow freely along with the plot.
In a sense, Turner Hospital attempts to lead the reader down various paths of logic and reason to keep the thrilling mystery of the story alive. However, she refrains from warping the mind to follow a single pathway of logical analysis. Surely, the reader freely chooses and determines their feelings towards characters, situations, and outcomes. Yet, if the author failed to grasp some of the control over the reader’s thought progression, quick assumptions and overt fabrications of the truth would distort the narrative and confuse her audience. Although, a creative tactic in thriller novel prose allows the writer to lead the reader down stray paths in an attempt to conceal the truth until it becomes revealed later in the
plot. Essentially, linguistics excel best when the author utilizes multiple tools of rhetorical analysis at once. In Due Preparations for the Plague, Turner Hospital differentiates her writing by integrating ethos, pathos, and logos together in different scenarios. For example, in the chapter three of the sixth book, the tapes Lowell and Samantha decide to watch include footage from CBS news of the hijacked Air France flight. By using a credible, renowned news source, the author establishes the credibility of the tapes for both the characters and the reader. Likewise, the content of the news report presents a graphic, disconcerting footage of a plane explosion and the introduction of ten remaining hostages held in Iraqi captivity. This message conjures the emotions of Lowell and Sam, as well as the reader, which serves as an example of ethos. Likewise, Turner Hospital later utilizes the rhetoric tools of logos and pathos to announce the deaths of the remaining hostages. In their final moments, each captive faces the decision of dying due to gas exposure over time, or speeding up their death by removing their mask. Each victim choosing to accept their death spends their final moments talking into a camera to share their last words with their “viewers”. By allowing the characters to give a final speech, the author introduces an overly emotional setting mixed with a logical analysis of their final thoughts. The testimonies ranged from telling stories to clearing consciences, but each involved an intentional amount of logical progression eventually crippled by emotion.
In 102 Minutes, Chapter 7, authors Dwyer and Flynn use ethos, logos, and pathos to appeal to the readers’ consciences, minds and hearts regarding what happened to the people inside the Twin Towers on 9/11. Of particular interest are the following uses of the three appeals.
In this particular case, the plot is satisfying particularly due to the presentation and buildup of suspense throughout the book and also due to the usage of foreshadowing of future events. In detail, Anthony Horowitz’s use a particular presentation of suspense in the manner of building up one’s urge to read more and then releasing the demand in a series of decisive events. In other words, Anthony Horowitz builds up such urgency in the reader by first presenting events that do not reveal many details other than the environment and the character actions, which leads to the reader wanting more action. In an example, such style is used when Alex first meets the Aussies at the barbecue. The Australians, who are SAS recruits, invite Alex to an afternoon barbecue at a beach after Alex meets up with ASIS. The men, however, act strangely during the gathering and command Alex to perform bizarre acts that one would simply not think of. Furthermore, the crew landed on a restricted military operation zone, which is off limits for non-military personnel. Secondly, the same style is brought about when Alex explores the cargo ship of Scorpia entirely by himself with only his thoughts and statements. And lastly, such suspense is built up when Alex is formulating a plan to escape the snakehead hospital alone and with no M16 assistance. Evidently, by describing the character's thoughts and environment, Horowitz creates a sense of urgency and vagueness within the reader that wants the full truth of the situation. Correspondingly, Horowitz releases the urgency that is built up within the reader by disposing of the vagueness in a series of petrifying events. In this situation, Horowitz releases the suspense that is built up within the barbecue scene by allowing the area
In Brian Turner’s poem “Jundee Ameriki” (American soldier), he gives gruesome details of a situation that triggered posttraumatic stress disorder in a soldier of war. The poem, written in 2009, addresses a suicide bombing which occurred during the War on Iraq in November of 2005. At first the poem shares the events of his doctor’s visit. While getting the shrapnel fragments removed, the soldier is quickly reminded of the horrific events that led to the injury. The poem then begins to describe the emotional effects of posttraumatic stress disorder. The narrator uses symbolism and the structure of the poem to demonstrate how the emotional pain of posttraumatic stress disorder is much greater than the physical pain it causes (even if the emotional
Throughout the story Stevenson portrays the prisons, prison guards and the prison system through his use of word choice. The structural style of the prison described through the use of gothic language, conjuring up dungeon type location, often times embellishing the actual conditions of the prison. He also used partial language describing the demeanors of the guards as harsh and uncaring. Stevenson also employed a series of shocking facts to appeal to the reader’s emotion, having them overlook his stylistic choices in language. These stylistic word choices retracts from Stevenson’s ideas of necessary reform, portraying him more as a story teller rather than an expert, which is detrimental to a his cause when an expert is clearly needed for a complicated subject like prison reform. His overuse of subtle prejudices, through his word choice was ineffective devaluing his argument as a
Readers develop a compassionate emotion toward the characters, although the characters are detached and impersonal, due to the tone of The Road. The characters are unidentified, generalizing the experience and making it relatable – meaning similar instances can happen to anyone, not just the characters in the novel. McCarthy combined the brutality of the post-apocalyptic world with tender love between father and son through tone.
Green drags the reader right into the text from the very beginning, and very skilfully keeps the reader engaged to the end of the introduction. With varied techniques to convey his message, Green is able to summarize the novel and grab attention in the few opening pages.
The effectiveness of this compacted novel is greater than those of a thousand paged. The story within this book is not entirely unfamiliar,
...h. Some readers don’t even read the Epilogue, which in turn leaves her argument silent on the ears of some of her readers. Despite being in the epilogue, Turner brings out in great detail the events she thinks happened to the mysterious journal.
In today’s society the word “terrorism” has gone global. We see this term on television, in magazines and even from other people speaking of it. In their essay “Controlling Irrational Fears After 9/11”, published in 2002, Clark R. Chapman and Alan W. Harris argue that the reaction of the American officials, people and the media after the attacks of 9/11 was completely irrational due to the simple fact of fear. Chapman and Harris jump right into dismembering the irrational argument, often experienced with relationships and our personal analysis. They express how this argument came about from the terrorist being able to succeed in “achieving one major goal, which was spreading fear” among the American people (Chapman & Harris, para.1). The supporters of the irrational reaction argument state that because “Americans unwittingly cooperated with the terrorist in achieving the major goal”, the result was a widespread of disrupted lives of the Americans and if this reaction had been more rational then there would have been “less disruption in the lives of our citizens” (Chapman & Harris, para. 1).
When the terrorist attacks of September 11, 2011 rocked New York City, Pennsylvania, and Washington D.C., the word “tragedy” was used on a grandiose level around the world. For the people who lived close enough to experience the events first-hand, they may not have even called it a tragedy; perhaps they called it a misfortune, retaliation, lack of a strong government, unreal, or maybe even rebirth. In the coming years after the attacks, everything between standing united as a nation to declaring a war had flourished; but how has that left us - the land that has no distinct ethnicity - feel about each other? Why is it that fear is usually missing in the affective mnemonics of memorial sites, which, after all, are signifiers of some of the most horrific violence in human history? Do memorials dedicated to these attacks bring us together in terms of understanding, or is it just continual collective grief? This paper will cover the global complexity of the 9/11 attacks, the Empty Sky 9/11 Memorial in Liberty State Park, NJ, and factors and theories that memorials do influence a sense of complexity. The ground of public memory is always in motion, shifting with the tectonics of national identity. I chose the Empty Sky 9/11 Memorial as my topic of observation as I, personally, visit a few times throughout the year to pay respects to people I personally knew who perished in the attacks to the World Trade Center. I was in the 5th grade when this happened, and had absolutely no clue what was going on until my father did not return home until two days later with a bandage wrapped around his head and his devastating recollection of what happened just before he arrived to his job. The emotions that I feel within myself compared to others will...
The disturbing description of the serial killer is recited without any waver whatsoever away from the intent only to divulge information. The narrator makes no personal comment and expresses no opinion about Howard. After the narrator has given the information to the listener, the narrator leads the train of thought right back to the work environment. The idea of a horrible mass murderer is interrupted by his typing ability. This continued contrast now goes past unstable and borders on psychotic.
...was a desperate act of a lonely, insane woman who could not bear to loose him. The structure of this story, however, is such that the important details are delivered in almost random order, without a clear road map that connects events. The ending comes as a morbid shock, until a second reading of the story reveals the carefully hidden details that foreshadow the logical conclusion.
For a second, the U.S. stood still. Looking up at the towers, one can only imagine the calm before the storm in the moment when thousands of pounds of steel went hurdling into its once smooth, glassy frame. People ran around screaming and rubble fell as the massive metal structure folded in on itself like an accordion. Wounded and limping from the 9/11 attacks on the World Trade Center, America carried on, not without anger and fear against a group of innocent Americans, Muslim Americans. Nietzsche’s error of imaginary cause is present in the treatment of Muslim Americans since 9/11 through prejudice in the media, disregard of Muslim civil liberties, racial profiling, violence, disrespect, and the lack of truthful public information about Islam. In this case, the imaginary cause against Muslims is terrorism. The wound has healed in the heart of the U.S. but the aching throb of terrorism continues to distress citizens every day.
Lawrence Hill Books, c2009 Bracken, Patrick and Celia Petty (editors). Rethinking the Trauma of War. New York, NY: Save the Children Fund, Free Association Books, Ltd, 1998.
... the reader using the familiar and comforting phrase and then immediately hammering home the gruesome truths of the conflict. By creating this intentional disparity, Owen’s aim of shocking the reader into believing and accepting his viewpoint is very much closer to being achieved.