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Can literature impact society
Can literature impact society
Literature and its impact on society
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In Perchance to Dream, Franzen writes about his struggle to “engage with the culture” in his writings and subsequently ends up “torturing” his story by overloading it with every possible social issue, yet Baker produces an culturally engaging novel seemingly effortlessly, without agonizing over the need to incorporate and satirize dozens of social ills. However, what is meant by ‘cultural engagement’ and the standards for achieving such a lofty goal are under debate.
Simmons describes The Mezzanine as being so exclusively personal and mundane “that any larger historical frame…is gestured at only through the irony of its absence.” Other critics have diagnosed Baker’s writing in The Mezzanine with ‘descriptivitis,’ regarding Baker’s digressions as a “general clogging or stalling” in which "one thing leads, not to an end, but to another." And many have lamented The Mezzanine’s lack of plot, character development, and emotional interplay, three features that usually distinguish great stories, yet the beauty of the
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I whole heartedly agree with Howie- when are the holidays honoring the dead greats in the field or perforation? Why isn’t Richard Drew, the inventor of transparent adhesive tape a household name? Why are these men of unpretentious inventions so often overlooked in our culture? As O’Connell says, “the point is that such innovations do make an appreciable difference in our lives, and, it might further be argued, a much greater difference to the average person’s life than the type of enterprise for which festschrift volumes are typically the
Good evening and welcome to tonight’s episode of Learning Literature. Tonight we will be celebrating the 20th anniversary of Gattaca by analysing the techniques text producers employ to construct representations of social issues relating to marginalised groups. We will focus on two classic pieces of literature, Ken Kessey’s, One Flew over the Cuckoo’s Nest, as well as Andrew Niccol’s Gattaca. Through a range of techniques, the text producers have included representations of freedom and independence, power, as well as discrimination in each of their respective texts.
Academic colleagues like, David Greenburg, would have been exasperated, part from envy of McCullough’s ability in not only story telling but to sell and he would object to the approach of this book. The colleagues would tear at the lack of compelling rationale for an overused topic, as well as the scene setting, and meager analysis.
In Claudia Rankine’s 2014 book, Citizen: An American Lyric, she promotes the idea of a “post-race” society, captivating the reader into a position of self-reflection. The lyricism of her prose explores the definition of the titular ‘citizen’, thereby encouraging and promoting change. Her incentive is not to change the minds of readers, only broaden scope of the world they already have, honing on the undeniable reality of the world. She invites her reader to emotions of grief and outrage, which leads the reader toward self-awareness. Citizen seeks to inspire her audience through the presentation of identity politics in the modern-day. It is a work premised on self-awareness to unconscious thoughts and actions. Her use of the second person,
Teresa De Lauretis defines the space-off as “spaces in the margins of hegemonic discourse, social spaces carved in the interstices of institutions and in the chinks and cracks of the power-knowledge apparati. And it is there that the terms of a different construction [...] can be posed (De Lauretis 232). This paper examines Angela Carter’s use of the space-off in “The Company of Wolves”. I begin by showing how Carter employs fairy tale convention in order to establish a fairy tale space, particularly in terms of gender norms and didacticism. I proceed to examine the ways in which she reveals aspects that are marginal to this space. Marginal, meaning that they exist peripherally, without supporting or contributing to the space, thus threatening the space and its place at the center, though they may never dismantle it. I finish by demonstrating how the elements come together in the creation of an alternative narrative.
Stein and Pablo Picasso, her friend and contemporary, both used masking as an aesthetic means by which to alter the nature of an initial subject. Inspired by African masks, Picasso painted a mask on a portrait of Stein, while Stein rewrote her own story, first captured in Q.E.D., into the black characters of the central tale in Three Lives. In doing so, North argues, Stein both invited her white readers to live in to her characters, and allowed herself to see both race and gender as a “role,” not as a biologically predetermined attribute. At the same time, the literary and linguistic mask establishes itself as representative of freedom from European “convention” and as an example of nature and freedom, but also as a construction, a cultural convention and restriction fin and of itself. The usage of the mask, for North, represents the breaking down of the dichotomy between “impersonality and individuality, [and] conventional representation and likeness.”
Breaking away from society’s “so-called” customs/norms incorporates a large array of valor, inspiration, and most importantly, individuality. Society places normalities upon its people in order to maintain stability and often times, tradition. More specifically, gender roles, such as women raising children; men being the only source of profit, must also be broken in order to establish uniqueness and distinction in a conventional- themed culture, such as Victorian society. Kate Chopin’s The Awakening is perhaps the only novel that fully illustrates the struggle that is leaving Victorian ideals and tradition from a woman’s perspective. Although often considered a feminist text, The Awakening can be viewed as a novel that depicts and promotes individuality using symbolism. Instead of plastering readers with dull literalism, Chopin uses symbols, such birds and music, to relay subtle ideas. Within each fictive part, Chopin provides symbolism that readers must comprehend in order to appreciate the novel as a whole.
Parker, Robert Dale. How to Interpret Literature: Critical Theory for Literary and Cultural Studies. New York: Oxford, 2011. Print.
As with many short stories, Raymond Carver’s “Cathedral” only has a few pages to develop his main character and create a scenario he or she must learn from or achieve something from or change because of. In such a short amount of space, word choice is integral in constructing a solid impression of the characters and their personalities in the reader’s mind. Carver’s simple use of language and sentence structure combined with his choice for point of view creates an intriguing tone and believable character interaction.
Normally, we welcome quirky narrators to share our autumn evenings; but this poor soul is on a slippery slope to life in an institution. An early nod to this is found here, “…and I d...
Mostly everyone has a hero, role model, or someone to look up to. These people can significantly affect your lifestyle, and what you do. The Avalon Ballroom by Ann Hood displays this type of character as the father of Lily, the protagonist. This highly respected patriarch inspires her to do many things, like to go to college at Princeton University just as he did.
One of the great themes of the modern Western literary tradition is that of the artist's independence. Writers throughout history have struggled with this problem in their own lives. Often coming from the upper classes, they may decide to give up a life of relative comfort and financial security in order to explore the wilds of the human spirit through literature. They must choose between financial and emotional satisfaction. This is the decision made by the protagonists of both Hermann Hesse's Narcissus and Goldmund and Kate Chopin's The Awakening. In both of these novels, the protagonist leaves mainstream society behind in order to become an artist, perhaps mirroring the lives of the authors themselves. But it is not the mere physical departure from mainstream society that is the most important factor in these novels. What is most important is the emotional and mental distance that Goldmund and Edna place between themselves and their respective cultures. In both of these novels, the artist is portrayed as a renegade spirit, leaving behind the strictures of their cultures of birth in order to pursue art.
Stillinger, Jack, Deidre Lynch, Stephen Greenblatt, and M H. Abrams. The Norton Anthology of English Literature: Volume D. New York, N.Y: W.W. Norton & Co, 2006. Print.
Wilson, M. & Clark, R. (n.d.). Analyzing the Short Story. [online] Retrieved from: https://www.limcollege.edu/Analyzing_the_Short_Story.pdf [Accessed: 12 Apr 2014].
Self awareness of a person’s identity can lead to a challenging scope of ascertaining moving forward: the moment he/she has an earth- shattering revelation comprehending, they of African descendant and they are a problem. The awakening of double-consciousness grew within the literary cannon sensing the pressure of duality in the works of Native Son and The Bluest Eye, Richard Wright and Toni Morrison respectively create two characters who deal with this struggle. It is illustrated through both text how society creates situations that impose the characters Bigger and Pecola encountering extreme measures in the mind frame of double consciousness in their pursuit of survival physically, the search for identity, the desire of self- expression and self-fulfillment.
Culture molds the character of writers and gives a variety of different perspective on certain life experiences. In Julia Alvarez’s short story Snow, Yolanda, an immigrant student, moved to New York. While attending a Catholic school in New York, bomb drills were performed. The teacher would explain why these drills were important. Yolanda later found out that her first experience of watching snow was not the best experience one could possibly have.