Alienation In Art: The Concept Of Alienation In Literature

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“Concept of alienation” in Art When we look into the ‘art world’, one can find innumerable literary characters who feel painfully alienated from the social institutions that encircle them. Characters like Jake Barnes in Ernest Hemingway’s The Sun Also Rises (1926); Caddy Compson in William Faulkner’s The Sound and the Fury (1929); and Stephen Dedalus in James Joyce’s A Portrait of the Artist as a Young Man (1916). The alienation experienced by these characters sometimes goes beyond, and feel alienated from God himself. Possibly, the severest form of character alienation lies in characters like Meursault in Albert Camus’s The Stranger (1942), who feels alienated from everything with which he comes into contact: his family, his society, and…show more content…
In a volume of Bloom's Literary Themes, Shakespeare's Hamlet is considered as the 'supreme literary portrait' of alienation, whereas for some, Achilles in the Iliad. Other literary works portrayed as dealing with the concept of alienation are: The Bell Jar ( 1963), Black Boy (1945), Brave New World (1931), The Catcher in the Rye (1951), The Chosen (1961), Dubliners (1914), Fahrenheit 451(1953), Invisible Man (1952), Mrs. Dalloway(1925), Notes from Underground (1864), One Flew Over the Cuckoo's Nest (1962), The Strange Case of Dr Jekyll and Mr Hyde (1886), The Stranger and The Myth of Sisyphus( 1942), The Trial (1925), Waiting for Godot (1949), The Waste Land (1922), and Young Goodman Brown(1835). (Hobby & Bloom, 2009). In addition to this, current British literary works on the concept of alienation include The Child in Time (1987), London Fields (1989), Trainspotting, and Regeneration (Senekal, 2008). Langman's study of punk, porn, and resistance (2008) and Senekal’s study of Afrikaans extreme metal (2011). Pink Floyd’s concept album, The Wall (1979), also deals with themes of social…show more content…
He was a romantic artist, who thought that cinema could be used as a powerful tool for social transformation. Furthermore, he was more acceptable among the illiterate villagers than the intellectual class of Kerala as he tried to different by not heading to market forces through direct relationship with the people. His film. Agraharathil Kazhuthai (1977) made in Tamil, is a pungent satire on the brahminical prejudice and superstition, and his third film Cheriyachente Kroora Krithyangal (1979) revolves around a feudal landlord, who feels endangered by industrialization and Communism, and is shown as a frightened prey of history against the normal characterization as a stereotypical

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