“Literature is the question minus the answer.” This was said by Critic Roland Barthes. The query is, what is the question? In the book The Life All Around Me by Ellen Foster, which was written by Kaye Gibbons, it focuses on a gifted girl who, after a long and hard childhood, is now getting the life she wants with a new mother. The book focuses on Ellen, the main character’s, attitude and “go-get-it” mindset. But how much does your attitude and effort really influence your future and accomplishments
writing a text, or taking a picture. Due to the many changes over the years, it is only natural that it will further develop as an art. The conventions and rules simply add value to the art of rhetoric and the way in which it is currently perceived by changing and adapting over time. There are several ways to explain what an art is however; The Oxford Dictionary says art is ‘the expression or application of human creative skill and imagination, typically in a visual form, producing works to be appreciated
by Timothy Findley investigates the underlying assumptions in regards to the writing of history, before the rise of the postmodernism questioning of the past. Commentators have analysed the problematic realist presumptions of history in the literary work, however Findley unsettles claims of authenticity by the biographical incorporation of the protagonist’s, Robert Ross’s, story. In 1915, Robert Ross, a teenager, decides to enlist after the death of his hydrocephalic sister Rowena because he feels
When starting a novel, or any piece of literature, doing so with Barthes’ observation that any work can simply be looked at as the question minus the answer leads to an interesting reading experience, and a deeper understanding of a novel. This observation applies especially well to Kurt Vonnegut Jr.’s Slaughterhouse-Five which raises the question on whether or not humans possess any real free will. Vonnegut, at least in the realm of this novel, seems to believe that there is no free will, and that
In Postmodernism and Consumer Society, Fredric Jameson proposes the idea of pastiche as a new component of postmodernism. Although both mimic and twitch other styles, different from parody, pastiche remains neutral, devoid of ulterior motive or satirical impulse, i.e. it is satisfied with the appropriation of previous fashions or styles, without attempt to mock or critique them. Based on the death of subject and the impossibility of parody, the notion of pastiche, however, arouses the question about
director is in charge of arranging and co-ordinating. Ariadne is the screenwriter who constructs, Saito budgets the movie, Arthur harmonizes and adapts everything, Eames dressed in his disguises plays an actor, Yusuf who is technologically advanced works in special effects and Fischer is the audience. The idea of implanting a dream into someone’s unconscious can be paralleled to implanting ideas into our minds. The scene with Ariadne and Cobb in Paris can be seen as a metaphor for cinema when she creates
curious words that the narrator begins chapter 13 of The French Lieutenant’s Woman. As reader, one is puzzled as surely the narrator must know. The oddness only increases as he continues on to talk of the very writing process. The novel transforms into a work of metafiction and one begins to wonder, who actually is speaking at this point. It could be Fowles himself, as the responsibility of writing the novel does lie with him, “it is because I am writing in […] a convention universally accepted at the time
Westwood and Malcolm McLaren put the punk ideas into their design ventures. In the 1975, McLaren launched the Punk music group called Sex Pistols which became the icon beyond Britain. They were wearing outrageous clothes and all these clothes were come from the shop called Sex that Vivienne Westwood opened on the Kings Road, London. That shop sold leather and rubber fetish goods, especially bondage trousers. Including rubber-wear for the office. Ms. Westwood gave world the fresh shock at that time and