Crusoe’s shaky boundaries between his psyche and the world outside place him simultaneously as a god-like demonic figure, a ruler, and a subject to his own Self, made concrete in the form of the island and his interactions with it.
While Anne and Tess may wish to pursue one course of action, they are influenced by those around them to do what is best for others; the women do not make decisions with their own personal interests in mind. Both Austen and Hardy’s novels demonstrate that a woman’s role in society is to improve the lives of those around her, regardless of what she would like to do.
Goffman’s labelling theory can be used to explain the process of Monster’s stigmatization that leads to the internalization of his monstrous label and deviance.
Brooke’s appeal to patriotism in his writing, his use of literary devices and the historical context of his situation show that poetry was used to recruit soldiers for the army.
“In Glass”, a sonnet by Catherine Tufariello, paints a picture of a couple burdened by their infertility finding hope and beauty through in vitro fertilization … The poet uses imagery, diction, and the structure of the poem itself to her advantage in order to orient the reader towards an understanding of the couple’s perspective on their journey towards parenthood.
Williams exposes the damaging effects of the rigid southern ideals of femininity through Blanche’s inability to conform to the constraints on aging, addiction, and sexual urges.
Munro achieves this character development by employing satire and profanity to highlight the sacred; by instilling symbolism in the locations visited by Jinny throughout the day, and by according her with rascally tendencies once the process has begun. These are all characteristics of this type of episodic recounting of adventures on the road.
The goal is to get people using the transit network and hopping on BIXIs without ever giving it second thought.
David Sedaris’ masterful use of narrative and stylistic techniques such as diction, rising and falling action, and foils provide the reader with a multitude of opportunities to understand the story’s main theme from many different angles.
Goya’s work stands out as the purest form of bestial cruelty and madness, where any form of reason cannot justify the act being performed by this supposed god. In other words, Goya’s structuring of Saturn’s body establishes Saturn’s transition from god to monster.
I would suggest instead that it serves to alleviate moral responsibility from the artwork; after all, a book can’t make you wicked, but if you are predisposed to wickedness, it may reflect your own influence back unto you.
Different social phenomena, including anxieties relating to the Other, depictions of strength and masculinity, and sexual taboos are illustrated in the epic in ways that allow the reader to analyze the fears of the storytellers relating to the established system.
As Frodo crosses various thresholds, J.R.R. Tolkien demonstrates not only how each one brings Frodo farther on his journey, but also how they mark stages of his personal growth and reflect the types of transformation that take place.
“Come Along with Me” is tied to The Haunting of Hill House and We Have Always Lived in the Castle through characters that are involved with the occult, a connection that influences their struggles with identity.
Through her use of fertile denotative and connotative language as well as comparative imagery conveyed through metaphor and simile, Dungy suggests that the resemblance between the re-birth of an ecosystem and giving birth to another human being is considerable.