I am going to analyze these two texts from the scope of the captivity narrative as a genre. This idea is very clear in the case of Mary Rowlandson’s text due to it is the most representative work of this genre. Something different happens with THE HUNGER GAMES that can be classified within several genres as we will see below. As Derounian-Stodola defines “the term captivity narrative refers to a literal or symbolic, factual or fictional story in which a captor takes a hostage” (243), which include texts about real events, like Mary Rowlandson’s captivity, or fictional stories like Fenimore Cooper’s The Last of the Mohicans, a fiction about Indian conflict in the American frontier. The fictional side of the term is the part that made me think
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In the case of the Puritan text, this division is based on the removes made during her captivity journey and these markers can express “spatial and spiritual movements” (Davis, 53) from her civilized background into the conflictive and wild Indian lifestyle. As Logan remarks, after several removes that take her further from home and her previous life, the narrative progresses and it “becomes clear that she relates physical space closely to her sense of identity and values” (256). The sections in Katniss’ story are very precise: 3 parts of 9 chapters each one that Henthorne classifies in a very clear way, specifying the meaning of these divisions. Part I called “THE TRIBUTES” introduces the characters and the situation; Part II named “THE GAMES” presents the conflict and from that point it builds up the tension; and Part III entitled “THE VICTOR” is devoted to the climax and denouement of the book (27, 28). The meaning of each of the 3 parts in which The Hunger Games is divided can be applied to the Mary Rowlandson’s evolution and development because she also lives a process of knowing herself. The division that each text makes is very useful for the readers to follow the story but, at the same time, it is a physical representation of the different stages that both women are following from the beginning of their adventures to the end of them where they arise as totally changed human beings after go through some traumatic
In the case of the Puritan text, this division is based on the removes made during her captivity journey and these markers can express “spatial and spiritual movements” (Davis, 53) from her civilized background into the conflictive and wild Indian lifestyle. As Logan remarks, after several removes that take her further from home and her previous life, the narrative progresses and it “becomes clear that she relates physical space closely to her sense of identity and values” (256). The sections in Katniss’ story are very precise: 3 parts of 9 chapters each one that Henthorne classifies in a very clear way, specifying the meaning of these divisions. Part I called “THE TRIBUTES” introduces the characters and the situation; Part II named “THE GAMES” presents the conflict and from that point it builds up the tension; and Part III entitled “THE VICTOR” is devoted to the climax and denouement of the book (27, 28). The meaning of each of the 3 parts in which The Hunger Games is divided can be applied to the Mary Rowlandson’s evolution and development because she also lives a process of knowing herself. The division that each text makes is very useful for the readers to follow the story but, at the same time, it is a physical representation of the different stages that both women are following from the beginning of their adventures to the end of them where they arise as totally changed human beings after go through some traumatic