1. may instigate and further advance the plot as a result of the death of the protagonist’s surrogate as displayed between the case of Achilles and Patroclus.
2. “Characters are not people” but are “products of writers’ imaginations – and reader’s imaginations.” Characters are neither real nor alive. In fact, the only reason characters are present is to further serve a role in fostering the plot line and are not conclusive themselves.
3. The death of the surrogate provides an opportunity to grow for the protagonist. For instance, in the cases of Top Gun, Saturday Night Fever, and Rebel Without a Cause, all three films feature young men in their battles against their world. However, the lessons they learn when their actions cause the deaths …show more content…
Through the reference to Toni Morrison’s “Beloved,” Foster asserts that “violence is one of the most personal and even intimate acts between human beings;” however, such violence still retains cultural, social, and symbolic significance while bidding to communicate the illogical cruelty of our society and of the indifference each individual’s death has to the distant stars and plants. In fact, all violence may “encode a broader point about the essentially hostile or at least uncaring relationship we have with the universe.”
2. There are two types of violence potent in literature: the former consists of characters enacting upon the other – shootings, stabbings, bombings, accidents – and the latter where the progression of plot points inevitably push some of the characters to genuine violence – Frost’s buzz-saw accident.
3. Every struggle with violence is between two worthy forces – either with oneself or with the outside world. The former is evidenced through William Faulkner’s violence which reflects racial tensions in the Southern United States which can lead to self-harm and suicide to escape the oppressive system in which one …show more content…
1. If ever doubting over the legitimacy of whether something in a piece of literature is a symbol, it likely will turn out to be one. While certain symbols work candidly, not all have “a limited range of meanings.” If a symbol can be reduced to one mere meaning, then it is an allegory –literature with one hidden meaning behind it, either social or political, that the reader is meant to discover. Two examples include The Pilgrim’s Progress and Animal Farm.
2. However, symbols are subject to myriad interpretations which is productive. Indeed, a contrast of outlooks brings about constructive, mind-provoking conversations to augment the literature discussion. For instance, in E.M Forster’s “A Passage to India” where an assault takes place in a cave. Such a cave, due to the audience’s diversified personal backgrounds and interpretations, may symbolize primitivism, the turmoil of our minds, the oblivion which might consume one with fright, or racial strains between Indians and White people. Nevertheless, the representation of the cave will be settled by the ingenious, bold insights by each
2. “Characters are not people” but are “products of writers’ imaginations – and reader’s imaginations.” Characters are neither real nor alive. In fact, the only reason characters are present is to further serve a role in fostering the plot line and are not conclusive themselves.
3. The death of the surrogate provides an opportunity to grow for the protagonist. For instance, in the cases of Top Gun, Saturday Night Fever, and Rebel Without a Cause, all three films feature young men in their battles against their world. However, the lessons they learn when their actions cause the deaths …show more content…
Through the reference to Toni Morrison’s “Beloved,” Foster asserts that “violence is one of the most personal and even intimate acts between human beings;” however, such violence still retains cultural, social, and symbolic significance while bidding to communicate the illogical cruelty of our society and of the indifference each individual’s death has to the distant stars and plants. In fact, all violence may “encode a broader point about the essentially hostile or at least uncaring relationship we have with the universe.”
2. There are two types of violence potent in literature: the former consists of characters enacting upon the other – shootings, stabbings, bombings, accidents – and the latter where the progression of plot points inevitably push some of the characters to genuine violence – Frost’s buzz-saw accident.
3. Every struggle with violence is between two worthy forces – either with oneself or with the outside world. The former is evidenced through William Faulkner’s violence which reflects racial tensions in the Southern United States which can lead to self-harm and suicide to escape the oppressive system in which one …show more content…
1. If ever doubting over the legitimacy of whether something in a piece of literature is a symbol, it likely will turn out to be one. While certain symbols work candidly, not all have “a limited range of meanings.” If a symbol can be reduced to one mere meaning, then it is an allegory –literature with one hidden meaning behind it, either social or political, that the reader is meant to discover. Two examples include The Pilgrim’s Progress and Animal Farm.
2. However, symbols are subject to myriad interpretations which is productive. Indeed, a contrast of outlooks brings about constructive, mind-provoking conversations to augment the literature discussion. For instance, in E.M Forster’s “A Passage to India” where an assault takes place in a cave. Such a cave, due to the audience’s diversified personal backgrounds and interpretations, may symbolize primitivism, the turmoil of our minds, the oblivion which might consume one with fright, or racial strains between Indians and White people. Nevertheless, the representation of the cave will be settled by the ingenious, bold insights by each