First-person narrative

multitude of levels. Zusak demonstrates that for words to have the power to heal one must first experience the destruction caused by them in order to understand human nature thus resulting in rebirth. Zusak uses first person confessional point of view to allow one to feel connected with the emotions and words that are being depicted. “It kills me sometimes how people die” (Zusak 464). The use of first person confessional portrays the part of Zusak’s message…

himself transformed into a cockroach and cannot attend work which in turn ceases his role as the provider of the family. The surrounding characters’ faulty ideologies of Bartleby and Gregor creates conflict seen through the contrasting styles of narrative and characterization; representing the loss of…

The rejection of the linear narrative of traditional history enabled Baker to explore the relationships between history and memory by incorporating elements of the Midrash (part of the Jewish oral tradition), Talmud and a variety of forms and styles to acknowledge the multitude of perspectives…

within herself for her freedom and independence. At the center of the story is a narrator who remains anonymous until the end of the story. At the end Gilman will “force readers to reconsider Jane’s entire narrative by means of the story’s conclusion, when Jane finally speaks her own name for the first time as she creeps over her husband’s inert body” (Barth 4724). Gilman uses point of view, irony, and symbolism to help the reader understand the role of women at the turn of the twentieth…

property of the field” (446). She also stated how destiny is “accepting all that we are and acknowledging all we have experienced, however shameful” (Naiburg 447). Geoff Dyer main argument in “My Secret Life of Crime” was that sometimes life gives a person a second chance, and by doing so, one has the opportunity to get their life together and be somebody in life. One may look at his or her situation as fate or as destiny. The argument is achieved in the…

strength, lives with her four daughters. In her depiction, Castillo uses magical realism to blur the lines between the real and the unreal in order to enable her characters to challenge the political and religious establishments. Castillo’s powerful narrative encourages Sofi, who is portrayed as a powerless, faceless, and voiceless woman, to resist sexism. Castillo reignites Sofi’s ambitions to search for her true identity within a patriarchal society. In So Far From God, Ana Castillo empowers…

Open City by Teju Cole is undoubtedly a narrative without a concise plot for the reader to distinguish a climax or resolution. Instead, the protagonist narrates his observations as he roams New York City and at one point Brussels and colorfully references an inconceivable number of literary, musical and artistic works. This style allows Teju Cole the flexibility to probe a broad array of subjects such as slavery, death, denial of the wrong one does, racism, genocide and the post 9/11…

Gone Home is a narrative exploration game by the company Fullbright that stars Kaitlin Greenbriar returning to her family home after being overseas. Gone Home is often questioned on the complexity of its game play, and is often thought to be more of an interactive story, however it does fulfill the requirements of a game and I will be discussing various game play mechanics in Gone Home such as the different objects and their attributes, rules for game play and the overall design that help to…

animals on social media, how social media can shape new musical and or social identities. Throughout the semester we learned a lot about the theoretical significance of rhetoric and how we can use theories such as fragments to discuss the different narrative discourse that surrounds them. However, one is that interest me, that I believe can do with some unpacking is a comic book character’s role in rhetoric. Since the genesis of Marvel and DC the…

Because of its social and political aspects, Kalidar is a modern work that has some characteristics of Greek romance, in its Bakhtinian definition, such as the importance of chance, fate, and “sudden time.” Bakhtin uses two terms in order to explain the time in Greek romance, “suddenly” and “at just that moment” (Dialogic Imagination 95). From them, he concludes with the other concept, “adventuristic chance time” through which human life changes mostly based on chance (Ibid 94). Moreover, the…