Woolf’s structural decision to narrow the perspective of the story onto selective characters before the narrative lens pans back to the garden reflects a modernist focus on society rather than the individual.
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Through an intricate poetic structure, heavy-handed symbolism, and the fusion of protagonist and speaker, Cohen conveys the degradation of the protagonist’s mind and body and suggests that displeasure in the living world, brought about by poetic ponderings, elicits the destruction of the divine.
Kafka charges eating in his personal and fictional life with meaning and power: he uses food and nourishment to criticize the gender hegemony in early twentieth-century Prague, which involved an inexplicit control over women by men, manifesting in males performing duties outside the house and women’s responsibilities being limited to inside the house.
Shakespeare demonstrates the emancipatory potential of returning to the natural world. He therein instates an ecological discourse used to evaluate humanity’s relationship with nature, arguing that not only is humanity subservient to nature, but that it can also benefit from encounters with it.
Emerging out of two decades of critical commentary are two parallel interpretations of Engel’s novel: Bear as romance, and Bear as realism.
Dictee strategically allows for both an essentialist and a constructivist view of national identity to coexist in order to resist imperialism and assimilation for those who have been “transplant[ed],” or extracted from their “lineage” (20), and no longer fit seamlessly within one national identity.
Much of The Rings of Saturn is oriented towards answering this recurring, though often only implied, question of how we might comprehend and locate ourselves within history, given that our cognitive capacities seem so limited relative to the scale of such an object.
There are scarcely more important questions for an Early Modern woman than how best to kill her lover. At a minimum, this is the impression one gets from reading certain texts by Aphra Behn.
À Rebours and The Picture of Dorian Gray reject the strict mimesis of the naturalist and realist schools while their protagonists function as cautionary figures against the moral idolization of the artwork.
Although Marjane in Persepolis narrates her own historical story in a way that Art in Maus does not, both works represent childhood by selectively detailing certain historical events that they did not personally witness, imbuing literal and metaphorical childlike imagery into their illustrations, and exploring the nuances of parent-child relationships once the latter are also adults.