...The World of Fiction The fiction is a literary genre which through shaping the character, narrating story, and describing the environment to reflect life, to express ideas. It uses the narrator's language to expand the themes and express thoughts and feelings. It is the reflection of art and performance of the social life. Fiction can reflect specific social phenomenon by creating a significant character. Hawthorne shows us all kinds of social phenomena in the society and a variety of characters, especially in his own work Rappaccini’s Daughter to develop a lifelike image of women. He explored through the interpretation of their respective fates, women with a variety of personality types living in a variety of circumstances. His unique style specializes in psychological description and reveals his characters’ inner conflict. Fiction can use various symbols to imply real things happened in the world. Hemingway’s short story--- Hills like White Elephants fully reflects his unique and classic writing style. The story seems simple, but actually artful. Hemingway captures the essence of the plain dialogue of usual life, so a reader may be under an illusion that he was present at the site of the story. And he adds sentiment into concise language. In Hills like White Elephants, the perfect symbolism about 'white elephant' and the characteristic ending constructed by Hemingway further gives prominence to his ability in language Fiction can warn people by using conflicts...
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...Fiction or reality? We know, that generally speaking nothing in romans comes out of thin air; there is a long tradition in literature of using real persons and events and turning them into fiction. Or as Virginia Woolf said: “Fiction is like a spider's web, attached ever so lightly perhaps, but still attached to life at all four corners." There was a time, where you could count on, that (ikke that efter komma. Måske “ conut on a book being either documentary or…”) a book either documentary or fiction, but that is not how it is anymore: now it can both be documentary and fiction, but thus also neither documentary nor fiction. This is the genre, the literary scholar Poul Behrendt has called ‘the double contract’, between each writer and his reader is an implicit agreement – an unwritten contract which has traditionally gone out that either everything in the book was true – something that had taken place in the(evt. Slettet) reality – or the opposite: everything was fabricated. The double contract means that a creation easily can be fiction, a novel, but at the same time also has element which point at a concrete reality behind the fiction. (But) what is going to happen when you use real people – with naming names in novels? Can you write anything, as long as you call the text a ‘novel’? The lack of clarity between autobiography and prose, between reality and fiction, opens up new challenging opportunities for literature. A translation from danish to...
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...Facts, fiction and coding When we turn on the TV, we immediately decode what sort of program we are watching. If we watch “Paradise Hotel”, we expect a reality show and everything we associate with the genre. We expect drama, fighting, sex, betrayal and so forth. If we turn on the News, we expect to be fed with factual information about the happenings in the world. If we see a film, we also have certain expectations. When we see a romance film, we expect love. When we see an action film, we expect a fast pace and violence. When we see a horror film, we expect to be scared and so forth. We call these genre expectations. Within the world of media/literature, we deal with two major categories, facts and fiction. Facts tell us something about events and situations, which have already happened; facts therefor have an obligation to reality. Facts involve factual information, which can be subsequently checked for accuracy. However, fiction is made up where neither the people nor the events have root in the real world. Fiction therefore has no obligation to be factually correct and we cannot subsequently check for accuracy. When we watch films, TV programs or read texts, a sort of contract of understanding occurs. The contract is defined as agreements where the sender, in accordance with the receiver, agree on whether the film/text is fact or fiction. To make sure the receiver and sender are in accord, we use fact and fiction coding to decipher/ sort out fact from fiction and vice...
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...THE ART OF FICTION by Henry James [Published in Longman's Magazine 4 (September 1884), and reprinted in Partial Portraits (Macmillan, 1888); paragraphing and capitalization follow the Library of America edition.] I SHOULD not have affixed so comprehensive a title to these few remarks, necessarily wanting in any completeness, upon a subject the full consideration of which would carry us far, did I not seem to discover a pretext for my temerity in the interesting pamphlet lately published under this name by Mr. Walter Besant. Mr. Besant's lecture at the Royal Institution--the original form of his pamphlet--appears to indicate that many persons are interested in the art of fiction and are not indifferent to such remarks as those who practise it may attempt to make about it. I am therefore anxious not to lose the benefit of this favourable association, and to edge in a few words under cover of the attention which Mr. Besant is sure to have excited. There is something very encouraging in his having put into form certain of his ideas on the mystery of story-telling. It is a proof of life and curiosity--curiosity on the part of the brotherhood of novelists, as well as on the part of their readers. Only a short time ago it might have been supposed that the English novel was not what the French call discutable. It had no air of having a theory, a conviction, a consciousness of itself behind it-of being the expression of an artistic faith, the result of choice and comparison. I do...
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...The Truth of Fiction “This self-encounter which I consider the major source of the potency and success of beneficent fictions may be defined also as imaginative identification. Things are then not merely happening before us; they are happening by the power and force of imaginative identification, to us. We not only see; we suffer alongside the hero and are branded with the same mark of ‘punishment and poverty,’ to use Tutuola’s familiar phrase. (Truth of Fiction, 144)” According to the author’s statement and the interpretation of this passage, the force and power behind our emotions and imagination makes things seem vivid and alive to us, even if they are surreal. Our imagination and interpretation of what we see or read makes us relate to what we see. Like watching a movie, when we see the hero or heroine get shot or going through some kind of problems, the force and power behind our imagination makes us relate strongly to the character and even drives us almost to the point of crying for the hero/heroine. According to the author, things don’t just happen in front us or before us, our imagination makes the situation seems so powerful that it feels as if we’re the one going through the pain, not the actor/actress in the movie or hero/heroine in the book. Our imagination is very powerful and it makes surreal things seem real. Even though we know it’s just a movie and it’s not real, we still suffer along with the person in the movie. This is not because the person playing the...
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...Ng Man Tsun Jeff Professor Boyle ENG-112-08 May 5, 2014 Reading Fiction To read a fiction there were seven major things we need to get attention of. They are Tone, Plot, Characterization, Setting, Point of View, Irony and Theme. It helped you a lot in understanding what does the author try to talk about. First of all “Tone” is the very first element that would give readers impression and mood of the reading. Readers can read where does the Author and character’s altitude toward. It always provide emotional figure which clarify the situation of the character and the development of the story. Next is definitely the “Plot”. It is the basic make up of the story. Simple form of readings in order is exposition, climax then denouncement and in between there is raising action and falling action, it helps reader understand the development of the story clearly. The third element is “Characterization”. It is the concept of character of creating narrator. It specifically describes the personality of specific characters. It provide hence for readers to how the story develop in a character’s perspective. Then it is “Setting”. Setting usually included historical moment, geographical location and culture of the story happened and takes place. It helps to provide background and mood of the story. A “Point of View” make reader familiarizing the effects that may affect the situations of the characters was about the perspective of the narrator. And readers would judge whether who the...
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...Horse Winner” ENGL 102: Literature and Composition Ironic Symbolism: “The Lottery” and “The Rocking Horse Winner” “The Lottery” by Shirley Jackson and “The Rocking Horse Winner” by D.H. Lawrence are stories in which the authors rely heavily on irony and symbolism. Both works of fiction involve self centered mothers and conclude with tragic circumstances. Jackson and Lawrence used those elements to illustrate the points of their writings. In “The Lottery”, several things were used in a symbolic way. The most prevalent of these is perhaps the town’s lottery itself. Set within a small village in rural America, the townspeople participated in an annual drawing in which someone would “win” their lottery. It is a common thing to participate in various kinds of yearly traditions for many in the Western world. The very title of story is an allegory for something that most people would consider to be a positive thing to become the victor. However, as the reader discovers towards the end of Jackson’s story, winning the lottery results in death. Lawrence also used one of the main elements of symbolism in the title of his fiction. The rocking horse Paul frantically rode to bring him luck was very symbolic in “The Rocking Horse Winner”. D.H. Lawrence wrote, “He knew the horse could take him to where there was luck, if only he forced it. So he would mount again, and start on his furious ride, hoping at last to get there” (Kennedy & Gioia, 2010)...
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...Most Dangerous Game vs. Young Goodman Brown Fiction Essay Outline COURSE # and Title: English 102: Literature and Composition SEMESTER OF ENROLLMENT: Summer B16 2012 NAME: Serena Bostick ID#:L23079418 Writing Style Used: APA Serena Bostick Professor Spring Zuidema English 102-B16 20 May 2012 The Most Dangerous Game vs. Young Goodman Brown I. These are two well-known short stories, “The Most Dangerous Game” and “Young Goodman Brown”, these stories both depict evil in their settings, plot, and characterization. 1. Both of the short stories have different settings but both of the settings go great with the plot. a. In the short story “The Most Dangerous Game” the setting takes place in the early 1920’s shortly after the First World War. b. In the short story “Young Goodman Brown” the setting takes place in the late seventeenth century in Salem, a town northeast of Boston in the Massachusetts Bay Colony. II. Characters in both of these short stories have many similarities such as they both show evil traits that allow the plot to flow. a. The main characters in “The Most Dangerous Game” are Sanger Rainsford, General Zaroff, Whitney, Ivan, Neilsen, and Crewmen of the San Lucar. b. The main characters in “Young Goodman Brown” are Goodman Brown, Faith, The Devil Figure, Minister, Deacon Gookin, Goody Cloyse, Martha Carrier, Powwows, and Various Townspeople. III. The plot of the short stories, although they differ, both contain evil conflicts...
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...English 102 B43– Literature and Composition Spring 2014 Term A Jessica Jack, Student ID#25840627 APA Format Compare and Contrast Short Story Fiction Essay Jessica Jack Liberty University English 102-B43 Outline for Compare and Contrast Essay Thesis: “The Rocking-Horse Winner” by D.H. Lawrence and “The Lottery”, by Shirley Jackson provide two contrasting uses of Setting in a short story which accentuate the importance of the element in a story. One author has the ability to distract the reader, while the other author creates the structure of the story. 1. Introduction a. A brief summary of the “The Lottery”, by Shirley Jackson b. A brief summary of the “ The Rocking-Horse Winner’, by D.H. Lawrence 2. Overview of the use of the Setting a. “The Lottery”, by Shirley Jackson i. Shirley uses the setting as a distraction from the theme ii. The description of the setting, such as the happy characters, the sunny and bright outdoors to set the scene b. “ The Rocking-Horse Winner”, by D.H. Lawrence i. The author uses the setting to support the story and theme ii. The author allows the setting to draw and pull the audience into the story 3. The similarities and differences between the two short stories a. After reviewing both stories, it is evident that both are convincing and true to life b. The use of the setting in “The Lottery” diverts the reader away from the theme. It draws to the surrounding and characters...
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...Elements of Fiction In the story The Lottery by Shirley Jackson, the characterization is most found in three different characters. The first one is Tessie Hutchinson. She arrives late to the lottery, admitting that she forgot what day it was, she immediately stands out from the other villagers as someone different and perhaps even threatening. Whereas the other women arrive at the square calmly, chatting with one another and then standing peacefully by their husbands. Tessie arrives flustered and out of breath. The crowd must part for her to reach her family, and she and her husband endure good-natured teasing as she makes her way to them. Although Tessie quickly settles into the crowd and joins the lottery like everyone else, Jackson has set her apart as a kind of free spirit who was able to forget about the lottery entirely as she performed her chores. The other two characters are Old Man Warner, for his being the oldest and perhaps wisest to the lottery, and Mr. Summers for his frighteningly amount of power. The point of view in The Lottery uses the third person dramatic point of view to tell a story about an un-named village that celebrates a wicked annual event. The use of the third-person point of view, is an effective way of telling this ironic tale, both because the narrator’s reporter-like blandness parallels the villagers apparent apathy to the lottery, and because it helps build to the surprise ending by giving away bits of information to the reader through the...
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...Thesis: Throughout the short stories The Child by Tiger and Young Goodman Brown, it is apparent that each author attempts to prove the inherent evil nature of mankind. Regardless of the goodhearted nature various characters outwardly portray, they each have a dark side within themselves. This can be seen through the character Dick in The Child by Tiger and in the character Faith in Young Goodman Brown. In the beginning of each respective story, the reader is led to believe that both Dick and Faith are considered to be religious, kind, and credible individuals. However, by the end of each story, the reader begins to question true nature of each character and whether or not they are actually evil. Outline: I. Synopsis of The Child by Tiger and Young Goodman Brown II. Examination of Dick’s transformation from a good man to a murderer * Dick begins as a religious, gentle, role-model * The evil around him provokes his dark side to emerge III. Examination of Faith’s role in Young Goodman Brown * Her name is synonymous with trust, belief, and hope * When Goodman Brown sees her in the forest, he no longer trusts her or any of the other “good” characters from his village * He begins to believe that she has hidden evil inside and her “goodness” is just a façade. IV. Discussion of how characters react differently to evil and how the authors are trying to prove that evil exists within everyone. V. Conclusion on how common theme of the existence...
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...Brooklynn Stilwell Dr. Redfield English 112- 20 November 2014 MLA Annotated Bibliography: Rhetorical Analysis; the Story of an Hour by Kate Chopin Chopin, Kate. “The Story of an Hour, Kate Chopin, characters, setting. “KateChopinorg. Kate Chopin International Society. N.d. web. 20 Nov. 2014. http://www.katechopin.org/the-story-of-an-hour/ This website is from the Author herself. There are many beneficially things from this website. She has a list of characters, the time and place, the themes, when this book was published, etc. It has a lot of helpful information and the story behind this story. I thought what was really neat on this website was there is a place for a question and answer box. This is a very important source because this particular website was written by the author of the short story I chose. There are many websites that can be helpful to have credible sources. But, when you have a source that is from the author herself, it is helpful and more credible. Lorcher, Trent “The Story of an Hour”: Analysis of the symbols & Irony.” Bright Hub Education. N.p., n.d. Web. 20 Nov. 2014. http://www.brighthubeducation.com/homework-help-literature/60196-the-story-of-an-hour-irony-and-symbolism/ This educational website out of the many that I read over, was informative. As many of the websites state, the symbolism in this story is not as obvious as you may assume it is. Reading this states that the initial heart condition that Mrs. Mallard has is a symbol of...
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...Renia Creative Writing 3/1/12 Flash Fiction She listened so effortlessly. I felt our connection through the eye contact she maintained to keep even when I shamefully dropped my head. It was from that moment I knew she had become more than a life time friend. She unwilling became my partner in crime. This secret that was burning a hole in my conscience would finally be extinguished. You see, about five years ago I got into some trouble with the Mafia. Nothing major though. Just a few accusations that the district attorney managed to get an alibi for (at the cost of snitching on my connect). This was life threatening in the drug industry. Almost everyone I knew who got acquitted for leaking names never made it any further than the front footsteps of the courthouse. But I had a plan. All I needed was a destination. After my last court date I knew it was time to put all of my meticulous planning to use. One wrong move and it was the end of me. I knew this. But all I could think about was staying. Something inside of me was holding me back. The weight of unfinished business is more than I was willing to bear. I had to apologize to the family of the man that would be spending the rest of his life in jail…because of me. I found myself at the front door of his parents Manhattan home. In a cold sweat, and hot panic, my fragile hands rang the doorbell. Within seconds I could hear footsteps approaching closer to the wall that separated me and my victim. All I remember is him starring...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History ...
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...Bailey Krumwiede AP Literature Hr. 5 Ms. Hand 4 October 2013 Reality or Fiction Reality is the actual person, entity, or event. Fiction is not necessarily based on fact; it is produced by the imagination. By giving the narrator his own name and naming the rest of his characters after the men he actually fought alongside in the Vietnam War, O’Brien blurs the distinction between fact and fiction. The reality is that Tim O’Brien is a real person and he is the author of The Things They Carried. O’ Brien did actually serve in the Vietnam War as a soldier. Unfortunately, it is impossible to know whether or not any given event in the stories truly happened to O’Brien. Through writing about his experiences in Vietnam, O’Brien’s character is able to sort through his emotions, since “by telling stories, you objectify your own experience. You separate it from yourself. You pin down the certain truths” (152). He doesn’t look upon his stories as a type of therapy; he recounts his stories since they are a part of his past, and who he is now is the direct result of them. O’Brien tries to explain the distinction of truth through “How to Tell a True War Story.” The narrator will introduce a character and undercut what he has previously lead the reader to believe, like in Norman Bowker’s suicide. A true war story is distinguishable “by the way it never seems to end. Not then, not ever” (72). In the case of O’Brien, his comments remind the reader that his stories are created. For example...
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