...As some of the paramount examples of early 20th century literature, John Steinbeck's novels not only encompass the epitomes in characteristics of the laboring class, but also demonstrate the resilience of the human spirit. Through stories of the downtrodden, Steinbeck teaches the reader a much-needed lesson about the complexity of the world in which we live and the people's response to that complexity. Of Mice and Men's protagonist, George, convincingly personifies the dispiriting mood that spanned America at the time of the Great Depression. Attempting to find work in California, George is depicted as a capable, yet underprivileged, laborer who begins to form conceptions on the dynamics of society. Through George's journey, Steinbeck paints a picture of a typical American worker in the Depression-ridden country, and in turn shows the reader the unfortunate realization that the main character comes to as he searches for a job: the world is designed for the weak to become weaker and strong to become stronger. In other words, the concept of social Darwinism prevails in this novel as, time and time again, the main characters are forced into an endless cycle of poverty (want to say something along these lines but a different word than poverty). "Guys like us, that work on ranches, are the loneliest guys in the world. They got no family. They don't belong no place. They come to a ranch an' work up a stake and then go inta town and blow their stake, and the first thing...
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...questions are fought in John Steinbeck’s novella, Of Mice and Men. George was justified in killing Lennie since the other men would have tortured Lennie, he also saved Lennie from himself, and George vowed he would take care of Lennie and George thought this was Lennie’s best option. First of all George saved Lennie from being tortured by the other men especially Curley. George was justified since he gave Lennie mercy and made his death instantaneous. He prevented Lennie from a long and painful death. For example...
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...Analysis of Major Characters Lennie Although Lennie is among the principal characters in Of Mice and Men, he is perhaps the least dynamic. He undergoes no significant changes, development, or growth throughout the novel and remains exactly as the reader encounters him in the opening pages. Simply put, he loves to pet soft things, is blindly devoted to George and their vision of the farm, and possesses incredible physical strength. Nearly every scene in which Lennie appears confirms these and only these characteristics. Although Steinbeck’s insistent repetition of these characteristics makes Lennie a rather flat character, Lennie’s simplicity is central to Steinbeck’s conception of the novel. Of Mice and Men is a very short work that manages to build up an extremely powerful impact. Since the tragedy depends upon the outcome seeming to be inevitable, the reader must know from the start that Lennie is doomed, and must be sympathetic to him. Steinbeck achieves these two feats by creating a protagonist who earns the reader’s sympathy because of his utter helplessness in the face of the events that unfold. Lennie is totally defenseless. He cannot avoid the dangers presented by Curley, Curley’s wife, or the world at large. His innocence raises him to a standard of pure goodness that is more poetic and literary than realistic. His enthusiasm for the vision of their future farm proves contagious as he convinces George, Candy, Crooks, and the reader that such a paradise might be possible...
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...The Great Depression saw a climb in the amount of mental patients being put into institutions and by the end of the decade there was thought to be at least a million people trapped in these institutions. It is a known fact that values and beliefs have altered since the early 20th century and in many ways this is due to historical world events. John Steinbeck recognises that and his book ‘Of Mice and Men’ is a great representation of the values and beliefs of the 1930’s. It was well known that there was a lack in woman rights and importance, people were in a state during this period due to the Great Depression, and people had a lack of understanding towards the mentally disabled. John Steinbeck recognises this and displays it throughout the book therefore making him worthy of running a series on. In his book, the character George shoots his mentally disabled best friend Lennie as he thinks it is what had to be done due to the Sheriff being after Lennie, the lack of understanding people had for Lennie and knowing what would happen to Lennie if he was put in a mental institution. George did what was right according to the morals and beliefs in the 1930’s. During the 1930s, the values of the era were very different to nowadays. There was a lack of equality in gender, race and wealth and what you had very much defined who you were. People with mental problems were seen as freaks and dealt with in a way we see as wrong in today’s society. Women’s roles in society were also very...
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...“We hang onto our values, even if they seem at times tarnished and worn; even if, as a nation and in our own lives, we have betrayed them more often than we remember. What else is there to guide us? Those values are our inheritance, what makes us who we are as a people.” What President Barack Obama means is that values are what our personalities are built off of. They're the starting point or point of origin. Without them, we tend to let our morals and priorities loose.They help define who we are. But at the same time, the definitions of those values change several thousand times by the time we die. Circumstances change or affect our values. Sometimes success changes the value of family. In John Steinbeck’s Of Mice and Men, George chooses...
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...Of Mice and Men by John Steinbeck Seeing is believing but even then, sometimes looks can be deceiving. In the novel Of Mice and Men by John Steinbeck, Lennie is often lured into many traps. Due to his mental disability, Lennie has a childlike mind that never suspects a thing, which causes George to regularly figure out ways to avoid and get out of trouble. Although this duo has each other’s backs, what to say that the future can’t change anything? Throughout the novel Steinbeck uses the color red as a symbol of seduction in order to foreshadow danger from all of this, Steinbeck conveys those who play with fire are bound to get burned. Steinbeck intentionally uses the color red throughout the story to represent seduction, when Lennie and George...
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...Of Mice and Men Set in the 1930’s during the harsh Depression, John Steinbeck’s emotional novel ‘Of Mice and Men’ successfully explores the theme of friendship within a harsh environment. He portrays this through the characteristics and relationship between the protagonists, George and Lennie. The novel centers these characters who are two childhood friends who travel around together looking for work and face many struggles due to Lennie’s disabilities. Steinbeck initially presents the reader with a clear image of the central characters, who are complete opposites. George is told to be “small and quick” with a thin figure. He is seen as being short-tempered but a loving and devoted friend. He always makes Lennie’s protection his primary purpose despite sometimes coming off impatient towards Lennie. Lennie on the other hand, is very large with ‘sloping shoulders’ which leads the author to compare him to “the way a bear drags his paws”. Lennie is a very strong man with a child’s mind and this is the main problem that George and Lennie face in the novel. I think that Lennie is the least dynamic character as he is very flat and undergoes no significant changes in the novel and appears in the end exactly the same as when we first meet him. At the start of the novel we can clearly see that the author seems to have set Lennie up for disaster. These very different qualities of the characters George and Lennie show the peculiarity of their friendship...
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...NORTH AMERICAN FICTION BRIEF INTRODUCTION: Before starting our study of American Fiction we must understand what American Literature is in itself and which pieces of writing we can include within this label. It is believed that when a piece is written in North America, more precisely in the USA, it would automatically be given this epithet. But it should be taken into account that this idea is quite broad and doesn’t reflect the real essence of the term. However, there is also another definition that gathers this essence: American Literature is the one that represents the Americanism, the singularity of the USA philosophy and culture. This way, instead of focusing on who the author is, it is focused on the content of the writing. In that which concerns Fiction, the following documents are the ones considered as narrative: Speeches Letters Short Stories Essays Political Documents Sermons Novels Diaries 1 FIRST LITERARY EXPRESSIONS The first documents in which the idea of Americanism is very present are the Sermons. They respond to the strict Protestantism settled in the New Continent after the arrival of the Pilgrim Fathers and Puritans in the Mayflower (1620) and the Arabella (1630). They established a theocratic community whose main and only point of reference was the Bible. That is why the idea of the ‘city upon a hill’ is still very present in American mentality. As we all know...
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...‘Romeo and Juliet/Catrin/Follower’ Controlled Assessment: Examining Shakespeare’s ideologies on parental influence and the impact on modern/Elizabethan audiences: Examine the way Shakespeare presents the relationship between Juliet and her parents. By Tiffanie Gould, 10x1 The iconic tragedy written by the world’s most honoured writer William Shakespeare, ‘Romeo and Juliet’ is a title the world is familiar with. Its impact on modern society is impeccable, whether related to love, tragedy or both moral and academic education, the modern media adopts its philosophy. Shakespeare is trying to educate, and the ever-pending battle is the matter of character vs. society; relationships differ even today between parent and child, and the way it may be interpreted is affected by women’s role in society in Elizabethan England and how the audience’s perspective of prejudice and patriarchy. Shakespeare explores emotions and allows adjustments in the relationship in an attempt to drop the audience’s jaws open in eras of both old and new. In this assessment, I will examine just how the way Shakespeare presents the relationship between Juliet and Lord/Lady Capulet with supported evidence. Lord Capulet: the very wealthy patriarch of the Capulet family and empire, probably just as important, the husband of Lady Capulet, the uncle of Tybalt, potential father-in-law of Count Paris, legitimate (but unknowingly) the father-in-law of Romeo Montague… and the father of Juliet Capulet-Montague....
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...‘Romeo and Juliet/Catrin/Follower’ Controlled Assessment: Examining Shakespeare’s ideologies on parental influence and the impact on modern/Elizabethan audiences: Examine the way Shakespeare presents the relationship between Juliet and her parents. By Tiffanie Gould, 10x1 The iconic tragedy written by the world’s most honoured writer William Shakespeare, ‘Romeo and Juliet’ is a title the world is familiar with. Its impact on modern society is impeccable, whether related to love, tragedy or both moral and academic education, the modern media adopts its philosophy. Shakespeare is trying to educate, and the ever-pending battle is the matter of character vs. society; relationships differ even today between parent and child, and the way it may be interpreted is affected by women’s role in society in Elizabethan England and how the audience’s perspective of prejudice and patriarchy. Shakespeare explores emotions and allows adjustments in the relationship in an attempt to drop the audience’s jaws open in eras of both old and new. In this assessment, I will examine just how the way Shakespeare presents the relationship between Juliet and Lord/Lady Capulet with supported evidence. Lord Capulet: the very wealthy patriarch of the Capulet family and empire, probably just as important, the husband of Lady Capulet, the uncle of Tybalt, potential father-in-law of Count Paris, legitimate (but unknowingly) the father-in-law of Romeo Montague… and the father of Juliet Capulet-Montague....
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...author had quietly disappeared. His book stayed on the bestseller list for thirty weeks, though never above fourth place.' Costing 75?, the Bantam paperback edition appeared in 1964. By 1981, when the same edition went for $2.50, sales still held steady, between twenty and thirty thousand copies per month, about a quarter of a million copies annually. In paperback the novel sold over three million copies between 1953 and 1964, climbed even higher by the 1980s, and continues to attract about as many buyers as it did in 1951. The durabilityof The author appreciates the invitationof Professors Marc Lee Raphaeland Robert A. Gross to present an early version of this essay at the College of William & Mary, and also thanks ProfessorsPaul Boyer and John D. Ibson for their assistance. 1AdamMoss, "Catcher Comes of Age," Esquire, December 1981, p. 57; Jack Salzman, ed., intro. to New Essays on "The Catcher in the Rye" (New York:Cambridge UniversityPress, 1991), pp. 6, 7. 567 568 THE NEW ENGLAND QUARTERLY its appeal is astonishing. The...
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...theme is the central topic a text treats. Themes can be divided into two categories: a work's thematic concept is what readers "think the work is about" and its thematic statement being "what the work says about the subject". The most common contemporary understanding of theme is an idea or concept that is central to a story, which can often be summed in a single word (e.g. love, death, betrayal). Typical examples of themes of this type are conflict between the individual and society; coming of age; humans in conflict with technology; nostalgia; and the dangers of unchecked ambition. A theme may be exemplified by the actions, utterances, or thoughts of a character in a novel. An example of this would be the theme loneliness in John Steinbeck's Of Mice and Men, wherein many of the characters seem to be lonely. It may differ from the thesis—the text's or author's implied worldview. A story may have several themes. Themes often explore historically common or cross-culturally recognizable ideas, such as ethical questions, and are usually implied rather than stated explicitly. An example of this would be whether one should live a seemingly better life, at the price of giving up parts of ones humanity, which is a theme in Aldous Huxley’s Brave New World. Along with plot, character, setting, and style, theme is considered one of the fundamental components of fiction. Mostly people regards themes as thesis or thesis as themes but there is a clear distinction between them which is given...
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...-“Strauss versus Brains and Genes or the postmodern vengeful return of positivism.” This essay first started as an answer to what I deemed very problematic, i.e. the disputation which I found in bad faith (un-authentic to use a philosophical term or an existentialist term), of the mediatic, dashing Harvard cognitivist/linguist, Steven Pinker, in his article “Neglected novelists, embattled English professors, tenure-less historians, and other struggling denizens of the Humanities, Science is not your Enemy—a plea for an intellectual truce,” (The New Republic--August 19). Then the counter-arguments against Steven Pinker’s conception of the “human animal” developed into an essay arguing that the New Positivism, not science, or technology per say, was the enemy of humanism and its avatars as such. The point is not to become a postmodern anti-scientific Luddite. Genomics are changing the world in ways we barely imagine yet and will re-define what it means to be human (a becoming already imagined by science fiction writers, social critics and critical thinkers such as the feminist Donna Haraway with her “Cyborg”). The point is also not to turn “anti-brainiac.” Without a brain we would become vegetative, a vegetal…, i.e. a purely “natural body,” a “zombie.” If we make use of this “computer” allegory which is an analog but not a homologue, and which is used ad nauseam used by psycho-biologists, without a hard-drive there is no software. But is this a reason to say that the software...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. 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, except as permitted by the UK Copyright, Designs, and...
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