...Much critical attention has been given to Eudora Welty’s use of symbols and mythology in her fiction, but there has been no thorough examination of her use of allegory.1 Yet allegory finds its way into Welty’s fiction as she makes use of names, characters, and features of landscape that invite investigation of another, submerged level of meaning. This is not to say that any of Welty’s fiction is strictly allegorical—at least with respect to the traditional understanding of the form—but that Welty’s texts often teasingly beckon the reader to interpret the text allegorically and then complicate and frustrate the revelation of a singular second level of meaning. In this essay, I will examine how Welty incorporates many facets of allegory in her novel Losing Battles. As part of this investigation, I first provide a brief overview of allegory in order to develop a working concept for my argument. I then turn to John Bunyan’s The Pilgrim’s Progress—one of the most widely read allegorical texts in all of literature—both to offer a paradigmatic example of traditional allegory and to allow an understanding of how Welty engages with Bunyan’s text. Then, after reviewing Welty’s personal familiarity with The Pilgrim’s Progress and identifying her allusions to it throughout her work, I turn my attention to Losing Battles. In focusing on Welty’s long novel, I scrutinize those features that allegorically beckon to the reader as I explore and seek to articulate how Welty’s technique suggests...
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...Literature: Symbolism of a Journey Tracy Locke ENG125 Karen McFarland October 7, 2013 Reading a story, a poem, or a play introduces you to an imaginary world (Clugston, W.R. (2010). When reading literature we must enter the imaginary world; enter the world the author is creating. The story “A Worn Path” by Eudora Welty in 1941 and the poem “The Road Not Taken” by Robert Frost in 1916 both use the theme of journey to symbolize life decisions. One speaks of a “Path” the other a “Road” the theme that each of these writings share is presented differently throughout the piece of literature. These two pieces of literature symbolize a journey, through using content, form, style, symbolism and imagination, although used differently in many ways they both are symbolizing a journey through life. The theme in a story is a representation of the idea behind the story (Clugston, W.R.(2010). In the pieces of literature I have chosen, the theme is speaking of journeys, one journey for love and the other life, but both having to make life decisions. The authors took different approaches in showing the reader the journey, the life decisions that had to be made. Both works have characters making a journey. In the poem “The Road Not Taken”, the narrator has been traveling and has reached a point where the road divides. The narrator is a traveler. Likewise, in the short story “A Worn Path”, the main character is on a trip to town. She is travelling from home through the pines...
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...Symbolism in Journey “A Worn Path” and “A Road not Taken” The symbolism of a journey is represented in the short story “A worn Path” and the poem “The Road Not taken”. In each a journey is being taken. While representing two different types of journeys, they each display symbolism that is representative of each story. In “A Worn Path”, the journey of struggle to overcome racism and in “The Road not Taken” is regret of having to choice between two paths. Using symbolism in each form makes the story and poem more reverent to the reader. The symbolism is like imagery for both the short story and the poem. The short story “A Worn Path” is written by Eudora Welty. The story is set in the south during a time when racial tension was still prevalent. African Americans are just moving out of slavery and into being free. The story tells of the journey of an old woman making the familiar trip to town for medicine for her grandchild. She is met with obstacles, adversity and also with respect. The old woman’s name is Phoenix Jackson. The author takes care not to describe Phoenix as a black woman, but instead describes her with colors that are representation of the mythical creature of the same name. The author description of Phoenix as” her skin had a pattern all its own of numberless branching wrinkles and as though a whole little tree stood in the middle of her forehead, but a golden color ran underneath, and the two knobs of her cheeks were illumined by a yellow...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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