[pic] CS66 Advanced Oracle Spring 2002 Group 10 Task Overview Developed by Terence Kyle Reynolds Karen Tsipurskaya Illeana Grimm…...Read
Modernist literature is designated by a break with the continuous, developmental, cause-and-effect presentation in the 'reality' of realist fiction, toward a presentation of experience because layered, allusive, discontinuous; the employment, to these ends, of fragmentation and accommodement, motif, mark, allusion.
Language is no longer seen as transparent, some thing if employed correctly allows us to 'see through' to reality: rather language is seen as a complex, nuanced site of our building of the 'real'. Experimentation in form to be able to present in different ways, afresh, the structure, the connections, and the experience of your life.
The securing of form: an emphasis on cohesion, interrelatedness and depth in the framework of the visual object associated with experience; this is accomplished in part through the use of several devices just like motif, accommodement, significant parallels, different voices, shifts and overlays over time and place and perspective.
The (re)presentation of inner (psychological) reality, including the 'flow' of experience, through devices such as stream of consciousness.
The application of such strength approaches to experience as psychoanalysis, myth, the symbolic apprehension and knowledge of fact.
The use of home or symbolic landscape: the earth is moved 'inside', methodized symbolically or metaphorically.
Period is joined the interior too: time turns into psychological period (time because innerly experienced) or symbolic time (time or actions of time while symbols, or time mainly because it accommodates a symbolic rather than historical reality), not the 'historical' or perhaps railway moments of realism. Period is used too more complexly as a structuring device through a movement forward and backward through period, the juxtaposing of incidents of different times, and so forth.
A HAUNTED PROPERTY is a symbolic representation of Modernism while seen through Virginia Woolf? s style. It is not unintentional the fact that it is short-novel; the profound concentration of pictures, symbols, connections has a greater impact than it would have experienced in a more in depth presentation. A number of pages are enough for condensing pictures laden with significance, and the apparent irrelavent flowing is definitely enriched by their mirroring in the attributes of Modernism.
It is not dangerous or far-fetched to evaluate the book with a composition, with some sort of Virginia Woolf? s Ars Poetica in blank sentirse; as in a poem, the novel has its in house rhyme that circles throughout the idea of literary works as prize, it? h refrain?? Safe, safe, secure? and even it is poet?? a ghostly few? - in its musical looking for the Muse; additionally , the novel starts and ends with the same idea of? wakening? as in a ring-like poem, but likewise pointing to writer? t recapture in the wonderful world of words.
We ought to ask themselves why the novel doesn? t get started with the image of the couple whom sleeps; as well as the answer is actually related to the truth that the sleeping couple can be not as important as the ghostly one; modernists didn? capital t agree with the cannons, individuals? imposed? by tradition on paper; that is why our company is not aware of the symbols along with their importance and contribution to the book until we all read the story again, and again... Bombig facie, it appears to be a appreciate story past time and death: the old ghostly couple even now love one one other after having been dead for a time, they return to the old house, full of memories of fun, kisses, and joy. Nevertheless this is a simplistic and out of the fictional context presentation.
If we admit that this is known as a literary manifesto, then we need to perceive A HAUNTED PROPERTY as Virginia Woolf? s retrieval, like a writer as a woman.
Why a couple? Why two lovers?
Virginia Woolf is seen as a feminist copy writer; but in this kind of novel the lady doesn? t choose a feminine character, nevertheless a couple; it can be her attempt to make inner peace following natural laws which will tell that we have all, regardless of of the sex, our womanly and also our masculine component within...
Bibliography: Toolan, Michael jordan J. Story. A Critical Linguistic Introduction. London & New york city: Routhledge, 1991
Avadanei, Stefan. Introduction to Poetics. (vol. 2). Iasi: Institutul European, 2002
Lodge, David. The Art of Fictional. London: Penguin Books, 1992 (excerpts)
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