Analysis Of Fun Home By Alison Bechdel

- Characters: The main character is developed by what type of book the author is writing. My main character Sugar Mae Cole was developed because of the way she acts toward different characters in the book. And by her personality and sugars personality is sweet kinda like her name and she is polite. She is always trying to brighten the other characters up especially her mom Reba. She has a different personality that any of the other characters and connects with them in a different way that is what makes her the main character. she is cautious and also believes in people and things like her mom. Her mom Reba is about to give up but Sugar still believes in her and she believes she and her Mom will get a home and things will

In ‘Neighbourhood Watch’ a non-naturalistic performance style is used to allow the audience to make sense and develop their understanding of the present characteristics of the characters. Flashbacks of the main character are portrayed in non-naturalistic form as we see Anna’s friend Catherine playing out the role of ‘young Ana’. This is evident in Act 1 Scene 10 and Act 1 Scene 16. All three scenes require the Catherine to transform into a new character called ‘Young Ana’ as we flashback into the past scenes of Ana’s imagination; this is evident in the texts stage directions ‘ARTUR speaks to CATHERINE now, as though she is the young ANA. The real ANA steps slightly away’ to show the transformation of ANA into CATHERINE. However the scenes are set within the setting of the present time, for instance, the text stating ‘Ana’s home transforms into Hungary’ shows the non-naturalistic setting of the scenes. Both performance techniques are elements of the Non-naturalistic performance style and highly reflect the non-naturalistic nature of the performance.

Picking up the book Fun Home, one would imagine that the novel would embellish some sort of comical life story of a misunderstood teenager. Although the short comic-book structured novel does have its sarcastic humor, Alison Bechdel explains her firsthand account of growing up with the difficulty of living of finding her true identity. Alison was a teenager in college when she discovered that she was a lesbian, however, the shock came when she also discovered her father was homosexual. I feel that the most influencing panel in Fun Home is where Alison and her father are in the car alone together. Not only does this panel explain the entirety of the novel in a few short speech bubbles, but it is the defining scene that connects

In "The Miller's Tale," the character of Alison is introduced as the 18-year-old wife of a carpenter who is much older than the woman. The author's description of the young wife seems to suggest that she was so wild, beautiful, and desirable that the old man had a difficult time containing his jealousy.

Fun Home: A Family Tragicomic is an autobiography written by Alison Bechdel. The graphic novel takes its readers through Alison Bechdel’s childhood using engaging diction and detailed drawings. One of the big themes of Fun Home: A Family Tragicomic is the discovery of one’s sexual orientation. Over the course of her life, Alison Bechdel eventually comes to the realization that she is a lesbian. Ultimately, Alison Bechdel uses this novel to recount her experience of events that helped to shape her personal identity, which resulted in a transformation of the way she sees herself. In the end, Fun Home: A Family Tragicomic is a wonderful narrative that shows its readers the complexity of personal identity, and how things like love, the values of

On the surface, Alison Bechdel’s Fun Home seems simply to be a memoir of her journey towards discovering her own identity, and in the process, uncovering her father’s. However, the novel is far more complex. The graphic novel is not linear in the least, and mimics memory as it moves backwards and forwards in time, or returns to specific situations repeatedly. This is layered with the numerous references to previous literary texts in an interesting manner; combined, it provides emotional and informative layers to the novel. Bechdel starts to especially question binaries and pushes the boundaries of what it means to be a female and male in a relatively patriarchal society with no middle ground around the rules; as the novel shows, this affects not only Bechdel’s own pursuit towards her identity but has a significant, and ultimately fatal, impact on her father, Bruce.

On page 134 of Fun Home, Bechdel writes, “It was a vicious circle, though. The more gratification we found in our own geniuses, the more isolated we grew.” Illustrated along with this text is a large panel presenting the Bechdel household with circular panels drawn on the side of the house to detail the separate goings on inside each room. Each figure is also painted in a silhouetted form, creating a dissociated and an impersonal impression for which to view the Bechdel family. “While Bruce Bechdel is shown to have an explosive temper and be prone to the occasional violent outburst, it is the distance he creates in the household that seems to cause the most harm.” (Helvie) The separate, circular and interior panels could be representing

The poem "Where Children Live" by Naomi Shihab Nye contrasts the effects and interests of adults to children by using visual imagery. Children have positive effects on a home because they have a “pleasant rumpledness” (line 1). The imperfections that result from children are endearing. In adulthood, there are no "lost shoes blooming under bushes" or "chipped trucks in the drive" (lines 8-9). The house is described as taking on a new face that is serious and "dignified" (line 7). The freedoms of childhood are lost when one matures; adults prefer routines, relaxation, and “slow-motion back and forth” instead of constant rushing like children (line 10). Children’s hearts are “dressed in the coat with a hood” while adults’ hearts take on “gloves

The autobiographical graphic novel “Fun Home,” by Alison Bechdel presents characters evolving to the reader in an intimate way. She reveals within her novel the high cost of claiming to be gay or lesbian within America. Instead of reading the author’s recollection of her experiences, her graphic novel connects the reader within the experience as the observer. This allows the reader to look at both the personality of the novelist and the developmental impacts that have shaped her. “Fun Home,” is a distinctively persuasive novel that is entangled within the lives of Alison’s family. While presenting to the reader the explanations of Bruce’s death, Alison endeavors to adjust to the reality of her father’s death by remembering family life at the “Fun House.”

Gwen Harwood explores through many of her poems the role of women in society in which reflects the challenges of the changing nature of Australian society and expectations of women. Harwood highlights the stultifying world of domesticity and the importance of identity in relation to motherhood, by challenging dominant values and mainstream beliefs. Harwood criticizes the male dominated society and channels the zeitgeist of 1960s feminism, by depicting the entrapment of motherhood in a domestic life and reinforcing of loss of identity within her poems. In both of Harwood's poems 'suburban Sonnet' and 'In the Park', the common themes of motherhood and loss of identity is enforced using a wide variety of literally techniques to portray the inner pain and anguish felt by Harwood in a patriarchal society.

Alison Bechdel's graphic memoir, Fun Home: A Family Tragicomic, documents the author's discovery of her own and her father's homosexuality. The book touches upon many themes, including, but not limited to, the following: sexual orientation, family relationships, and suicide. Unlike most autobiographical works, Bechdel uses the comics graphic medium to tell her story. By close-reading or carefully analyzing pages fourteen through seventeen in Fun Home one can get a better understanding of how a Bechdel employs words and graphic devices to render specific events. One can also see how the specific content of the pages thematically connects to the book as a whole. As we will see, this portion of the book echoes the strained relationship

In the prologue, Audre describes her “home” as being a place that could only be from a fairy tale (enchanted even). This home is somewhere Lorde never visited or never observed. She only knows this extraordinary place through her mother’s stories. As Audre grows older, “home” is something she does not have in life. She even expresses that the extraordinary place (Carriacou) from her mother’s stories in no longer the home, she longed for it to be (Zami 256). Even though her home was in Harlem, New York, Stamford, and Cuernavaca, they never felt like home. Throughout the novel, it appears that Carriacou helped Audre deal with the racist society. She finally accepts her character in society as a black lesbian. She in time grows to admit that

The structure of the novel, Homegoing, is very distinct and unique. I believe the way Yaa Gyasi decided to structure her book made the novel and each individual story within the novel more profound. Most books we read today usually follow the main character or possibly a few characters. I cannot remember the last time I read a book where each individual chapter contained a new story from a new character. Homegoing is set apart from other novels due to the dramatic effect the generational stories have on the readers. Not only does the structure of the novel grab readers attention, it makes a distinction between the two lines of families, it also shows us what is similar between the two families, and it connects the past to the present.

Fun Home is a retelling of Alison Bechdel’s life through the lens of her relationship with her father. However, because of what she considers to have been his suicide, Alison is left with an incomplete picture of who he was in life. By calling Fun Home an autobiography, Bechdel enters an autobiographical pact with the reader that ensures that what Bechdel is telling us is the truth. However, elements out of her control leave Bechdel unable to provide certain objective facts necessary to her narrative. As an attempt to remedy these absences and in turn maintain the validity of her story, Bechdel uses intertextuality to fill in the gaps of in her retelling. By overlaying masterplots of fictional narratives over her own, the reader is able to get at an understanding of the kind of person Alison’s father was. In this way Bechdel is able to reveal things about her father that she can 't prove to be true, but are reflective enough of his life to become true.

Brown Ash’s ability to transport the audience to different times in her life is very commendable; the simple yet thoughtful transitional techniques are able to shape the dramatic action so that the audience feel like they physically a part of her journey. Audience participation was a big part of the storytelling, meaning that the work was successfully a dialogue between the performer and the audience. Lines such as “You will be playing my sixteen year old self”. Having the audience fully participate in various roles from within Brown Ash’s stories helped one of the dramatic meanings of the importance of home and that home is to be communicated effectively because