Analysis Of The Wind-Up Bird And Tuesday's Women By Haruki Murakami

Every person deserves the right to experience a sense of community amongst people who share a common characteristic. A sense of fellowship amongst similar people allows a person to become more comfortable with who they are through interactions with others who are going through—or have gone through—the same triumphs or hardships. Without this feeling of belonging, one could be driven into insanity. Anxiety due to isolation and desolation could run rampant through a person’s mind because of the loneliness that comes with a lack of community—making it an essential part of a humanhood. By definition however, community invites inimitability. Community can be defined as a group of unique individuals with shared characteristics. From that a

Alfred Hitchcock (1899 – 1980), the “Master of Suspense”, was a English film director, who was well known for his use of suspense and psychological elements to shock and surprise his audience. Hitchcock was known for his use of recurring themes, motifs and plot devices, such as the use of birds, hand motifs, the audience as a voyeur, mothers, blonde women, and sexuality. He was also very technical in his editing, using filming techniques such as deep focus, point of view, close up and wide, tracking shots. Montage was also a technique he used frequently in his films. He believed that by using visuals, he could convey thoughts and emotions just as well as dialogue could.

Analyse Faulks’ presentation of friendships and love affairs in Birdsong, showing which relationships and love affairs had the greatest impact on your understanding of the novel.

In addition to this, belonging to a family is a key concept in this novel. The novel opens with an alluring introduction to the family; a blissful atmosphere is created through the picturesque icons of their family life. The composer uses small photograph like icons to allude towards the widely acknowledged contentment that is readily associated with the memories in a picture album. Tan introduces the motif of the paper crane which he carries through the length of his novel as a symbol of affection and belonging between the family members. The next pages signify the break in contentment as the man begins his journey and a salient image of the couple with their hands grasping the other’s parallels the anxiety and despair in their downcast facial expressions. Although the gloomy atmosphere, the light sepia tones in the picture allow an insight into the tender and loving relationship that the family members share. Upon the man’s departure the paper crane motif returns and he hands it to his daughter as a token of his undying love for her. His migratory experience is studded by the comfort and ease that he obtains from a picture of his family. In paralleled scenes on the boat and the new apartment, the

Haruki Murakami was born in 1949 in Kyoto, a city in Japan. He lived his life in a time and place, where traditions had absolute influence on people and were very highly valued. This inspired him when he was writing his stories. For influence, he had to read Western literature. In his works, Haruki Murakami shows that he supports the idea of more freedom against traditions, but still presents the risks of choosing not to follow them.

The wind “lifted her hair away” to take her comfort and “blew her eyelashes away” to take her sight and sense. Her relationship with the street and the wind that lives on it is defined then and there as nothing but a conflict. The wind then, to add insult to injury, pushes “the sign swaying back and forth over her head” out of focus every time she attempts to look at it. In an act of defiance, she then enters the building where the sign warned her against entering. An action which the sign itself foreshadowed as grim with its “dark stain like

He began again to daze off staring at the fire and imagining the hairy man crouched down in the summer sun. The Call of the Wild written by Jack London is an adventure book that follows the life of a once tamed dog known as Buck to a dog that has retrogressed to a more primitive state during the Yukon Gold Rush. Buck who eventually answered the call of the wild had to go through many difficulties to get there.The theme power of the primitive is reinforced by the retrogression of a dog despite the love of mankind.

The theme of “The Route of the Crows” is death. The story uses several dismal words such as death, darkness and silence, and builds up suspense with the use of ellipses. Throughout the text, various images of the crows show up one by one alluding to the death of one of the characters in the house—the sick mother. The quote “…as if there was a wedding or something” repeats twice in the short story emphasizing the calamity waiting to happen (574, 576). A woman in distress prevails in the plot of the story, too. The dying mother, unable to be understood by the narrator and Ziynet, tries to speak every once in a while but is ultimately ignored. She soon returns to her state of illness at the same time the crows come piling in one by one. The insertion of the crows illustrates a dawning of ill-fate symbolizing the arrival of death.

Wherein this is the extent of the metaphor, where in this poem it is a changeable anomaly subject to the readers interpretation of taking the road less travelled and whether it be a positive (sigh of satisfaction) or negative (sigh of regret). This is all one can hope when using a metaphor relating to the readers life, that they substitute their own feelings and create their own meaning, their own attitude towards to such decisions and subsequently, such journeys.

The “closure––” that is offered within the swamp momentarily of pauses the passage. The en dash leaves “closure” open-ended, yet nonetheless grounded to the swamp. The juxtaposition with the intention behind the rhetorical “closure” and the word’s physical connection to the en dash creates tension and an ambiguous dependency on the rest of passage, or the swamp itself. If the swamp metaphorically abstracts life, then Oliver’s transition from progressive to submerging voice mirrors one’s focus on the deeper layers of their life, where a profound interpretation exists beyond the surface. Ironically, the course of life that was considered “pathless” and “seamless” shifts when the individual provides meaning. Playing with scale offers descent into life’s core, as the “pathless, seamless, peerless mud,” encompasses every corner of the swamp. Though the “path” is still daunting and unclear, mere admittance of a “path[‘s]” nonetheless contextualizes its existence. Mentioning of the path may reflect Oliver’s own belief about fate and progress. The end is not clear, yet “peerless,” forward movement continues. Gradation of “foothold, fingerhold, mindhold,” physically embodies spiritual descent into the swamp. The drive to attain a stronger connection with an idea, an ultimate “mindhold,” are vulnerable approaches to appreciating the swamp, yet the humility within a slow pace provides means for full immersion and “sink[ing] silently,” into

The wind only found “announcements,” “heady wash paper,” and “enclosed sandwiches” that were along the streets after all the wind had destroy everything in 116th street. “It rattle the tops of garbage cans, windows shades out through the top of opened windows and set them flapping back against the windows; and it drove most of the people off the street in the block between seventh and Eighth.” The wind was really powerful that it made the trash can tops fall to the floor, the windows flap against each other and most importantly it drove people away. Petry is using visual imagery to make the readers visuales a lonely place where everything is a mess and there is nothing left there but trash. She wants the readers to get the effect of the block being a mess and a solitary

Post-war Japanese society is a world where High and Low art is blurred together by otaku, such as anime, and social class. However, Takashi Murakami straddles the line. Murakami spills a mix of Nihanga and Otaku into the canvases, plastic toys, handbags, shoes, etc; endorsing his own theory/style named “Superflat”. Using strategical subject matter such as popular Japanese comic figures combined with ukiyo-e(traditional Japanese block prints), and addressing these contrasting qualities to outside cultures; Murakami intensifies what Pop Art accomplished, art versus material. On other feelings, one could argue that “Superflat” isn’t a unique, Japan-identified style, that “Superflat” is a humiliation to the Contemporary Art world because of its commercialism. Lastly, that is a continuation of the already well developed Pop Art. On the supporting side, Murakami’s “Superflat” is a high-energy, cross-culture style that serves as a new way to represent the high and low of art that is considerably unique to Japan. To support this, Murakami’s past and present artwork will have to be established chronologically to illustrate how the timeline affects his work.

The Awakening by Kate Chopin is a novel full of symbolism which reveals much of the deeper meaning in the story. Within each narrative segment there is often a symbol that helps to add meaning to the text, and the understanding of these symbols is essential to a full appreciation of the story. These symbolic elements help the reader to make a connection between Edna’s world and her eventual awakening. Throughout the novel there are a huge number of symbols but three of the most meaningful symbols used are birds, houses and the ocean.

This imagery includes “splinters, / And boards torn up, / And places with no carpet on the floor” (4-6). The character’s language paints a very real picture of an old and dangerous stairway that provides little in the way of support and is constantly threatening harm. The details such as splinters force one to think of sudden sharp pains in unexpected places while the torn up boards introduce ideas of sudden instability and lean times. The road of life has not been full of comfort either, as the carpet is thin or even missing from entire segments, but still the older woman continued to climb, “And reachin’ landin’s, / And turnin’ corners, / And sometimes goin’ in the dark” (10-12). The life depicted thus provides few safe havens in the form of ‘landin’s’, if all the boards are in place, but more frequently prove difficult in their own way as they introduce corners and sections that must be navigated completely in ignorance. Picturing trying to climb this twisting stairway, it is easy to see how this life has been littered with all kinds of difficult trials and tribulations, but also sprinkled with comfort in the idea that the floor was covered with carpet sometimes and rest in the concept that she came across landings sometimes.

The atmosphere of this exposition is clearly foreboding: "the dark clouds, broken chimneys, unused street, solitary cat, and dead air" all prove ominous and reflect the sordid ruling mood. Failed culture and solitary of aimless women ("a cat moved itself in and out of railing") not knowing exactly what to do about their predicaments in which