Analysis Of Tim Winton 's ' Cuckoos ' And ' The Lambs '

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

The novel starts with the primer of Dick and Jane that promises the perfect family and home for which Pecola never stops searching in the book: “Here is the house. It is green and white. It has a red door. It is very pretty. Here is the family. Mother, Father, Dick, and Jane live in the green-and-white house. They are very happy” (7). But as these lines are repeated in several paragraphs, it becomes an unpunctuated, frantic stream of language suggesting that behind this comfort myth lies a disrupting and disordered reality. The house is an antidote to being outdoors. “Knowing that there was such a thing as outdoors bred in us a hunger for property, for ownership. The firm possession of a yard, a porch, a grape arbor” (18). This home desire is also one to curb the funkiness or the excess of the lives of the characters. But home as paradise is quickly translated into prison: “What they do not know is that this plain brown girl will build her nest stick by stick, make it her own inviolable world, and stand guard over its every plant, weed, and doily, even against him” (69). The haouse is a jail and a respite simultaneously, just like the community the house appears to promise comfort and rest but fails to do so for Pecola in

* The house can be seen as a metaphor for Australia as the crimes, which took place in the past against the Aboriginals, still affect the house and inhabitants of the house at the present time. The evil, which is in the house, represents the moral and ethical wrongs of the white Australia policy. The house “breathes” this symbolizes the spirits which inhabit the house, and when Wax Harry is born the house “breathes its first painless breath in half a century”.

In the convoluted mess of the botched colonization of Mars in The Martian Chronicles and the horrors of mental institutions in One Flew Over the Cuckoo's Nest arise many intricate similarities and differences. Both The Martian Chronicles and One Flew Over the Cuckoo's Nest have characters who oppose change, strive for freedom, and oppose the status quo; however, in One Flew Over the Cuckoo's Nest the maintenance of current norms is portrayed as evil while in The Martian Chronicles it is painted as an act of heroism.

Writing from residences in countries at great distances from Australia, Winton developed a longing for his home and more specifically for an Australia of the past. His homesickness made him rediscover through his memories an Australia which he loved, which was slowing evolving into a country which was unrecognisable to his childhood. In Cloudstreet, Tim Winton reflects on Australia’s landscape which is quickly being turned into a suburbia which seems disjointed from natural state of the Australian land. Similarly the culture of the Australian community and sense of camaraderie is presented as integral to an Australia which Winton is increasingly nostalgic about throughout the novel.

Ken Kesey and Tom Schulman explore the struggle for independence by adopting similar setting, plot, and contrasting characterisation in their respective pieces, One Flew Over the Cuckoo’s Nest, and Dead Poet’s Society. The two works share an exaggerated institutionalised setting, wherein the internal community is repressed by overbearing authority figures. However, as the media format varies, the portrayal, imagery, and symbolism of the setting differs. One Flew Over the Cuckoo’s Nest, and Dead Poet’s Society contain parallel plots. Both involve the introduction of a ‘wildcard’ figure into the microcosms of the institute. The character’s idealistic preaching of freedom inevitably leads to disaster at the climax of the novel. Although both preach independence, the definition of independence greatly differs. McMurphy finds independence in escape, while Keating conveys the importance of independent thinking, however within the limitations of the institution. By methods unique to each piece the disruptive figure is neutralised, concluding in the regression back to the establishment’s version of ‘normal’.

In conjunction with the symbolic representation of Elisa’s life, the dramatic description of the environment can also be seen as a unique representation of the relationship conflict between husband and wife. Steinbeck’s foggy description demonstrates conflict through the following statement, "a time of quiet and waiting." This description is interesting because the fields are personified as waiting for rain, however, “rain and fog do not go together” therein lies the conflict just as Elisa waits for a positive change in how her husband treats her (Palmerino, Gregory J). Gregory P. further points out that, “The natural elements of the foothills ranch seem as unwilling to confront each other as the characters that inhabit its environs. Hence, fog and rain can be seen as the female and male equivalents to Elisa and Henry.” This only further solidifies the deep rooted troubles within Elisa and her relationship with her husband. The setting of the story is personified to act as a symbolic representation of the couple’s relationship (Steinbeck, John 337-338).

In their pieces, One Flew Over the Cuckoo’s Nest, and Dead Poet’s Society, author Ken Kesey, and Tom Schulman, respectively, adopt setting, plot, and contrasting characterisation to explore the central theme of a struggle for independence. Both Kesey and Schulman set their stories in exaggerated institutions, wherein the internal community is repressed by overbearing authority figures. However, due to their varying media formats, the portrayal, imagery, and symbolism of the setting differs. The plot in both the novel and the film is parallel as both centre a wildcard entering the microcosm that is the institutions. The figure preaches freedom, however, disaster strikes, and at the conclusion of the novel the community regresses back to normal. Finally, contrasting characterisation is used in the same manner – the protagonist and the community are contrasted. The

Throughout One Flew Over the Cuckoo’s Nest, Ken Kesey often uses fog as a symbol. Although fog may have been used as a symbol in other literary works, they do not hold a candle to the fog’s significance in Kesey’s piece. While reading One Flew Over the Cuckoo’s Nest, two major interpretations can be made for the symbolism of fog. For one, fog is symbolic of the waste that our mechanized society produces, and it pollutes the way we live naturally. In one instance, Chief and his inmates were asleep while the Combine were inspecting the ward (Kesey 90). During this time, Chief was afraid of them, the fog, and the mechanized society in general. On the other hand, fog symbolizes the fog of the mind -- after all, chief is schizophrenic -- and it

The insane asylum has continued to pose as a site of mystery and wonder for decades. Bare walls, hospital gowns, distressing atmosphere, and overbearing staff epitomize the mental institution. American Horror Story has an entire season dedicated to analyzing the ongoing conundrums within an asylum. Many other forms of entertainment use the asylum and all that it stands for in their works. However, it seems that one work officially started all the “crazy” talk. One Flew Over the Cuckoo’s Nest by Ken Kesey sets the stage for the interior atrocities conducted in an institution. The various symbols used within the text help further elaborate on how horrible and grotesque an asylum can truly become. Symbolism elevates a work to an entirely different level. Fog, machines, whales, and countless other objects serve as symbols in Ken

While the novel itself is portrayed as an odd depiction of the struggle of power in an unrealistic setting, there is a purpose for the information included in the novel, which is full of symbolism. The novel by Ken Kesey was written around the children’s rhyme previously stated and symbolizes the plot. The beginning of the rhyme is displayed as “Ting. Tingle, tangle, tremble toes, she’s a good fisherman, catches hens, puts them in pens” which also depicts the novel because the fisherman is Nurse Ratched, who “catches hens”, or mentally ill patients and “puts them in pens” by incarcerating them in the psychiatric hospital. The rhyme then continues with “… three geese in a flock, one flew east, one flew west, and one flew over the cuckoo’s nest.”

The tree house was physically detached from his actual family home located in the woods behind his father`s ranch. The house is already seen with a high degree of intimacy by Baclard, however Pollan had some kind of amplified intimacy; he did not just have a room of his own he had a building of his own. Pollans privileges allowed him to go from the communal aspect of a family house, “our house”, which already has powerful intimacy symbolisms, to “my house”. Therefore making Pollan tree house his own corner of the world. “no one but a kid could possibly gain admittance to it” ”

Likewise, the importance and descriptions of the characters’ homes within the novel also illustrates the impact of racial discrimination on African Americans. Each home described in the novel serves a greater purpose than simply being a place to live (Crayton 12). Homes symbolize the psychological health of the characters who live within it and the situations that caused them to be in that particular mental and emotional state

Looking at the article from a symbolic interactionist perspective, it can be noted Montgomery fails to explain the house is in itself a reflection of the homeowner’s individuality and desire to impress upon the public eye. Erving Goffman would rationalize the house as a mode of presenting the homeowner in the best possible light, this is known as dramaturgical analysis (Brym R, 2013). The home embodies both the homeowners’ public roles and true selves. Notice the privilege in owning a home is subjected to the statuses people occupy that in turn speaks about the role sets they play, but the combination of these social influences is

First off, As Mrs. Mallard look out in the window, she can see “tops of trees that were all aquiver with new spring life.” Spring means a start of something new and restoration of dead leaves (as for trees). The symbol is effective representing the new beginning that Mrs. Mallard is seeing with her new, free life in the coming years as well as restoring her happy life which has dulled during her married life. Second, “Patches of blue sky” represent Mrs. Mallard’s world gradually getting brighter. From the dark one to a bright and clear beautiful sky. Third, “delicious breath of rain” symbolises the taste of victory Mrs. Mallard felt. All in all, the setting added a colour to and provide a clear picture of the series of events that is present in the