Borges Misrepresentations

Composers of texts present a biased attitude to the events, personalities or situations represented. In various texts such as Shakespeare’s “Julius Caesar” and Leunig’s cartoon “Yet another picture with the wrong caption”, the composers bias is evident even though conflicting perspectives towards the personality are presented.

Antigone and A Raisin in the Sun are two pieces of literature that are similar in one way, yet very different in another way. Both are very interesting pieces that were written to captivate even the most critical of audiences. This paper will show similarities as well as differences between the two pieces and their authors.

Post-modernism was “a reaction to the assumed certainty of scientific, or objective, efforts to explain reality” (Public Broadcasting Service, n.d.). It can be suggested that reality is something that we each create and possess individually. Morimura took a work from the late 1500’s and changed it to fit his personal intentions and interpretations. It embodies post-modernist devices, such as stereotyping, the crossing of genre, and contemporary culture (Felluga, n.d.). By using these devices, Morimura transforms a work that could only seem applicable to the venerable and religious, to a work that is easily recognized and applied by the general public. He transforms the work from Bruegel’s reality to his own, in endeavour to resolve it. It is thought that appropriation is unoriginal, or possess aspects of plagiarism and negligence. However, the use of appropriation to give old works new meaning is justified in the sense that it allows the build-up and corroboration of ideas, supporting the growth and change of value systems as times and realities

Onyeka Aladiume Period 4 9-21-17 Week 2 Personification: attributing human traits to something non human. Hyperbole: eexaggerated statements or claims meant not to meaning literally. Example: “Tree wore blankets of ice.”

In George Bernard’s play, Saint Joan, his character 'The Inquisitor' unleashes a powerful speech, aiming to persuade the church court to condemn Joan of Arc for heresy. In his plea, The Inquisitor using the rhetorical strategies of allusion hyperbole, and repetition to both argue his case and influence those who will decide Joan’s fate.

Borges used allusions to further connect his ideas. He twisted and tied the main story to mltiple side stories so it would all conclude and come back to the initial story. So the overall purpose of the side stories is to have something to allude to in order to make the point of the main story clear. Borges believed that different choices make different outcomes. For example, Albert says to the narrator, "you arrive at this house, but in one of the possible pasts you are my enemy, in another, my friend." This means that depending on the decisions you made in life, you either have a positive or a negative relationship with a person. And because of the structure of Borges' stories - multiple in one- there are many pasts to piece together. Borges

Of the countless examples of figurative language in Night I have decided to perform my in-depth analysis of the following three examples dispersed throughout the book.

In the sixth chapter of Thomas C. Foster’s How to Read Literature Like a Professor, Foster examines the Bible and its importance throughout stories, poetry and film. The Bible is one of the most commonly known pieces of literature and is even “nonsectarian” in Foster’s eyes (44). Because stories from the Bible are so well known, the Bible is a tremendously easy for authors to reference when constructing a new composition. Especially “prior to sometime in the middle of the twentieth century” writers were “solidly instructed in religion” and could count on the public being very well acquainted with Biblical stories (47). This widespread knowledge of the Bible lead to greater understandings throughout literature, and the recognized allusions helped

When reading literature we often attempt to use particular threads of thought or lenses of critique to gain entry into the implied historic or legendary nature of literature. To accurately process a tale in the light in which it is presented, we have to consider the text from multiple viewpoints. We must take into consideration intentional and affective fallacies and the socioeconomic circumstances of the presenter/author/narrator. We also have to consider how our personal experience creates bias by placing the elements of the story into the web of relationships that we use to interpret the external world. There also is the need to factor in other external pressures, from societal norms, cultural ideals, and psychological themes, and how

Wayne C.Booth is the first introducer of the term ‘unreliable narrator’ back in 1962. In his perspective, a narrator is “reliable when he speaks for or acts in accordance with the norms of the work, unreliable when he does not” (1983: 158–59). In a nutshell, an unreliable narrator gives the readers either incomplete or inaccurate information. In the literary context, authors use this type of technique to add a twist to the plot or the ending of the story for it creates mystery.

To add on from the concrete dissimilarities of both author’s interpretations. Both pieces also have conflicting moral and this can be derived from the fact that the pieces were written in different time periods and two totally different authors. It is evident that both authors drew

Context affects ideas and the way ideas are portrayed in text. The parallels seen between the contexts of the two texts causes both to contain ideas about similar themes, including the progression of society, and man’s place in

In his collection of short stories, Ficciones, Jorge Luis Borges uses dreams, imagination and fantasy to establish ambiguity in his stories. With the use of juxtaposition and symbols, Borges blends a realm of dreams and imagination into the individual’s everyday worldly experiences. Through these devices, Borges commonly blurs the line between aspects of reality for his characters versus the constructs of his or her mind. By combining the real with the fictitious, Borges incorporates ambiguity into his stories and introduces his readers to new perspectives of world around them.

Allusions aptly incorporated lend a rich penumbra of meaning and significance to the use of only few words. Granted, the average and even the above average reader will need footnotes to know the situation of Guido da Montefeltro, to understand the prefatory Italian of the poem, and to sort out which biblical Lazarus Eliot alludes to. Less demanding are the references to Shakespeare, Marvell, and Michelangelo. But recognition of allusions brings delight and a sense of intimate understanding between reader and author.

“Fake News”: Analyzing Gabriel García Márquez’s subtle commentary and use of minor characters through syntax, juxtaposition, and periphrasis