The Role Of Storytelling In The Pillowman And Antigone In New York

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.

We hear of her moving to New York to escape her life as a child bride after being orphaned at a young age. This story allows the audience to gain a sense of sympathy for Holly, and enhances the pathos of the story. This pathos puts the audience into the shoes of Holly and enables them to understand the reasoning behind her escape. The use of language features like pathos and literary allusion allow the authors of both texts to convey the theme of escapism.

The author agrees with the idea of women as victims through the characterisation of women in the short story. The women are portrayed as helpless to the torment inflicted upon them by the boy in the story. This positions readers to feel sympathy for the women but also think of the world outside the text in which women are also seen as inferior to men. “Each season provided him new ways of frightening the little girls who sat in front of him or behind him”. This statement shows that the boy’s primary target were the girls who sat next to him. This supports the tradition idea of women as the victims and compels readers to see that the women in the text are treated more or less the same as the women in the outside world. Characterisation has been used by the author to reinforce the traditional idea of women as the helpless victims.

In this essay I intend to explore the narrative conventions and values, which Oliver Smithfield presents in the short story Victim. The short story positions the reader to have negative and sympathetic opinion on the issues presented. Such as power, identity and bullying. For example Mickey the young boy is having issues facing his identity. It could be argued that finding your identity may have the individual stuck trying to fit in with upon two groups.

In any great work of literature, each action and thought should contribute to the underlying meaning of the entire work. No action should exist for its own sake; it must instead advance the plot and reinforce the symbolism of both the characters’ actions as well as the truth of what the composer or author is trying to convey. This is especially true of acts of violence; great literature must carefully articulate the violence into a logical meaning. Most importantly, violence and acts of extreme passion work best when communicating a character’s inner-struggles as they relate to the motive and effect of each scene and action.

The different points of view give an understanding of the relationship the protagonists are to their victims.

Juxtaposition is used to put two characters side by side and depict the similarities and the differences of them. Within the novel, Ethan Frome, Zeena and Mattie were two contextual characters whose individuality stood out. By studying Zeena’s and Mattie’s attitudes towards life, their roles as women in the late 19th century, their age, appearance, and their treatment of Ethan and each other throughout the novel, the reader can more deeply comprehend not only the similarities and differences of these two characters, but the function their differences serve as well. A person’s attitude towards life determines how successful they will be in life.

As these cultural conflicts arose, the publication of “The Sandman” came out, illustrating characteristics that advocated for the Romantic era ideals, while also contrasting rational views. Within the story of “The Sandman” and as well as in his other novels and stories, E.T Hoffman depicts a duality between dream and reality, as it is a motif for his own life. Hoffman insists of there being an irreducible heterogeneity and dualism between the two realms of what is reality and what is a dream, which is seen through the dispute between Clara and Nathanael in “The Sandman.” Within this publication, Hoffman begins with a dispute between Clara and Nathanael regarding the death of his father. It then transitions into letter that were written between that of Nathanael, Clara, and Clara’s brother Lothar.

“The third stage of narrative development was characterized by the appearance of rogues… relying on cleverness more than force, and motivated more by profits than by passion” (Williams 14). Rogues defied whatever came in between their pursuit, whether it be law or authority (Williams 14). In the third stage of criminal literature, the protagonists were all rogues despite of their unlawfully ways, they “aroused reader sympathy” (Williams 16). Williams described these rogues as “outsiders, existing apart from the social structure either by choice or by fate” (William 16). He also described these rogues as “individualistic, opportunistic, self-reliant” as well as “defiant of authority and entirely free” (Williams 16). William argues that the evolution of these narratives took place in three stages: the first being the “early execution sermons and final confessions”, the second being “the incomplete narratives of life and, finally the full length rogue narrative” (Williams 17). Williams’ article describes how criminal literature changed from “promoting obedience, [to] encouraged defiance” (Williams

The world was changing in the first half of the 20th century as seen in O'Connor's “Everything That Rises Must Converge” and Cather’s “The Sculptures Funeral.” Many people have their own morals when it comes to very big decisions to be made. But in some cases those who are faced with moral ambiguity have very tough times deciding what is the correct choice to make. 3 characters from early modern short stories were faced with a dilemma where their moral ambiguity showed who they truly were when faced with a problem.

In the words of Sigmund Freud, “The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.” The legendary psychologist saw dreams as an avenue to study one’s underlying motives for action. Similarly, in literature one finds striking significance from the illusions of protagonists that often predict the nature of one’s psyche. Two such examples present themselves in Blanche, from Tennessee Williams’ A Streetcar Named Desire, and the grandmother, from Flannery O’Connor’s A Good Man is Hard to Find. The former tale follows a lady without a home who finds herself reliant on her belligerent and bestial brother-in-law. The latter traces a family’s road trip South and their encounter with a wanted fugitive. Both Blanche and the grandmother find themselves tethered to their idealistic and often times hypocritical fantasies which signify their underlying mental instability and foreshadow their eventual ruinations. Williams and O’Connor examine their protagonists’ delusions through gender, clothing, and nostalgia.

In the poems “The Wanderer” and “The Dream of the Rood,” anonymous authors give way to the idea that an Almighty God will solve every problem a person has by doing two things: 1) drawing upon the memories of a warrior who has lost everything near and dear to him due to war, and 2) entering the dream of a man who has been exiled and isolated. Each piece takes its reader through the trials and tribulations that one may not relate to in this era, yet the reader is still there alongside the character wanting them to find peace with their world and themselves. Initially, it is believed that the characters will overcome their hardships and achieve the happiness they seek. However, as the reader delves deeper into the character’s story, there is an overwhelming sense of incompleteness. What actually happens at the end of each piece is not written in stone - telling us the story is not whole - nor has a conclusion been reached. The intrapersonal thoughts being shared with the reader reveal the obstacles that keep an overall wholeness from occurring.

Every character plays an essential role in any story. Whether it is a protagonist, an antagonist, or a supporting character. Each personality improves the plot of the story. In the plays Hamlet by William Shakespeare and Antigone by Sophocles, Hamlet and Antigone are the tragic heroes whose need for justice are center of the novel. In this argumentative paper, I will compare both characters, Hamlet and Antigone, as they seek justice but instead achieve the role of a tragic hero.

In Jean Anouilh’s version of the play, Antigone, the protagonist, Antigone, is interpreted as a member of the resistance to despotism that parallels the antifascist French resistance against the Nazi occupation. Anouilh’s controversial play was performed in 1944 under Nazi-controlled Paris, so when Antigone sacrifices her life to defy the oppressive ruler Creon, Anouilh makes Antigone not only a heroine, but also a symbol for resistance. Anouilh based his playwright on Sophocles’ version, which was originally written in 442 BC in Ancient Greece. However, Anouilh uses different literary devices such as anachronisms, allusions, similes and symbolism to relate the story to the most disturbing dilemma during his time in the 1940’s. He writes his play to show the importance in joining the French resistance, but he must also make his play acceptable to the controlling Nazis. As such, the play Antigone can be interpreted as a political allegory of Vichy France.

In this play there are many incidents which show how police officers and the judges help each other in their fallacious activity. This incident portrays how the police officers use their authority to manipulate the people and cause corruption in the society.