Sarrasine

The Destruction of Identity in Vertigo, The Tenant, & Mulholland Drive The rudimentary form of narrative storytelling lends itself towards application to an individual subject’s life story due to the correspondence of a narrative’s finite bounds and the subject’s mortality. Vertigo (dir. Alfred Hitchcock, 1958), The Tenant (dir. Roman Polanski, 1976), and Mulholland Drive (dir. David Lynch, 2001) are consistent with this idea because their narratives follow an individual human subject from

In the French theorist’s Roland Barthes’s essay, “The Death of the Author,” he explores that reading is done through a lens of the authors life. According the Dictionary.com, to read is to “comprehend the meaning of (written or printed matter) by mentally interpreting the characters or symbols of which it is composed.” Barthes argues that the reader spends to much time allowing the author’s identity to get in the way of comprehending the meaning of the ‘written or printed matter.’ He then goes on

piece was easy, but terms like ethos and pathos, additionally, the explanation of new criticism’s goal for literary analysis to emulate scientific theory really all escaped me. In the weeks that followed, and our second journal was due, I had read, Sarrasine (Balzac); and The Purloined Letter (Poe). Now a tiny voice inside my head said, “I got this.” Midterms rolled around and my confidence was returning. As I read the prompt, my heart starting racing. Looking at the poem, “The Inhabitants” for

Literary Theories have been used as lenses by critics to review literature. Studying literary theory through arduous application to a work of art would enable learners to improve their proficiency in perception. Gerard Genette, a Structuralist, enumerated three major typologies of narratology like story, narrative and narration. The present paper attempts to read Somerset Maugham’s short story The Pool with this narratological perspective. It rigorously applies Genette’s narrative elements with