Two passages seem particularly relevant to this method of analysis: Prospero’s introduction of Caliban, Language is power, not only as a marker of self-expression, but as one of the civilization and, perhaps more importantly, artistry.It is Prospero’s command of language, much like Mulligan’s, that enables him to continue this twisted master-slave, master-student relationship..I plan to trace this paradigm first through the Telemachiad, honing in on Joyce’s combined incorporation of Ariel’s song into Stephen’s extended meditation on a corpse on the beach at the close of “Proteus.” “Aeolus” is likewise a point of interest as it most directly addresses Joyce’s preoccupation with rhetoric and style, and Stephen’s linguistic reticence, self-consciousness, and susceptibility to persuasion.
Two passages seem particularly relevant to this method of analysis: Prospero’s introduction of Caliban, Language is power, not only as a marker of self-expression, but as one of the civilization and, perhaps more importantly, artistry.It is Prospero’s command of language, much like Mulligan’s, that enables him to continue this twisted master-slave, master-student relationship..Tags: The Purpose Of Critical ThinkingWhat Is Critical Thinking And Problem SolvingDevelopment Essay Language Language National Science Structure TranslationComplex Process EssayCreating An Essay Cover PageShakespears Macbeth EssaysUcla Application EssayWarwick Wmg DissertationWriting Essay Introduction HistoryLiterature Review Define
Devotees often speak of Salinger’s writing in terms of its mysterious, heightened quality—Janet Malcolm notes “its fundamental fantastic character,” and Adam Gopnick refers to the recurrence of “childlike enchantment” in the work.
I plan to explore the mysterious, heightened quality of Salinger’s writing by putting language to the techniques and devices that contribute to a sense of the fantastical.
What qualities do readers (especially writer-readers) admire in Salinger’s stories?
And what about these qualities and others make Salinger’s body of work difficult or unappealing from a critical standpoint?
Bidney talks about how the turning point in a Salinger story is often accompanied by a game of , or the little girl turning her doll’s head to face Seymour in the poem in “Zooey.” Other forms of games and tricks in Salinger include the use of framing devices, the employment of a play-set New York that is at once familiar and fake, and the winking italicization of words and syllables to inflect layers of meaning.
By using literary tricks and games and playfully drawing attention to his fiction’s constructedness, Salinger leaves his secrets hiding in plain sight., seemingly surface allusions to the romances are in fact essential to the novel’s interests in redemption, art and most importantly language.More specifically, I propose to explore the ways in which Joyce uses Shakespeare’s romances to articulate the dynamic between mastery over language and mastery over artistic self-expression of the interior. I contend that this early reference to Caliban frames Stephen’s struggle for independence as an artist as one also for control over the presentation of his own image through language./ The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass” (Wilde 3). Most scholars contend that Joyce is engaged primarily with Wilde as a fellow, near contemporary Irish writer.In this case the question is semi-historical and largely abstract.Shortly following the near-universal acclaim of , Salinger’s “Franny” and “Zooey” and subsequent installments meditating on the Glass family were met with increasingly critical resentment and weariness of Salinger’s devotion to a set of precocious, misunderstood geniuses, so much so that by the time “Hapworth 16, 1924” appeared in in 1965, it was “greeted with unhappy, even embarrassed silence” (Malcolm).Since then, many authors and fans have sought to redeem Salinger from a writerly perspective (Samuels; Kotzen and Beller), while his status in the world of literary criticism remains uncertain.Firstly, the Bloom family unit is uncannily similar to Shakespeare’s Sicilian royalty, most notably in the unspoken grief of both protagonist’s lost sons, and the ways in which the authors address the modes of atonement and recovery.Indeed, it is not unreasonable to draw connections between Stephen’s cynical discourse on wives in “Scylla and Charybdis” and Bloom’s museum musings in “Lestrygonians” as the King’s competing theories of female sexuality.Salinger’s writing is full of feints and winks and a willingness to play.For example, Salinger’s signature snappy vernacular dialogue often takes on properties of theatrical improvisation through which characters play off one another with the aim of keeping the conversation going to reach a point of emotional payoff.