Write An Essay On The Relationships Of Literature With Superstructure Decision Making+Term Paper
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.I also plan to examine the various mentions of linguistic and artistic schematics.Buddy, like his trickster creator, seems to be almost daring the reader to accuse him of invention.Salinger also incorporates visual tricks in his narratives in what Martin Bidney calls “aesthetic epiphanies” (117).Realist art has the possibility for honesty, yet the portrait it produces is often unlikable; it depicts an accurate exterior at odds with the interior and the desired self-perception.Romantic art demonstrates the artist’s ability, creating an image too beautiful to be representative of either the subject’s exterior or interior.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).
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., 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.And I propose to talk about these techniques and devices in the context of writerly tricks, games, and pranks.Perhaps much of what lends Salinger’s work its magical character is, in fact, magic, in the sense of sleight of hand and intentional artifice and trickery.The only substantive body of work on this topic as yet is largely concerned with Caliban’s potential Irishness, and the difficult dynamics of artistic self-definition for a colonized island.My planned methodology is, admittedly, largely internal to Joyce and Shakespeare’s work, even closed-off from much current scholarship./ 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.This is particularly evident in the exchange between Seymour and Sybil in “A Perfect Day for Bananafish,” in which the collaborative back-and-forth between the two players leads to the creation of the myth of the bananafish.A kind of prank Salinger plays on the reader is the couching of his narratives in the authorship of the fictional Buddy Glass and the creation of a Glass superstructure of linked stories.