Monday, March 18, 2013

GENRE CRITICISM- Ode on Solitude by Alexander Pope

Ode on Solitude


I
How happy he, who free from care 
The rage of courts, and noise of towns; 
Contented breathes his native air, 
In his own grounds. 


II. 
Whose herds with milk, whose fields with bread, 
Whose flocks supply him with attire, 
Whose trees in summer yield him shade, 
In winter fire. 

III. 
Blest! who can unconcern'dly find 
Hours, days, and years slide swift away, 
In health of body, peace of mind, 
Quiet by day, 

IV. 
Sound sleep by night; study and ease 
Together mix'd; sweet recreation, 
And innocence, which most does please, 
With meditation. 

V. 
Thus let me live, unheard, unknown; 
Thus unlamented let me die; 
Steal from the world, and not a stone 
Tell where I lie




The Theory:

              Genre criticism is a type of literary criticism in which the work of literature is analyzed to see where it fits in terms of its genre instead of viewing it as a totally independent work. According to the genre criticism, works should be interpreted based on the characteristics of the genre under which they fall and on how they fit or break the conventions of that genre.


The Criticism:

                 Ode on Solitude is a poem that uses a third person point of view. In terms of poetry the parameter used are five quatrain stanzas with a rhyme scheme of a.b.a.b. The poem doesn't use many official poetic or literary devices and only use fair amount of repetition and a little alliteration. It is a really straight forward poem celebrating a quiet life. Satisfaction and contentment run as the central theme.

LOGOCENTRISM- Farewell to the Old Guard by Napoleon Bonaparte


Farewell to the Old Guard

'Soldiers of my Old Guard, I bid you farewell. For 20 years I have constantly accompanied you on the road to honor and glory.
In these latter times, as in the days of our prosperity, you have invariably been models of courage and fidelity.
With men such as you our cause could not be lost; but the war would have been interminable; it would have been civil war, and that would have entailed deeper misfortunes on France.
I have sacrificed all of my interests to those of the country.
I go, but you, my friends, will continue to serve France.
Her happiness was my only thought. It will still be the object of my wishes.
Do not regret my fate; if I have consented to survive, it is to serve your glory.
I intend to write the history of the great achievements we have performed together.
Adieu, my friends. Would I could press you all to my heart. I embrace you all in the person of your general. Come, General Petit, that I may press you to my heart!
Bring me, the eagle that I may embrace it also!
Adieu, my children! Be always gallant and good.
Do not forget me.'
- Napoleon Bonaparte




The Theory:

                 Logocentrism refers to the tradition of western science and philosophy that situated the logos, "the word" or the "act of speech" as the epistemologically superior in a system or structure in which we may only know or be present in the world by way of a logocentric metaphysics.


Criticism:


                 Farewell to the Old Guard is a great example of logocentrism using excellent text to persuade the reader or the listener however it turned to the usage of spoken language over the written language. It is a good example of a great oration and clear dialogue. Farewell to the Old Guard uses the power of good verbal communication making use of the words and language to illustrate the subject.

STRUCTURALISM- West Side Story by Arthur Laurents




Summary:


Two teenage gangs, the Jets (White) and the Sharks (Puerto Rican), struggle for control of the neighborhood, amidst police whistles and taunts (Prologue). They are warned by Lt. Schrank and Officer Krupke to stop fighting on their beat. The police chase the Sharks off, and then the Jets plan how they can assure their continued dominance of the street. The Jets' leader, Riff, suggests setting up a rumble with the Sharks. He plans to make the challenge to Bernardo, the Sharks' leader, that night at the neighborhood dance. Riff wants to convince his friend and former member of the Jets, Tony, to meet the Jets at the dance, but some of the Jets are unsure of his loyalty ("Jet Song"). Riff meets Tony while he's working at Doc's Drugstore to persuade him to come. Loyal to Riff, Tony agrees, but he wants no further part of gang life and imagines a better future ("Something's Coming").
Maria works in a bridal shop with Anita, the girlfriend of her brother, Bernardo. Maria has just arrived from Puerto Rico, and her family has selected Chino, a member of the Sharks, to be her future husband. Anita makes Maria a dress to wear to the neighborhood dance.
Maria is in a very happy mood at the bridal shop, as she anticipates seeing Tony again, ("I Feel Pretty"). Tony meets Maria at the bridal shop the next day, where they dream of their wedding ("One Hand, One Heart"). She asks Tony to stop the fight, which he agrees to do. Tony, Maria, Anita, Bernardo (and the Sharks), and Riff (and the Jets) all anticipate the events to come that night ("Tonight Quintet"). The gangs meet each other under the highway, and as the fight between Bernardo and Diesel is just beginning, Tony arrives and tries to stop the rumble. Though Bernardo taunts Tony, ridiculing his attempt to make peace and provoking him in every way, Tony keeps his composure. When Bernardo pushes Tony, Riff punches him in Tony's defense. The two draw their switchblades and get in a knife fight ("The Rumble"). Tony warns Riff to back away, but Riff shakes him off and continues the fight. In an important moment of the show, Riff has an opportunity to stab Bernardo, but Tony holds him back. After shaking off Tony, Riff returns to the fight but is accidentally stabbed and killed by Bernardo in the process. Tony then takes Riff's knife and kills Bernardo in a fit of rage. The two gangs then go into a free-for-all. The sound of approaching sirens is heard, and everyone scatters, except Tony, who stands in shock at what he has done. The tomboy Anybodys, who stubbornly wishes that she could become a Jet, tells Tony to flee from the scene at the last moment. Only the bodies of Riff and Bernardo remain.At the dance, after introductions, the teenagers begin to dance; soon a challenge dance is called ("Dance at the Gym"), during which Tony and Maria (who aren't taking part in the challenge dance) see each other across the room and are drawn to each other. They dance together, forgetting the tension in the room, fall in love, and try to kiss, but Bernardo pulls his sister from Tony and sends her home. Riff and Bernardo agree to meet for a War Council at Doc's, a drug store which is considered neutral ground, but meanwhile, an infatuated and happy Tony finds Maria's building and serenades her outside her bedroom ("Maria"). He appears on her fire escape, and the two profess their love for one another ("Balcony Scene"). Meanwhile, Anita, Rosalia, and the other Shark girls discuss the differences between the territory of Puerto Rico and the mainland United States of America, with Anita defending America, and a girl named Rosalia yearning for Puerto Rico, ("América"). The Jets get antsy while waiting for the Sharks inside Doc's Drug Store. Riff helps them let out their aggression ("Cool"). The Sharks arrive to discuss weapons to use in the rumble. Tony suggests "a fair fight" (fists only), which the leaders agree to, despite the other members' protests. Bernardo believes that he will fight Tony, but must settle for fighting Diesel, Riff's second-in-command, instead. This is followed by a monologue by the ineffective Lt. Schrank trying to find out the location of the rumble. Tony tells Doc about Maria. Doc is worried for them while Tony is convinced that nothing can go wrong; he is in love.
The dejected Jets are set on by Officer Krupke. A brawl ensues, and Officer Krupke is outnumbered and leaves. In an attempt to get their mind off the death of Riff, the Jets lampoon Officer Krupke, and the rest of the adults who try to understand them, ("Gee, Officer Krupke"). The Jets make Action leader of the gang. Just then, Anybodys, who has been spying on the Sharks in an attempt to ingratiate herself, brings news that she overheard Chino planning to hunt down Tony and kill him with a gun. Anybodys' persistence pays off- she is accepted into the gang, as when the Jets spread out to look for Tony, she is given a place to search. Not only has she gained acceptance, but she also begins a relationship with Action.Blissfully unaware of what has happened, Maria daydreams happily about seeing Tony with her friends—Rosalia, Consuelo, Teresita and Francisca ("I Feel Pretty"). Just then, Chino brings the news that Tony has killed Bernardo. Maria flees to her bedroom, praying that Chino is mistaken. Tony arrives to see Maria, she initially pounds on his chest with rage, but it is fake- she still loves him, and they plan to run away together; as the walls of Maria's bedroom disappear, they find themselves in a dreamlike world of peace ("Somewhere").
A grieving Anita arrives at Maria's apartment. As Tony leaves, he tells Maria to meet him at Doc's so they can run away to the country. In spite of her attempts to conceal it, Anita sees that Tony has been with Maria, and launches an angry tirade against him, ("A Boy Like That"). Maria responds counters by telling Anita how powerful love is, ("I Have a Love"), though, and Anita realizes that Maria loves Tony as much as she had loved Bernardo. She admits that Chino has a gun and is looking for Tony.
Lt. Schrank arrives to question Maria about her brother's death, and Anita agrees to go to Doc's to tell Tony to wait. Unfortunately, the Jets, including Anybodys, who has found Tony, have congregated at Doc's, and they taunt Anita with racist slurs and eventually attack her physically. Doc arrives and stops them. Anita is furious, and in anger, she spitefully delivers the wrong message, telling the Jets that Chino has shot Maria dead.
Doc relates the news to Tony, who has been dreaming of heading to the countryside to have children with Maria. Feeling there is no longer anything to live for, Tony leaves to find Chino, begging for him to die as well. Just as Tony sees Maria alive, Chino arrives and shoots Tony. The Jets, Sharks, and adults flock around the lovers. Maria holds Tony in her arms (and sings a quiet, brief reprise of "Somewhere") as he dies. Angry at the death of another friend, the Jets move towards the Sharks but Maria takes Chino's gun and tells everyone that "all of [them]" killed Tony and the others, and now she can kill, because now she hates, too. However, she is unable to bring herself to fire the gun and drops it, crying in grief. Gradually, all the members of both gangs assemble on either side of Tony's body, showing that the feud is over. The Jets and Sharks form a procession, and together they carry Tony away with Maria being the last one in the procession.


The Theory:
                  
                 Structuralism is a theoretical paradigm emphasizing that elements of a human culture must be understood in terms of their relationship to a larger, over arching systems of a structure. Structuralism is the belief that phenomena of the human life are not intelligible except through their interrelations.

Criticism:

               West Side Story has the same structure with Shakespeare's Romeo and Juliet that's why one could easily point out the meaning of the play. The claim is that it is also about the story of two friendly families that arrange a marriage between their children despite the fact that the children hate each other and they commit suicide to escape the arranged marriage. The only justification is that second story's structure inverse with the first when it comes to the relationship between the values of love and the two pairs of families.

NEOCLASSICISM- I Know What You Did Last Summer by Lois Duncan


I Know What You Did Last Summer 






Summary:


              Four friends, Helen Shivers (Sarah Michelle Gellar), Julie James (Jennifer Love Hewitt), Barry Cox (Ryan Phillippe), and Ray Bronson (Freddie Prinze Jr.) go out of town to celebrate Helen's winning the Miss Croaker pageant. Returning in Barry's new car, they hit and apparently kill a man, who is unknown to them. They dump the corpse in the ocean and agree to never discuss again what had happened.
               One year later, Julie is returning home from college. She has not spoken with Helen, Barry or Ray since the accident. Upon returning home, Julie receives a letter that says "I KNOW WHAT YOU DID LAST SUMMER!" Panicking, Julie goes to see Helen at Shivers, a department store where she works. Julie shows Helen the letter and they decide to visit Barry. After going over the incident, Barry accuses Max. The trio go to see Max (Johnny Galecki), but Barry insists on going in the factory alone. Barry persuades Max to go into the back room and angrily attacks him, telling Max he should keep his mouth shut. Julie finds Ray working on the docks. Ray tries to make up with Julie but she runs off.
              Inside the factory, Max is brutally murdered with a meat hook to his neck by an anonymous figure in a raincoat. The killer attacks Barry next, running him over with his own car, but he lives.
Julie arrives at the hospital to see Barry and finds Helen and Ray there. Julie believes the man they hit was named David Egan, because a newspaper article a few weeks after the accident mentioned his body washing up on shore. Helen and Julie go to visit Missy (Anne Heche), David's sister. Missy tells them she had a visit from a man claiming to be David's friend named Billy Blue.
               As Helen goes to sleep that night, a figure enters her room with a pair of scissors. The next morning, Helen wakes up with the crown on her head with most of her hair cut off and the word "SOON" written on her mirror.
               Julie gets a call from Barry, who tells her to come to Helen's. On the way, Julie hears rattling in her trunk. She opens the trunk to find it full of live crabs and Max's dead body. She shuts the trunk, runs to Helen's and brings her and Barry to her car, but the body and crabs have disappeared. Julie is convinced the killer took the body and that they are not safe.
                 Later they run into Ray back at the house, in which Barry punches Ray in the face, fell to the ground and tells them he got a letter. Julie decides to see Missy again while Helen and Barry watch each other's backs at the parade.
Julie meets Missy again and Missy admits that David committed suicide that night. David had been wracked with guilt after accidentally killing his fiance, Susie, in a car accident on the same road on the same night a year before. Missy shows Julie an alleged suicide note written in the same style as Julie's letter from the killer. Julie tries to explain that she was in a car that hit and killed David that night, but Missy becomes irate and tells Julie to leave.
At the Croaker pageant, Helen sees Barry murdered by the killer during a performance of Irene Cara's "Fame". A police officer (Stuart Greer) drives Helen home. The killer lures the cop into an alley and kills him.
Helen runs to the store where Elsa is working, but the killer finds both of them and, whilst Elsa is locking the back door, he kills Elsa. Helen manages to elude the killer by jumping out of the window into a dumpster and she flees through the back alleys to the parade. Helen then turns around and is then stopped by the killer who shoves her into a stack of tires and slashes her to death, her screams are to no avail as the noise of the parade drowns them out.
Julie goes to see Ray on his boat and tells him the story, but he does not believe her. Julie notices the name on his boat is "Billy Blue", the same name used by David's friend who had visited Missy, and accuses him of the murders. He chases her but is knocked unconscious by a man who tells Julie to get on his boat. The man is Ben Willis (Muse Watson), a fisherman who is revealed to be the murderer. He murdered David Egan after Ben's daughter, Susie, died in the car accident Missy told Julie about. Ben blamed David and killed him a year later, making it look like a suicide. On the way home, Ben was hit by the group.
Willis then pulls out the hook and proceeds to chase Julie. In a room full of ice, Julie finds Helen and Barry's bodies. Ray climbs aboard and is almost killed by Ben, but is caught in the boat's net. Then ensues an old fashioned fisticuffs between Ben and Ray, the latter administering a fairly hearty and heartfelt beating to Ben. He climbs back aboard and saves Julie. Ben gets his hand caught in a rope and Ray hoists him into the air where Ben falls into the ocean.
On land, Ray tells Julie that the reason he went to see Missy was because he was guilty and had to know who they hit. He tells her he loves her and they embrace. When a policeman asks for any reason why Ben would want to kill them, Julie and Ray both say they don't know. Ben's body is not recovered.
A year later, Julie is in her sophomore year of college and is planning a trip to New York with Ray. Julie receives a cell phone call from Ray as she is in the bathroom turning on the shower. She steps out to take the call, and she receives a letter resembling the one she had got from Ben, but it only contains a pool party invitation. Julie returns to the bathroom, which has now filled with steam. On the shower door, "I STILL KNOW" is written. Ben jumps through the shower door and Julie screams.


Criticism:

                 Neoclassicism is a revival of the styles and spirit of a classic antiquity inspired directly from the classical period which coincided and reflected the developments of philosophy and was initially a reaction against the excesses of style. Neoclassicism in each part implies a particular canon of a classical model.

              I Know What You Did Last Summer is a book written by Lois Duncan in 1973. It falls under the category of Neoclassicism where in the book was being produced as a film with the same name by the year 2006. The movie centers on four friends namely Helen Shivers, Julie James, Barry Cox and Ray Bronson who are being stalked by a killer one year after covering up a car accident in which they here involved.
I Know What You Did Last Summer is a classic in its genre and the film was the revision of the classical work where in surprise plot twists and turns was added to make it modern and catchy but the plot of the book is kinda different and far better then the movie itself. 

Sunday, March 17, 2013

DECONSTRUCTION- Ernest Hemingway – ‘Cat in the Rain’


Ernest Hemingway – ‘Cat in the Rain’ 



Summary:

There were only two Americans stopping at the hotel. They did not know any of the people they passed on 
the stairs on their way to and from their room. Their room was on the second floor facing the sea. It also faced 
the public garden and the war monument. There were big palms and green benches in the public garden. 
In the good weather there was always an artist with his easel. Artists liked the way the palms grew and the 
bright colors of the hotels facing the gardens and the sea. 
Italians came from a long way off to look up at the war monument. It was made of bronze and glistened in 
the rain. It was raining. The rain dripped from the palm trees. Water stood in pools on the gravel paths. The sea 
broke in a long line in the rain and slipped back down the beach to come up and break again in a long line in the 
rain. The motor cars were gone from the square by the war monument. Across the square in the doorway of the 
café a waiter stood looking out at the empty square. 
The American wife stood at the window looking out. Outside right under their window a cat was crouched 
under one of the dripping green tables. The cat was trying to make herself so compact that she would not be 
dripped on. 
‘I’m going down and get that kitty,’ the American wife said. 
‘I’ll do it,’ her husband offered from the bed. 
‘No, I’ll get it. The poor kitty out trying to keep dry under a table.’ 
The husband went on reading, lying propped up with the two pillows at the foot of the bed. 
‘Don’t get wet,’ he said. 
The wife went downstairs and the hotel owner stood up and bowed to her as she passed the office. His desk 
was at the far end of the office. He was an old man and very tall. 
‘Il piove,1
’the wife said. She liked the hotel-keeper. 
‘Si, Si, Signora, brutto tempo2
. It is very bad weather.’ 
He stood behind his desk in the far end of the dim room. The wife liked him. She liked the deadly serious 
way he received any complaints. She liked his dignity. She liked the way he wanted to serve her. She liked the 
way he felt about being a hotel-keeper. She liked his old, heavy face and big hands. 
Liking him she opened the door and looked out. It was raining harder. A man in a rubber cape was crossing 
the empty square to the café. The cat would be around to the right. Perhaps she could go along under the eaves. 
As she stood in the doorway an umbrella opened behind her. It was the maid who looked after their room. 
‘You must not get wet,’ she smiled, speaking Italian. Of course, the hotel-keeper had sent her. 
With the maid holding the umbrella over her, she walked along the gravel path until she was under their 
window. The table was there, washed bright green in the rain, but the cat was gone. She was suddenly 
disappointed. The maid looked up at her. 
‘Ha perduto qualque cosa, Signora?’3
‘There was a cat,’ said the American girl. 
‘A cat?’ 
‘Si, il gatto.’ 
‘A cat?’ the maid laughed. ‘A cat in the rain?’ 
‘Yes, –’ she said, ‘under the table.’ Then, ‘Oh, I wanted it so much. I wanted a kitty.’ 
When she talked English the maid’s face tightened. 
‘Come, Signora,’ she said. ‘We must get back inside. You will be wet.’ 
‘I suppose so,’ said the American girl. 
‘It’s raining.’
‘Yes, yes Madam. Awful weather.’
‘Have you lost something, Madam?’They went back along the gravel path and passed in the door. The maid stayed outside to close the umbrella. 
As the American girl passed the office, the padrone bowed from his desk. Something felt very small and tight 
inside the girl. The padrone made her feel very small and at the same time really important. She had a 
momentary feeling of being of supreme importance. She went on up the stairs. She opened the door of the room. 
George was on the bed, reading. 
‘Did you get the cat?’ he asked, putting the book down. 
‘It was gone.’ 
‘Wonder where it went to,’ he said, resting his eyes from reading. 
She sat down on the bed. 
‘I wanted it so much,’ she said. ‘I don’t know why I wanted it so much. I wanted that poor kitty. It isn’t any 
fun to be a poor kitty out in the rain.’ 
George was reading again. 
She went over and sat in front of the mirror of the dressing table looking at herself with the hand glass. She 
studied her profile, first one side and then the other. Then she studied the back of her head and her neck. 
‘Don’t you think it would be a good idea if I let my hair grow out?’ she asked, looking at her profile again. 
George looked up and saw the back of her neck, clipped close like a boy’s. 
‘I like it the way it is.’ 
‘I get so tired of it,’ she said. ‘I get so tired of looking like a boy.’ 
George shifted his position in the bed. He hadn’t looked away from her since she started to speak. 
‘You look pretty darn nice,’ he said. 
She laid the mirror down on the dresser and went over to the window and looked out. It was getting dark. 
‘I want to pull my hair back tight and smooth and make a big knot at the back that I can feel,’ she said. ‘I 
want to have a kitty to sit on my lap and purr when I stroke her.’ 
‘Yeah?’ George said from the bed. 
‘And I want to eat at a table with my own silver and I want candles. And I want it to be spring and I want to 
brush my hair out in front of a mirror and I want a kitty and I want some new clothes.’ 
‘Oh, shut up and get something to read,’ George said. He was reading again. 
His wife was looking out of the window. It was quite dark now and still raining in the palm trees. 
‘Anyway, I want a cat,’ she said, ‘I want a cat. I want a cat now. If I can’t have long hair or any fun, I can 
have a cat.’ 
George was not listening. He was reading his book. His wife looked out of the window where the light had 
come on in the square. 
Someone knocked at the door. 
‘Avanti,’ George said. He looked up from his book. 
In the doorway stood the maid. She held a big tortoiseshell cat pressed tight against her and swung down 
against her body. 
‘Excuse me,’ she said, ‘the padrone asked me to bring this for the Signora.’ 



The Criticism:

           Hemingway's "Cat in the Rain" falls under the theory "deconstruction". The title of the story itself is the contradictory and carries multiple meaning than the literal cat in the rain. Indeed, the story talks about a cat stuck in the rain but this is not the true meaning of the text. The meaning is actually implied and hidden.The character which name was not mentioned and was only known as the American Wife was the hint buried in the title of the story itself by presenting characteristics similar to the cat. The cat in the rain symbolizes a cat who want to be free but has something holding it back and something was out of its control. The title also reflects how the wife feels controlled over her own life. She is just like the cat in the rain unable to take chance because something restraint her from doing so.

AMERICAN PRAGMATISM - The Adventures of Tom Sawyer



The Adventures of Tom Sawyer


Summary:
In the 1840s, a mischievous boy named Tom Sawyer lives with his Aunt Polly and his half-brother, Sid, in the Mississippi River town of St. Petersburg, Missouri. After playing hooky from school on Friday and dirtying his clothes in a fight, Tom is made to whitewash the fence as punishment all of the next day. At first, Tom is disheartened by having to forfeit his day off. However, he soon cleverly persuades his friends to trade him small treasures for the privilege of doing his work. He trades the treasures he got by tricking his friends into whitewashing the fence for tickets given out in Sunday school for memorizing Bible verses, which can be used to claim a Bible as a prize. He received enough tickets to be given the Bible. However, in response to a question to show off his knowledge, he incorrectly answers that the first disciples were David and Goliath.
Tom falls in love with Becky Thatcher, a new girl in town, and persuades her to get "engaged" by kissing him. Becky kisses Tom, but their romance collapses when she learns that Tom has been "engaged" previously, to a girl named Amy Lawrence. Shortly after being shunned by Becky, Tom accompanies Huckleberry Finn, the son of the town drunk, to the graveyard at night to try out a "cure" for warts with a dead cat. At the graveyard, they witness the murder of young Dr. Robinson by the Native-American "half-breed" Injun Joe. Scared, Tom and Huck run away and swear a blood oath not to tell anyone what they have seen. Injun Joe frames his companion, Muff Potter, a hapless drunk, for the crime. Potter is wrongfully arrested, and Tom's anxiety and guilt begin to grow.
Tom, Huck, and Tom's friend run away to an island to become pirates. While enjoying their newfound freedom, the boys become aware that the community is sounding the river for their bodies. Tom sneaks back home one night to observe the commotion. After a brief moment of remorse at the suffering of his loved ones, Tom is struck by the idea of appearing at his funeral and surprising everyone.
Back in school, Tom gets himself back in Becky's favor after he nobly accepts the blame for a book that she has ripped. Soon, Muff Potter's trial begins, and Tom, overcome by guilt, testifies against Injun Joe. Potter is acquitted, but Injun Joe flees the courtroom through a window. Tom then begins to fear for his life as Injun Joe is unapprehended and can easily find out where Tom is.
Summer arrives, and Tom and Huck go hunting for buried treasure in a haunted house. After venturing upstairs they hear a noise below. Peering through holes in the floor, they see Injun Joe enter the house disguised as a deaf and mute Spaniard. He and his companion, an unkempt man, plan to bury some stolen treasure of their own. From their hiding spot, Tom and Huck wriggle with delight at the prospect of digging it up. Huck begins to shadow Injun Joe every night, watching for an opportunity to nab the gold. Meanwhile, Tom goes on a picnic to McDougal's Cave with Becky and their classmates. That same night, Huck sees Injun Joe and his partner making off with a box. He follows and overhears their plans to attack the Widow Douglas, a kind resident of St. Petersburg. By running to fetch help, Huck forestalls the violence and becomes an anonymous hero.
A week later, Tom takes Huck to the cave and they find the box of gold, the proceeds of which are invested for them. The Widow Douglas adopts Huck, and, when Huck attempts to escape civilized life, Tom promises him that if he returns to the widow, he can join Tom's robber band. Reluctantly, Huck agrees.


Criticism:

              The Adventures of Tom Sawyer is a novel acknowledged as an American literature which is highly entertaining. It is said to be an American pragmatism because it contained typically American philosophical ideas. The story revolves on Tom Sawyer's Adventures and experiences when he serves as the leader among his groups of friends. Tom is really clever but uses his intelligence to get out of trouble. Through his course of adventures, the silliness and irresponsibility of Tom exhibits at the beginning of the story but was actually changed at the latter part of the story. tom demonstrates generosity and courage to change by leading his friends to safety. The idea that Tom despite of cleverness in fact changes his future by his efforts and gained experiences . Near the end of the story, Tom was known to respectable and have a strong desire not for adventure only but for glory. The most appealing characteristics of the story based on American Pragmatism are the optimism, emphasis on action and the belief that the future can be changed by human ideas and efforts.

Thursday, March 14, 2013

POST MODERNISM-Yo Yo Boing by Giannina Braschi


Yo Yo Boing



Summary:

                     This groundbreaking novel, set in New York City during the 1990s, is guaranteed to be unlike any literary experience you have ever had. Acclaimed Puerto Rican author Giannini Braschi has crafted this creative and insightful examination of the Hispanic-American experience, taking on the voices of a variety of characters ? painters, poets, sculptors, singers, writers, filmmakers, actors, directors, set designers, editors, and philosophers to draw on their various cultural, economic, and geopolitical backgrounds to engage in lively cultural dialogue. Their topics include love, sex, food, music, books, inspiration, despair, infidelity, jobs, debt, war, and world news. Braschi's discourse winds throughout the city's public, corporate, and domestic settings, offering an inside look at the cultural conflicts that can occur when Anglo Americans and Latin Americans live, work, and play together. Hailed by Publishers Weekly as a literary liberation, this energetic and comical novel celebrates the contradiction that makes contemporary American culture so wonderfully diverse. Praise for Yo-Yo Boing. Known for their radical linguistic and structural inventions, as well as for their overt political thrust Giannina Braschi's postmodern poetry collection Empire of Dreams and her ground-breaking bilingual novel Yo-Yo Boing! are an in-your-face assertion of the vitality of Latino culture in the US. - The New York Daily News ?The novel, evoking the name of the island's famous comedian Yo-Yo Boing!, is neither fully written in English or Spanish, but rather sashays between the two languages much the way Puerto Rico itself sashays between two cultures, two identities, and two languages. The San Juan Star ?Braschi's novel is...a literary liberation. The interlocutors..yo-yo from subject to subject: writers, films, sex, childhood, family and ultimately Puerto Rican artistic expression in New York City. Allusions come helter-skelter, as Fellini, Pee-Wee Herman, Nabokov and even Columbia University Latin Americanist Jean Franco are invoked, celebrated, and derided.


The Criticism:

Yo Yo Boing! is a novel that falls under the Post Modernism theory. It portrays a new generation of Bohemian Hedonists who celebrates non conformity and creativity. It is also a novel of argumentative conversations that cover literature, art and sense of everyday life. Yo Yo Boing is ideal to become a post modern classic for its sophisticated play with languages and structure. This is an important post modernist work that attempts to deal with the issues generated by the confusing and changing world.