"… since reportage, unlike literature, lifts the screen from reality, its lessons are - and ought to be - more telling; and since it reaches millions untouched by literature, it has an incalculably greater potential." Discuss.

ALAN RODEN MSc JOURNALISM MARK MEREDITH JOURNALISM 1 Assignment 1: "... since reportage, unlike literature, lifts the screen from reality, its lessons are - and ought to be - more telling; and since it reaches millions untouched by literature, it has an incalculably greater potential."1 John Carey, The Faber Book of Reportage. Discuss. Literature and reportage are very different ways of using words for different purposes and with very different effects. Carey differs between the two by describing imaginary literature as "a willing suspension of belief,"2 and by stating that reportage "lays claim directly to the power of the real."3 I shall further examine how the two concepts differ and discuss the author's argument that reportage delivers more potent lessons to a greater number of people. The difference between literature and reportage is fundamentally based on the separation of creativity from reality. Whilst works of fiction may be based in the real world or even based on real stories or real people, literature still remains aloof from actual history. Upon finishing a book, readers may detach themselves from its content in the knowledge that it was a creative story. In contrast, all understanding of the past, whether centuries or minutes old, is based on actual reportage, where the best journalism catches history on the hoof. In Crawford Gillian's editorial preface to

  • Word count: 1324
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Absurdist Theatre Waiting for Godot

Absurdist Theatre asks its viewer to 'draw his own conclusions, make his own errors' (Esslin, 1961, p. 20). I would argue that the intention of Waiting for Godot is to force the reader to draw their own conclusions without providing a climax and conclusion similar to what we would expect from traditional theatre. Theatre of the Absurd serves to convey an author's interpretation of the human situation. It does not show man in a specific historical or social context, it is not meant to communicate general views of our existence. An absurd character is remote in the world created. Absurd Theatre discards what we view as a traditional plot and characters to assail its reader with an unnerving encounter. Characters engage in apparently pointless dialogue thus the reader is given an impression of what it would be like to live in a world that is not coherent and does not "make sense". This is demonstrated by two men waiting around, repeating events, clowning and joking as they pass the time waiting through one day and then another. Although Waiting for Godot could be depicted as experientialist in its characterisations, the play is first and foremost about anticipation and hope. The play revolves around the characters and their pitiful wait for hope, e.g. Godot, to arrive. I would argue that Waiting for Godot is a play in which nothing happens yet manages to captivate the reader.

  • Word count: 1481
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Oscar Wildes The Nightingale and the Rose, similar to other Oscar Wildes short stories, is written in an aesthetic voice. Throughout the story, Oscar Wilde employs various stylistic devices for the expression of aesthetic concept. In order to show h

A Stylistic Analysis on the Nightingale and the Rose Abstract Oscar Wilde's The Nightingale and the Rose, similar to other Oscar Wilde's short stories, is written in an aesthetic voice. Throughout the story, Oscar Wilde employs various stylistic devices for the expression of aesthetic concept. In order to show how Oscar Wilde engross readers in this incredible story through stylistics analysis, this paper firstly presents an overview of stylistics based on the textbook English Stylistics by Xu Youzhi and gives a brief introduction of Oscar Wilde and some knowledge on The Nightingale and the Rose. Then, with the basis of stylistic theory, a comprehensive stylistic analysis of the story in phonetic, lexical, syntactic, semantic and contextual aspects will be carried out. Finally, this thesis will try to summarize the stylistic features, which help Oscar Wilde create a story that successfully absorbs and shocks whoever reads it. Key words: stylistic analysis, The Nightingale and the Rose, Oscar Wilde, aesthetic voice Comment: . A table of contents is needed to show the organization of your ideas. 2. A literature review on the previous studies of the story by critics is a must, so that you can find the features and limitations of their studies, and then decide on your own aspect of study. 3. You failed to indicate the theme of The Nightingale and the Rose. 4. For a story,

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Cultural Differences

Cultural differences in Robinson Crusoe Robinson Crusoe is a classical adventure with themes ranging from imperialism to providence but one of the key features of the novel is the cultural differences displayed throughout the tale. Crusoe embarks on a journey, which sees him confronted with contrasting cultures such as middle class England and indigenous tribes. These cultural clashes are evident through the narration that Defoe uses. When looking at the depiction of such cultures it is important to recognise who is telling the story. It primarily appears that each of the different cultures introduced are described through the eyes of Robinson Crusoe. However it is equally vital to recognise Defoe's own cultural prejudices that creep into the narration of the tale. The most obvious one of these is Crusoe's nonchalant acceptance of the slave trade, a form of slavery that would shock and appal contemporary cultures but was an aspect of everyday life in the eighteenth century. The clashes between the cultures in the novel and that of Defoe's contemporaries is also apparent, particularly the themes of imperialism and religion, aspects of eighteenth century life that were seen as imperative to the survival of man. Daniel Defoe was writing Robinson Crusoe at a time of great communal and economic change. At the time of the novels publication the country social culture was changing

  • Word count: 1590
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Uncle Toms Cabin: A Novel of Christian Ideals

Lindsay M. Elliott Grand Canyon University Professor April Dolata ENG 460 20 June 2011 Uncle Tom's Cabin: A Novel of Christian Ideals In the United States in 1850 there was a delicate balance of free states in the north and slave states in the south; however with the new state of California petitioning to join the Union as a free state, lawmakers had to appease the slaveowners in the south, resulting in The Fugitive Slave Act which was part of the Compromise of 1850 ("The Compromise"). The Fugitive Slave Act was a law which forced non-slaveowners in Northern states to capture and return escaped slaves to their rightful masters in the south ("The Compromise"). It also denied slaves the rights to a trial and delineated legal actions that could be taken against citizens who aided slaves in their escape ("The Compromise"). The Southern states were pleased with the Fugitive Act passed by Congress, however abolitionists and those Northerners who were slightly ambivalent towards slavery, began to unite and make noise ("The Compromise"). The loudest voice may have been however, that of Harriet Beecher Stowe. Stowe wrote and published her novel, Uncle Tom's Cabin at the most opportune time, writing in direct response to the Fugitive Slave Act. The overwhelming response to Uncle Tom's Cabin upon publication, made tangible American's apprehension and guilt towards the Fugitive

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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The Home and Family in The House on Mango Street and Cry, the Beloved Country

The Home and Family in The House on Mango Street and Cry, the Beloved Country The House on Mango Street and Cry, the Beloved Country both involve themes emphasizing the home and family. From the old Umfundisi seeking for his prodigal son to Esperanza searching and wanting a place of her own, both of these prolific stories involve how one reacts to the attraction of home and family. These novels have different writing styles and different ideas about the home as a place of refuge and belonging and these ideas are shown throughout each story. Over all, it is the main characters that show through their experiences why they desire to come back to a place they call home. In The House on Mango Street, Esperanza communicates through her experiences that "home" is a dream that looks bleak from the poverty of Mango Street. For example, she says, "I knew then I had to have a real house. A real house. One I could point to. But this isn't it. The House on Mango Street isn't it. For the time being, Mama says. Temporary says Papa. But I know how those things go" (Cisneros, 5). For Esperanza, a real home is something distant and cloudy, something she can only look forward to in her dreams. Esperanza really desires a home where she can feel like she belongs, a home not just solid on the outside, but on the inside as well. In addition, the poverty on Mango Street causes more heartache for

  • Word count: 1002
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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To what extent can different aspects of Marxist literary theory be applied to Tony Harrisons poem, The Red Lights of Plenty?

To what extent can different aspects of Marxist literary theory be applied to Tony Harrison's poem, "The Red Lights of Plenty"? "The Red Lights of Plenty" by Tony Harrison was written in 1983 for the centenary of Karl Marx's death, and is therefore, as one might expect, Marxist in nature. Interestingly, although a British poet, Harrison's poem is set in America and is arguably a criticism of its consumerist society. Consequently, Marxist literary theory can be applied to almost all aspects of the poem, the most important being Harrison's discussions of plenty and war. Yet, despite strong Marxist foundations, class criticism in the poem is not explicit nor is it conventional - there is a lack of human focus in the poem, meaning there can be no exploration of character relationships to highlight class disparities. Instead, Harrison comments on the exploitative nature of capitalism through an examination of "PLENTY", which becomes a character in herself, and "her horn." The horn is a clear reference to the Greek mythological cornucopia, a symbol of abundance and prosperity. Thus it could be argued that the horn of plenty is a symbol of capitalism. Equally, it could be argued that "PLENTY" represents the worker, as the term is inextricably linked to Marxist ideas of production. Marx described capitalism, "with its predominance of quantity over quality", as converting "social

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Emily Dickinson's poetry is too preoccupied with personal issues to be of relevance to men, or women of our time. How far do you agree with this statement?

Emily Dickinson's poetry is too preoccupied with personal issues to be of relevance to men, or women of our time. How far do you agree with this statement? It is a common view that poetry is often the result of a deeply felt reaction to one's life and society. Hence, over 100 years on since Dickinson died, this would lead us to assume that her poetry can hold no value to us as now: society must have changed beyond all comprehension to that when she was alive - or so we would like to think. It is almost a disconcerting thought that we could possibly still relate to people at a time when women could not vote and many of the great inventions of the twentieth century were only just appearing. Hence, the individual aspirations of people must have been somewhat different - but it is precisely the contrary which Emily Dickinson's poetry shows us: she displays the same fears, regrets and power of emotion that we do today. In fact, her poetry is astoundingly modern: 'Success is counted sweetest By those who ne'er succeed. To comprehend a nectar Requires sorest need'. #67 The aphoristic quality of this poem is clear even to a modern reader. The imagery of 'nectar' and 'sweetest' creates a bittersweet testimony of the way one feels in defeat. The simplicity of the poem and the almost child-like rhythm of it subconsciously reminds the reader of the fragility of human

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  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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IN Faulkner's As I lay Dying What Would You Say To The Characters?

In the novel "As I lay Dying" the characters are not exactly the picture perfect image of sanity. Anse, to me in the novel you are the very picture of insanity. Although your wife Addie is very disturbed herself, you really played a big role in your children's sanity levels. There are many disasters that take place in the book; your laziness and selfishness are the underlying factors that mainly cause each one of them. I want to show you that you are not the great person who is hard working, supports his family, or is all these things you think you are, but you could realize your problem and your delusional state that can still be helped. A delusion is a false belief, especially a persistent false belief (Doyle 3.) Anse, you are set on the fact that you are someone you really are not, and whatever the case may be, in your eyes Anse is always the victim and being punished for everything and you have to change now due to those errors. Self-interest is what drives all the characters in the novel, but you top them all. Considering the only true thing that matters to you is Anse, I want you to see some examples of your insanity and how you can change it now that you have no other option. Addie requested before she died to be buried in Jefferson although you act sincere in wanting to fulfill your promise to her, all along you were being driven by another motive for getting to

  • Word count: 927
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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Marxist reading of Mansfield's The Garden Party

Offer a Marxist reading of any passage from Katherine Mansfield's 'The Garden Party'. The day is ideal for a garden party, but then tragedy strikes. 'A man killed! Where? How? When?'.1 The dead man turns out to be a poor, young carter who had lived in the decrepit neighborhood just outside the grounds of the affluent Sheridan family. Laura, the youngest and the most sensitive of the Sheridan sisters, is distraught at the news. Surely they must call off the party now? It simply would not be decent to carry on as if nothing has happened. Jose, the elder sister, is astonished by Laura's reaction and chides her: 'Nobody expects us to. Don't be so extravagant'. 2 Jose feigns sympathy with the carter and his family but her 'hard' eyes belie her true feelings. True, the man had lived just across the road with his family, but really, they 'had no right to be in that neighborhood at all'.3 Why should the Sheridans have to put off their garden party on such a perfect day-especially because of a 'drunken workman'4? On the surface, class conflict and prejudice are the obvious themes of 'The Garden Party'. It is deemed perfectly natural that the haves and the have-nots coexist along side each other and lead parallel lives. Everyone knows their place in society and all interaction between the classes is governed by strict codes of behavior. Every now and we get an inkling of underlying

  • Word count: 1172
  • Level: University Degree
  • Subject: Linguistics, Classics and related subjects
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